L'Isola di niente (Premiata Forneria Marconi, 1974)

This is one of the most intriguing tracks in the '70s Italian prog scene, and it's the title track of PFM's third Italian album. It also exists in English, titled "The Mountain" as the opening track of the album "The World Became The World", also released in 1974. As usual, I introduce here the original language version. The stunning choral intro is probably the most known feature of the song, even if I'm fond of its elecric guitar work, including the first sharp riffs that completely change the track mood after the above-mentioned arcane and classical choir.

An early PFM's line-up. Good music from good musicians...

The following vocal arrangements are beautiful too and so are the keyboard / guitar plots enriching the instrumental passages. That said, the main feature of this song, IMHO of course, is its magic and suspended atmosphere, something the Italian title suggests (L'Isola di niente means The Isle of Nothing) with not so hidden references to Neverland and to so many islands from our childhood's dreams.

Gong (Cathedral, 1978)

First, a disambiguation note: this is a song from the "Stained Glass Stories" debut album by Cathedral, the US '70s prog band, not to be confused with the more recent UK band bearing the same name. "Gong" it's a instrumental synphonic rock jewel, IMHO. The rythm is enthralling, the plots are rich and intricate, the tempo changes are surprising and the band's performance is perfect. What else? I think this 7 minute track melts very well all the band's influences, from Genesis to Yes and from King Crimson to Gentle Giant, but the result isn't a simply derivative song: "Gong" has its own character.

Unfortunately, the band waited some 30 years to release

the follow up of "Stained Glass Stories".

Do you know why? Because you'll find no weak moments here: each passage is exacly where it had to be, each instruments comes in when it had to, each musical idea is developed to the very end and gives place to the next one without any useless pause. This song was a pleasant surprise to me when I first listened to it, I hope the same will happen to you.

21st Century Schizoid Man (King Crimson, 1969)

One of the most influential prog songs ever, no doubt. Even if I better like the pastoral side of the first KC album, I can't denie this is creative rock music at its height. The main riff is simply stunning and I consider it as the bridge joining the psychedelic and the synphonic banks of the late 60s rock 'n' roll. The chaotic appearance of the track fades away with a more careful listening and reveals a well structured architecture and an original melody.

 

"21st Century" was also released as a 7" single along with

"Epitaph", but only in 1976.

More than this, this song is a strong, raging attack against the alienating world of the modern era and especially against war, a theme you'll also find elsewhere in the album. Sure, the track isn't for the faint of heart, with its abrupt changes, distorted sounds and jazzy cameos... it's an adventurous song, full of musical details and each time one listens to this it's like listening to a new song. The magic of prog, I suppose.

Sad Song (Red Sand, 2009)

Red Sand are a proud band, they really are. Their extra-melodic prog, something like Marillion meet Camel, will never rule the world charts and isn't exaclty what the music magazines acclaim. This "Empty Calendar", the opening track of the "Music for Sharks" album shows what Simon Caron & friends like and the music producers dislike. It's a well written and well performed neo-prog with a slow and majestic keyboard carpet on which the electric guitar draws its dreamy frames.

Music for Sharks is dedicated to the music industry "sharks".

They'll never release a Red Sand album... but they're wrong, IMHO.

The Floyd-esque intro introduces the listener to Caron's musical Neverland, made of sweet and sad stuff, and the guitar solos really make me feel like one of Peter Pan's Lost Boys. I also like this track because of its sincere lyrics about the band's notion of music: When I write a new song, Caron says, I don't think it's my best, but I know it's not my last one, I feel it reflects my loyalty. True, Red Sand are loyal, they give me what they promise, no more nor less than this. And I hope they'll always do so.

The Carpet Crawlers (Genesis, 1974)

Another great classic enters my humble collection. This is from "The Lamb Lies down on Broadway", the double LP released in 1974, the last Genesis' album with Peter Gabriel. I adopt here the title as stated on the album booklet and on the 7" single, but you'll find Carpet Crawlers in the back cover of "The Lamb" and The Carpet Crawl on "Seconds out" live album. Be as it may, it's a slow, intense song, with a sad and obscure atmosphere but also featuring one of the deepest Peter's vocal performances. His voice slowly rises the musical scale and grows up both in volume and feeling. The group provide a suspended atmosphere where Mike Rutherford's bass lines add an uneasy touch.

Released in April 1975, this was the last Gabriel's single with the band.

It's one of those tracks you listen to without noticing the time passing by and the first time I put this on my stereo I was sure it lasted some 3 minutes or so. I was really surprised when I read the actual duration of 5 minutes and more. I also like Phil Collins' vocals on the "Seconds out" live version, but I have mixed feelings about the 1999 single studio remake. I'll let you decide.

Overture (Sanhedrin, 2011)

I can hear you saying: "What? Another Overture?". True, the title isn't so original, nor the music maybe, but this guys from Israel have their own special touch. Basically, this is a classically set up track, not so far from the '70s synphonic masters, but with many stimulating nuances in it: there's a folk-rock taste (the flute work is very good), a fluid camel-esque guitar (Sanhedrin started as a Camel cover band), and a slight Middle East flavour coming in and out of focus during the song, a refreshing wave I like very much.

"Ouverture" is the opening track of "Ever After" album.

I also appreciate the loose interpretation of the traditional prog schemes, melting vintage and new sounds. Last but not least, this Overture's got a rich and finished architecture,  so that I can't but recommend this Barness brothers band's song to your kind attention.

Parsifal (Pooh, 1973)

This is a two part synphonic epic from the best known melodic rock Italian band, strongly influenced by progressive rock in their early years. The song features a heavy orchestral arrangement in the wake of many other '70s Italian productions. The first part is sung, it features lyrics about Perceval's myth and beautiful, delicate tunes.

Fit for the Dark Ages, they were...

This same theme is exploited during the second section, a fully instrumental one. Here you'll find the main feature of the song: the dialogue between the orcherstra and the outstanding Dodi Battaglia's electric guitar. It's a pure treat, combining the slow and bombastic strings with the very fast guitar performance, something like winds and lightnings put together. I really like this track, one of the most successful orchestra and group tracks in the '70s Italian scene.