V.A. - The Rough Guide To The Music Of Canada (2003) Mp3

Another in World Music Network's exhaustive Rough Guide to Music series, the Rough Guide to the Music of Canada is an excellent compilation of artists obscured by pop culture, like French-Canadian acts Florent Vollent and fiddler Emile Benoit, as well as those who skirt the edges (Bruce Cockburn, Natalie MacMaster), and covers ground old (Stan Rogers) and new (Matapat). From the French-Celtic styling associated with the Bretons and Acadians of Cape Breton, Newfoundland to the more western contemporary folk traditions and the influence of rock, the number of styles here are diverse but flow nicely into each other ,making for an interesting and enjoyable compilation of the diversity of Canadian music. by Gregory McIntosh
Tracklist:
1 Florent Vollant – Tshishe Manitu 5:51
Vocals – Zachary Richard
2 Hart-Rouge – J'ai Fait Un Reve 3:12
3 Bruce Cockburn – Creation Dream 4:01
4 Natalie MacMaster – Real Béatrice (Béatrice (Oggi Nevica) / Sean Sa Cheo) 3:34
5 Matapat – Matapat 2:53
6 Mary Jane Lamond – Domhnall Mac 'Lc Lain 3:32
7 La Bottine Souriante – Reel Du Forgeron (The Blacksmith's Reel) 3:48
8 Zubot & Dawson – Ed's Wake 4:51
9 Bill Hilly Band – Bulkley Valley Home 2:57
10 Crystal Plamondon – Ca Va Brasser 2:48
11 Anita Best – Kelligrew's Soiree 3:36
12 Silk Road Music – La Bastringue / Green Mountain Petronella 1:57
13 Kanehi:Io – Field Song 2:15
14 Wendell Ferguson – Rocks And Trees 3:19
15 Rheostatics – Seven 4:04
16 Cordes En Folie – Le Papillon (Bourree Du Papillon / Sans Crier Gare)    3:36
17 Longbottom – The Ballard Of Gordy Ross 3:13
18 Stan Rogers – Northwest Passage 4:47
19 Emile Benoit – Vive La Rose 3:20
20 Wade Hemsworth – The Blackfly Song 2:57
21 Tudjaat – Throat Singing 0:42

V.A. - The Rough Guide To The Music Of Spain (2002) Mp3

Subtitled "Infectious Beats From the Spanish Streets," this is a collection of newer, often younger artists, mostly acoustic performers, who are all of, and frequently working in, the traditional and regional styles of Spain. There's plenty of Andalusian influence here, right from Javier Ruibál's opening track into Javier Paxarino's Arabic-inflected "Amanecer el la Sabika," but that's hardly all. Galicia is represented by Anubía, while the wonderful Hiru Truku and "Neska Soldadua" raise the Basque flag. In between there's a very fair selection of what's going on in Spain, whether it's the flamenco of Diego Carrasco or the political Catalan song of María del Mar Bonet. At its heart, as the compilers note, a lot of this might be classified as pop music (though not in the more American sense), but still very rooted. Notably, some experimental performers, such as Mercedes Peon and those working in a straight folk form (like Susana Seivane), aren't here, but that's fine; this gives exposure to many lesser-known talents, all of whom deserve it. A strong look at a part of Spain that hasn't received enough international sun -- yet. by Chris Nickson
Tracklist:
1 Javier Ruibal – Isla Mujeres 4:47
2 Javier Paxariño – Amanecer En La Sabika 7:16
3 Companyia Elèctrica Dharma – Poble Romani 3:15
4 Luis Delgado – El Hechizo De Babilonia 4:16
5 La Sal De La Vida – Fibali 3:15
6 Maria Salgado – Siete Modo De Guisar Las Berenjenas 4:10
7 Rafael Riqueni – Al Nino Miguel 3:06
8 Maria Del Mar Bonet – Merce 4:19
9 José Antonio Ramos With Pancho Amat – De Isla A Isla 3:45
10 Diego Carrasco – Yo, Marinero 4:40
11 Ronda Segoviana – Seguidillas 2:42
12 A Falta De Pan – Mirabras 4:00
13 Hiru Truku – Neska Soldadua 3:57
14 Anubía – Cantarea 1:05
15 La Chirigota Del Selu – !Arrempuja!, Que Ya Estamos Aqui Las Marujas 2:32
16 Jorge Pardo – Jeta 6:16

