Founder member of Formula Tre and well respected session guitarist, Alberto Radius also had a good solo career following his band's split.
His first solo album, regarded as one of the italian prog rarest though not particularly representative of the genre, was issued in 1972 when Formula Tre were still active, and was a sort of jam session with important italian musicians of the time, including Franz Di Cioccio from Premiata Forneria Marconi and Area's Demetrio Stratos and Giulio Capiozzo along with Gianni Dall'Aglio and Vince Tempera that were later with him in Il Volo. The album was produced by Lucio Battisti under the fantasy name of Lo Abracek
Later works were halfway between pop and rock, with Nel ghetto from 1977 being a successful single.
RRR (as they were often referred to at the time due to their long difficult name) were from Rome, all coming from various minor groups.
Their only album, Per... un mondo di cristallo, housed in a curious gatefold cover containing a nice drawing from the Up&Down Studio (as in Procession's Fiaba), mixes a typical italian prog sound with acoustic guitar, flute and keyboards in evidence, with jazz influences, and the result is sometimes disjointed, with great tracks such as Un palco di marionette mixed with less convincing jazzy tunes like Il mondo cade su di me.
The band played in the main italian pop festivals in 1972-73 before splitting.
Singer Regoli and guitarist Civitenga formed Samadhi, while drummer Froggio Francica played with Procession on their 1974 second album Frontiera, and for a short time with Kaleidon.
Luciano Regoli has pursued his interest in art becoming a popular painter.
GibralatEPR:
Raccomandata Ricevuta Ritorno's Per....Un Mondo Di Cristallo is one that I've found very difficult to get into personally which intrigues me to no end. Crimson is evident here, especially with some of the dissonance that resounds throughout the album, but again this album is unquestionalbly Italian.
When the band dissolved, Luciano Regoli (Vocals, Guitar) and Nanni Civitenga (Guitar) went on to play in Samadhi.
Very italian, this six-piece blends some elements of Jazz, King Crimson type rock (although I'm seldom reminded of KC while listening), the early folk sound of PFM, some north African/Arabic influences, classical, and a little of the type dissonance found in the music of Area. Very tasty, with lots of dynamic stretch, excellent vocals, flute, sax, piano, this is possibly one of the best italian reissues around, certainly one of my very favorites, I'd put them right up there with classics like Il Balletto Di Bronzo, Area, Arti+Mestieri, Opus Avantra, and others. I don't know of anyone who was aware of this albums existence back in the seventies, seems like its reissue came right out of nowhere.
Side one "Stephanie Knows Who" – 2:33
"Orange Skies" (Bryan MacLean) – 2:49
"¡Que Vida!" – 3:37
"7 and 7 Is" – 2:15
"The Castle" – 3:00
"She Comes in Colors" – 2:43
Side two "Revelation" (Lee, Bryan MacLean, Johnny Echols, Ken Forssi) – 18:57
bon: 15. Seven & Seven Is (Tracking Session, Bonus Track) 3:14
All tracks composed by Arthur Lee; except where indicated
Arthur Lee – lead vocals, harmonica, guitar, drums, percussion
Johnny Echols – lead guitar
Bryan MacLean – rhythm guitar, vocal
Ken Forssi – bass
Alban "Snoopy" Pfisterer – organ, harpsichord
Michael Stuart – drums, percussion (On "7 and 7 Is", either Alban "Snoopy" Pfisterer or Arthur Lee plays drums. Michael Stuart and Tjay Cantrelli do not appear.)
Tjay Cantrelli – saxophone, flute, percussion
Formed in 1964 at Goddard College in Vermont, this band became part of a burgeoning Boston scene (well before the "Bosstown sound" hype). Contemporaries of, and often compared to, The Remains who were said to be Boston's answer to the Beatles, the Lost assumed the Stones' mantle. Musically however they were much more diverse. Whilst embracing the new Invasion sounds they did not discard their own heritage and influences - elements of rock & roll, folk and jazz were mixed into a dynamic stew by songwriters Ted Myers and Willie Alexander. Their unique strength however was having four vocalists in the band, each capable of taking the lead part. This added a new dimension to set them apart from others with an infusion of Byrds or Beach Boys influences into the melodies and finely structured vocal arrangements (coincidentally they supported the Beach Boys 1966 tour of the region). ......
(Max Waller, with thanks to Ted Myers & Erik Lindgren / Joe Foster / Gary Burns)
This little known band from Heidelberg and Karlsruhe was among the pioneers of ethnic rock fusion. Unlike bands like Embryo and Between, Limbus made almost totally improvised, spontaneous music. The result sounded as if Kluster had gone ethnic! Cosmic Music Experience (1969) was issued under the name Limbus 3, with all three musicians playing piano, bass, guitar, cellos, violin, flute, whistle, recorder, tambourine, tablas, foray, tsikadraha, valiha and other exotic percussion instruments. They were university students who wanted to express philosophical and psychological ideas through their music. The album was a private release, and is now of course extremely rare. It has a fold-out cover with a simple drawing on the front, a picture of the group walking in a park or forest. Inside there was general information, a text about the Limbus 3-music and Francis Bacon's "New Atlantis" (1623) and another picture of the group. "New-Atlantis" was also one of the music pieces of the record, taking up side two. For Mandalas (1970) the group was expanded with the addition of Matthias Knieper (various instruments) and thus became the quartet Limbus 4. This was the second Ohr-release with a Reinhard Hippen-designed sleeve. It had the Ohr speciality - a cut-in on the front sleeve with a balloon attached. Musically this was in similar style with four new improvisations, though their first album was their most successful.
Tribal rock precursor to Redbone, sought-after and included here because of the West Coast Pop Art Experimental Band connection - their Liberty recordings were produced by Bob Markley. Their Heya 45 sold well in France, precipitating a further 45 there, Na-Ru-Ka, which is excellent "navajo rock" with strong guitar parts. J.J. Light was in fact Jim Stallings, the Sir Douglas Quintet bassist.
Heya was covered in 1970 by the German group Jeronimo.
Their third 45, produced by Jim Stallings and P.Boyde is weak pop and best avoided.
This was a Los Angeles-based studio project involving J.J. Cale and the Tillisons, a folky couple who had migrated to LA and released one 45 as Gypsy Trips in 1965 which was subsequently covered by The Electric Prunes on their debut 45. The album, which was released on Amos "Snuf" Garrett's Viva label is notable for being Cale's first album appearance. He wrote the self-penned material on and co-produced the album. It consists mainly of covers of the 'in' sounds of the time including Eight Miles High, Psychotic Reaction, Over Under Sideways Down, Sunshine Superman, Kicks (by Paul Revere And The Raiders), Mr. Tambourine Man and Along Comes Mary.
Roger Tillison later released a good solo LP in 1970 Roger Tillison's Album with Jesse Ed Davis.
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