V.A. - The Rough Guide To The Music Of Italy (2000) Mp3

 Like the other entries in this almost uniformly excellent series, The Rough Guide to the Music of Italy presents a richly diverse introduction to its chosen subject, collecting forms of Italian music both traditional and contemporary, national and localized. Artists present include Banditaliana, Banda Ionica, Baraban, and Tenores Di Bitti. by Steve Huey
Tracklist:
1 Daniele Sepe – Tarantella Calabrese  4:07
2 Riccardo Tesi & Banditaliana – Maggio 3:26
3 Mauro Palmas & Elena Ledda – Cassisia Agghja 'Intu 3:10
4 Musicalia – Sera Passaje Pe' Sotto 'Na Cella 2:29
5 Silvio Peron & Gabriele Ferrero – Grondo Gigo De Blins / Gigo, Cadrio, Pountalero E Balet 3:34
6 Tenores Di Bitti – Ballate A Ballu Tundu 3:21
7 Bonificia Emiliana Veneta – Oi, Giovanotti 3:22
8 Banda Ionica – Jone 3:45
9 Totore Chessa – Costera 3:41
10 Cantovivo – Il Moru Sarasin 4:23
11 Uaragniaun – Quanne Sand' Anne    4:40
12 La Piva Dal Carner –    Mary Dem/Icio 3:21
13 Compagnia Strumentale Tre Violini – Va Per Tera/Giga 3:38
14 E Zezi – Marò Marò 1:47
15 La Macina – Io Vado In Filandra/La Malmaritata 3:38
16 Barabàn – La Merla 4:37
17 Re Niliu – E Stasira Caminandu 5:12
18 Ariondela – Beica 1:16

V.A. - The Rough Guide To The Music Of France (2003) FLAC (tracks+.cue), lossless

When the Rough Guide began to issue their musical collections, there was one thing that set them apart -- fantastic research. What they have consistently presented are exceptionally well-rounded collections of representative music from different countries and even regions within those countries. While it might seem absurd to be able to issue a single volume of music associated with the country of France, at least in this writer's opinion, they couldn't have been more successful. Rather than rely strictly on the ancient and arcane traditions of the "purely French" music (whatever that actually means), compilation producer Guillaume Veillet has taken into consideration how various other cultures have added to the French musical heritage over the last century, when immigration from all over the world took root and flourished on French soil. Therefore, like the United States, France has a truly multicultural society, which is reflected in its musical traditions and developments. Nowhere is this more evident than in the music by Lo' Jo, whose "Memoire d'Homme" is included here. In this single song, musette, chanson, gypsy music, and African and Caribbean rhythms unite to place an illustrious tapestry at the service of Denis Péan and his compatriots -- including African backing vocalists. And Lo' Jo hails not from Paris, but from Angers. North African and reggae influences along with current dance music culture and hip-hop blend inside a series of intertwining French melodies in the music of the Massilia Sound System. A. Filetta is from Corsica, which has been French since the mid-18th century. While the language is Corsican, the polyphony is from the French-Gregorian root. Patrick Bouffard's trio is a stomping traditional band comprised of a pair of hurdy-gurdy players, a thumping electric bass, and killer bagpipes and melodeans. Their sound is locked between the past and the present; it rocks to be sure, but rock & roll it isn't. There are Breton pipe bands here, along with artists performing gavottes and danse plins to modern French Alpine music from the band Kinkerne. Its two greatest practitioners represent the French chanson here: Edith Piaf (for whom arguably the term "chanteuse" was invented) and the incomparable Léo Ferré. There is much more, of course, over 76 minutes and 22 tracks, and the only persons arguably left out are Serge Gainsbourg, who may not have been a French native but nearly defined its decadent pop sound throughout the late '60s and early '70s, and French rap genius MC Solaar, who gave the country an identity in the genre. (This Comment is posted on Allmusic by Thom Jurek, follower of our Blog ´O Púbis da Rosa´)
Tracklist:
1    Les Ogres De Barback–    Rue Du Temps 2:57
Written-By – Les Ogres De Barback
2    Lo'Jo–    Memoire D'homme 4:49
Lyrics By – Denis Péan
Music By – Lo´Jo
3    Massilia Sound System–    Méfi! (Chaabi Mix) 4:53
Music By – D. Danger, L. Garibaldi
Music By, Lyrics By – F. Ridel, R. Mazzarino
4    La Talvera–    O Madama 3:36
Arranged By – T. Rougier
Written-By – D. Loddo
5    Marilis Orionaa–    Pr'amor 4:14
Music By – Nicolas Martin-Sagarra, Olivier Kléber-Lavigne
Music By, Lyrics By – Marilis Orionaa
6    A Filetta–    Sanctus 1:14
Traditional
7    Gabriel Yacoub–    Le Garçon Jardinier 3:25
Arranged By – Gabriel Yacoub
Traditional
8    Gabriel Yacoub & Friends–    La Mariole 4:21
Arranged By – Jean Blanchard
Written-By – Gabriel Yacoub
9    Trio Patrick Bouffard–    Quand Sera-t-elle Mariée? 2:12
Arranged By – P. Bouffard
Traditional
10    Alard / Gineston / Guéniffet / Siquier–    La Bourrée Des Capucins    2:42
11    Jo Privat & Didier Roussin–    Paris Musette 3:03
Written-By – Didier Roussin, Jo Privat
12    Les Primitifs Du Futur–    C'est La Goutte D'or Qui Fait Déborder La Valse 4:15
Written-By – Dominic Cravic
13    Édith Piaf–    Les Amants De Paris 3:09
Written-By – E. Marnay, Léo Ferré
14    Léo Ferré–    À Toi 3:31
Written-By – Léo Ferré
15    Romane & Angelo Debarre–    Légende 3:50
Written-By – Romane
16    Bagad Men Ha Tan & Doudou N'Diaye Rose–    Cayenne 4:35
Written-By – Pierrick Tanguy
17    Eugénie Goadec & Louise Ebrel–    Deomp D'an Unvet (Pach Pi) 1:50
Traditional
18    Carré Manchot–    An Dro / Neg La Cho 4:44
Written-By – J-P Coquerel, Y. Alory
19    Marcel Et Son Orchestre–    Fuite De Fantaisie 1 3:23
Written-By – Carlin, Brame, Labit, Huiban, Jimenez, Le Bon
20    La Kinkerne–    Filles Du Hameau 1:12
Traditional
21    Drailles–    Javalse 2:07
Written-By – Michel Favre
22    Dédale–    C'est Ainsi 5:09
Arranged By – Dédale
Written-By – Isabelle Pignol

HENRI SALVADOR - Henri ! (2001) 3CD / FLAC (tracks+.cue), lossless

Tracklist 1:
1. Le petit indien 3:13
2. Le loup, la biche et le chevalier 2:28
3. Elle me donne 2:42
4. Margaret 2:58
5. Papa loves mambo 3:20
6. Le roi des Caves 3:54
7. Pierrot et Colombine 2:56
8. Cendrillon 3:49
9. L'abeille et le papillon 2:33
10. Rock and roll mops 2:43
11. Dis-moi qu'tu m'aimes rock 2:38
12. Rock hoquet 2:29
13. Va t'faire cuire un oeuf, man ! 2:52
14. Salvador plays the blues 7:02
15. Don't blame me 3:27
16. Stompin' at the Savoy 3:40
17. Y a rien d'aussi beau 2:56
18. Eh ! Mama ! 2:40
19. Oh ! si y'avait pas ton père 2:27
20. C'était hier 2:40
21. Quand je monte chez toi 3:04
22. As-tu vu Adèle ? 2:52
23. Amour perdu 2:43
24. T'es à peindre 3:34
Tracklist 2:
1. Mazurka pour ma mie 2:58
2. Ça pince 2:22
3. Cécilia 3:03
4. Dans mon île 3:22
5. Marianne 3:01
6. Mathilda 2:28
7. Je peux pas travailler 3:08
8. Blouse du dentiste 3:28
9. Moi j'préfère la marche à pied 2:31
10. Trompette d'occasion 2:40
11. Le gosse 3:09
12. Sarah 3:08
13. Le langage des fleurs 2:54
14. Barbarie 2:50
15. Une île au soleil 2:25
16. Riobamba 2:45
17. Bora Bora 2:39
18. Ma jolie petite fleur 2:21
19. Come prima 2:04
20. Bal de Vienne 2:36
21. J'aimerais tellement ça 2:50
Tracklist 3:
1. Un certain sourire 2:50
2. Je me souviens de vous 2:32
3. Gigi 2:49
4. C'était pour jouer 2:37
5. Amour de Saint-Tropez 2:35
6. Rendez-vous au Lavandou 2:40
7. A Cannes cet été 2:38
8. La fin des vacances 2:52
9. Mon ange gardien 2:34
10. Chiche 1:55
11. Place Blanche 1:56
12. Maman 2:24
13. Tout doux, tout doucement 2:18
14. Ne dis plus rien 3:10
15. Petite fleur 2:45
16. Ne sois pas méchante 2:22
17. Ma Louise 2:22
18. Pas mon papa 2:34
19. Soleil de minuit 2:52
20. Verte campagne 3:02
21. Les Papous 2:25
22. Le soleil, ton visage et la mer 2:05
23. L'amour est là 2:33

RICHARD GALLIANO - Bach (2010) Mp3

French accordionist and bandoneon player Richard Galliano has spent much of his career demonstrating that his instruments can be employed not only in the service of folk music, but also to play jazz. His long tenure on Dreyfus Records was spent in that endeavor, but with Deutsche Grammophon, the venerable classical label, he naturally takes a different tack, here adapting himself to the demands of Johann Sebastian Bach. The substitution of accordion for keyboard instruments, notably in the three-part Concerto for Harpsichord, Strings, and Continuo No. 5 in F Minor, BWV 1056 and Contrepoint 1 -- L'Art de la Fugue en Ré Majeur, BWV 1080, is a natural, yet Galliano does not stop there. He also replaces the violin in the three-part Violin Concerto No. 1 in A Minor, BWV 1041 and the Concerto for Violin, Oboe, and Strings in D Minor, BWV 1060; the cello in the "Prélude" movement of the Suite for Cello Solo No. 1 in G, BWV 1007; and the flute in the "Allemande" section of the Partita for Solo Flute in A Minor, BWV 1013. These pieces written for strings and a reed require a fluidity of playing that Galliano succeeds in reproducing on his keys. And there are gains in his choice of instrument, notably in the slow "Largo" movement of the harpsichord concerto, since the accordion's notes have a longer decay than those for the harpsichord, giving greater resonance to the music. Galliano is ably accompanied by a chamber orchestra consisting of two violins (Jean-Marc Phillips-Varjabédian and Sébastien Surel), viola (Jean-Marc Apap), cello (Raphaël Pidoux), and bass (Stéphane Logerot). But they only provide support, and often they drop out entirely as Galliano re-creates the majesty of Bach's music on his accordion, proving its worth as a formal instrument, just as he has previously as a jazz axe. by William Ruhlmann  

RICHARD GALLIANO - Nino Rota (2011) Mp3

It's hard to tell from the packaging, but these are not straight performances of melodies from Nino Rota's film scores but jazz versions of them, with French accordionist Richard Galliano in the lead role. That's not a stretch: Rota's tunes are full of dance and circus elements that need only a bit of a rhythmic push to cross over into jazz, and Galliano's group handles the transitions subtly and cleverly. Moreover, his program is beautifully sequenced and contains some marvelously odd items such as the "Il matto sul filo" (The Fool on the Wire) from La Strada, track 9. He includes a couple of famous pieces from The Godfather, including the Love Theme, which work well in two ways: the better known the piece, the more liberty Galliano can take with it melodically, and he also draws the interesting connection between Rota's Godfather music and those of his films of the 1950s with Federico Fellini, with a few tracks from the serious 1960s films Otto e mezzo (8 1/2) and La Dolce Vita as interludes. All these pieces present visions of Italian popular culture, inflected in different ways. This was Rota's genius: his music seemed simple and sentimental, but it was actually a flexible language that could comment both the attractions and the grotesque dangers of mass culture. Rota's music, some of it now almost 75 years old, has stood the test of time, and one of the marks of its greatness is that it not only can stand up to but invites a variety of treatments, such as this fine jazz reading. by James Manheim  

PACO DE LUCÍA / AL DI MEOLA / JOHN MCLAUGHLIN - The Guitar Trio (1996) FLAC (image+.cue), lossless

The acoustic guitar trio of John McLaughlin, Al DiMeola, and Paco DeLucia can always be relied upon to create quiet but fiery music. The three virtuosos always sound restrained and tasteful (yet inwardly explosive) when they play together. This 1996 effort has three originals apiece from McLaughlin and DiMeola, two by DeLucia and a beautiful McLaughlin-DiMeola duet on "Manha de Carnaval" that makes one wish they would more fully explore bossa nova. Most of the selections are thoughtful, but there are also plenty of explosive outbursts for contrast (along with the jubilant closer "Cardeosa") on the highly arranged yet spontaneous-sounding program. by Scott Yanow

STEFANO BOLLANI - Joy in Spite of Everything [2014] ECM / FLAC (tracks+.cue), lossless

On Joy in Spite of Everything, Italian pianist Stefano Bollani reconvened his longstanding trio with drummer Morten Lund and bassist Jesper Bodilsen. They recorded three previous dates together, the most recent being 2009's excellent Stone in the Water on ECM. Bollani has continually displayed -- from his dates with mentor Enrico Rava, on solo offerings, and with other leaders, that his playing and composing signatures are not only versatile and Catholic in their approach to jazz, but informed equally by the building blocks and possibilities of song itself. To that end, he has added two more players to this date, guitarist Bill Frisell and saxophonist Mark Turner. The group performs on these tunes not only as a quintet, but in various quartets, trios, and duets. The tracks are long enough to stretch a bit and offer a wide, colorful palette of approaches. Opener "Easy Healing" has a calypso-cum-plena vibe that allows for lovely interplay from the rhythm section, but also between Frisell and Turner -- who is unusually lyrical rather than cerebral -- in his solo. It's followed by "No Pope No Party." With knotty, stop-and-start post-bop as its entryway, it swings throughout even when it moves afield; the dialogue between saxophonist and pianist is canny, with Frisell's solo melding straight-ahead swing with Americana. "Alobar e Kudra" is a piano trio that offers Bollani's fluid voicings, light and dark, balanced by shimmering ostinati as the rhythm section digs in and extrapolates on them. "Las Hortensias" is a long, moody ballad for a quartet with lovely understated work by the pianist. Turner explores the fringes of the melody and engages in counterpoint after his restrained solo break. The set's lengthiest number is "Vale." It commences skeletally as a nearly formless, languid, balladic improvisation. Bollani brings angles into view after his own solo, touching on post-bop, Nino Rota's delicate classicism, and the Italian jazz tradition, but it's Turner's solo that shines brightest. "Teddy," a duet with Frisell, was inspired by pianist Teddy Wilson, though its sparse, impressionistic opening would hardly suggest that. Nonetheless, in its sprightly, swinging dialogue, one can hear its subject's influence -- though musically it reaches much further. "Ismene" is a beautiful ballad, and a fine vehicle for Frisell's instinctive manner of chordal voicings and poignant lyrical fills. The closing title track for Bollani's trio is fleet, wildly creative post-bop that shows off just how intuitive the group's development has become in the last decade. Joy in Spite of Everything's myriad colors and moods illustrate its title -- even in the most melancholy places. As an album it reveals how confident and sensitive Bollani is, in full command of his musical range and technical facility -- as composer, bandleader, pianist, and arranger -- as well as in the depth of his honesty in emotional expression. by Thom Jurek 
Tracklist
1 Easy Healing 9:25
Stefano Bollani
2 No Pope No Party 8:08
Stefano Bollani
3 Alobar e Kudra 6:01
Stefano Bollani
4 Las Hortensias 8:30
Stefano Bollani
5 Vale 12:20
Stefano Bollani
6 Teddy 7:07
Stefano Bollani
7 Ismene 8:47
Stefano Bollani
8 Tales from the Time Loop 9:36
Stefano Bollani
9 Joy in Spite of Everything 5:57
Stefano Bollani
Credits
Double Bass – Jesper Bodilsen
Drums – Morten Lund
Guitar – Bill Frisell
Piano – Stefano Bollani
Tenor Saxophone – Mark Turner 

STEFANO BOLLANI - Joy in Spite of Everything

 [2014] ECM 2360 / FLAC (tracks+.cue), lossless

O Púbis da Rosa

BANCO DEL MUTUO SOCCORSO - Come in Un'Ultima Cena [1976]

Come in Un'Ultima Cena is the last "classic" Banco album. After an instrumental album with orchestra (Di Terra, 1978), the band would favor a more commercial approach throughout the 1980s. Also the last one to feature the classic lineup of Gianni Nocenzi, Vittorio Nocenzi, Renato d'Angelo, Rodolfo Maltese, Pierluigi Calderoni, and Francesco Di Giacomo (since the latter does not sing on Di Terra), this LP shows sings of breathlessness. Songs are shorter and less engaging than what can be found on earlier masterpieces like Darwin! and Io Sono Nato Libero. Two tracks stand out: the powerful "Il Ragno" and "Slogan," one of the most energetic songs the band had recorded at that point. Of the seven other tracks on the album, none leave a dent in the listener's memory: melodies are blurry and undefined. Nevertheless, musicianship remains strong, even though Di Giacomo tries to sound more like a rock singer and less like an Italian singer. Guitarist Maltese gets more exposure on this LP. Come in Un'Ultima Cena was simultaneously released in Italian and English versions (as As in a Last Supper), the only difference between the two being the vocal tracks. The merits of each are debatable, but boil down to whether one prefers to understand the lyrics (even if it means suffering Di Giacomo's heavy accent) or to keep the melodious quality of the Italian language. by François Couture  

Tracklist

1 .... A Cena, Per Esempio 6:20
2 Il Ragno 4:55
3 E' Cosi' Buono Giovanni, Ma... 3:32
4 Slogan 7:23
5 Si Dice Che I Delfini Parlino 5:50
6 Voila' Mida (Il Guarinore) 6:14
7 Quando La Buana Gente Dice 1:57
8 La Notte E' Piena 4:14
9 Fino Alla Mia Porta 4:30
Credits
Acoustic Guitar, Electric Guitar, Trumpet, French Horn, Vocals – Rodolfo Maltese
Bass, Acoustic Guitar – Renato D'Angelo
Drums, Percussion – Pierluigi Calderoni
 Lyrics By – Francesco Di Giacomo, Vittorio Nocenzi
 Organ, Synthesizer, Harpsichord, Synthesizer [Solina], Vocals – Vittorio Nocenzi
Piano, Electric Piano, Synthesizer, Clarinet, Recorder – Gianni Nocenzi
 Violin – Angelo Branduardi
Vocals – Francesco Di Giacomo

BANCO DEL MUTUO SOCCORSO - Come in Un'Ultima Cena 

[1976] Manticore / CBR320 / scan

O Púbis da Rosa

MADREDEUS - Os Dias Da MadreDeus [1996] EMI

Os Dias da Madredeus, Madredeus' debut album on the Portuguese market, offered for the first time the group's appealing and remarkable compositions. The record exposed the sole musical mission of the Portuguese ensemble. Providing sole compositions, Madredeus settled their musical course in between the original Portuguese fado and influences ranging from Brazilian music to classical musical inflections. Leaded by the voice of Teresa Salgueiro and by the delicate and melodious creations of Pedro Ayres Magalhães, Gabriel Gomes, and Rodrigo Leão, the ensemble started gaining their legion of followers precisely after the record originally hit the record stores in 1987. "A Vaca de Fogo," the record's third track, swiftly became the group's most recognizable theme due to its joyful rhythmic features and exclusive arrangements. Still, the whole of the work expressed through the album mostly reveals Madredeus' nostalgic musical endeavors, strengthened by way of their gloomy musical direction and enlightened by the sorrow and hurtful lyrics unveiled by Salgueiro's unique vocalizations. "Fado do Mindelo," "Maldito Dia Aziago," and "Amanhã" are just three of the album's most noted tracks, again sustaining the unique character of Madredeus' conceptions, initiating a musical path that eventually conquered fans all over the world.  by Mario Mesquita Borges 
Tracklist
1 As Montanhas (Instrumental) 2:25
2 A Sombra 5:31
3 A Vaca De Fogo 5:02
4 Os Pássaros Quando Morrem Caem No Céu (Instrumental) 2:24
5 Adeus... E Nem Voltei 5:50
6 A Península (Instrumental) 4:05
7 A Cantiga Do Campo 6:28
8 Fado Do Mindelo 5:06
9 A Marcha Da Oriental (Instrumental) 5:59
10 A Cidade 6:00
11 Maldito Dia Aziago 5:10
12 A Andorinha (Instrumental) 4:44
13 O Brasil 5:34
14 O Meu Amor Vai Embora 3:20
15 Amanhã 4:53

Credits
 Featuring – Francisco Ribeiro, Gabriel Gomes, Pedro Ayres Magalhães,
                    Rodrigo Leão, Teresa Salgueiro
Lyrics By – António Jorge Pacheco (tracks: 8), Francisco Menezes (tracks: 10),
                Gomes Leal (tracks: 7), Pedro Ayres Magalhães (tracks: 2, 3, 5, 8, 10, 11, 13 to 15)
Music By – Gabriel Gomes (tracks: 3, 15), Pedro Ayres Magalhães (tracks: 2, 3, 5, 7, 8, 10, 11, 14, 15),                          Rodrigo Leão (tracks: 7, 8, 10, 11, 13 to 15)
Producer, Arranged By [Direction] – Pedro Ayres Magalhães

MADREDEUS - Os Dias Da Madredeus [1996]
EMI / 1996 / CBR320 / scan

O Púbis da Rosa

PREMIATA FORNERIA MARCONI - L'Isola di Niente (1974-2014) FLAC (image+.cue), lossless

Não é um disco no nível de "Per un Amico" ou "Storia di un Minuto", mas qualquer álbum com a formação clássica de PFM é sempre bom o suficiente, arranjos vocais incríveis, impecáveis em italiano por Franco Mussida (na linguagem que foram feitos para serem ouvidos) e uma banda que não tem nada a invejar dos monstros clássicos britânicos.

Muito mais do calmos que as versões anteriores pode ser um pouco chato para aqueles que não estão acostumados ao Prog Sinfônico Italiano, mas interessante para os que já amam o lirismo especial do Premiata Forneria Marconi.

A incrível introdução da canção-título "La Isola di Niente" (ilha de ninguém) é motivo suficiente para pagar por este bom álbum, o contraste entre a introdução coral e a instrumentação hard é uma reminiscência de King Crimson, mas com uma abordagem sinfônica típica do Prog Italiano, um épico muito complexo que pode ser árido para as pessoas que não entendem italiano.

"Is My Face On Straight" é a segunda faixa e a única em Inglês com letra de Pete Sinfield, canção sarcástica que menciona temas como racismo e elitismo, música muito complexa, com toques de Jazz, o problema é que as mudanças são demasiado radicais e não procedem uma  seqüência lógica. Um pouco estranha, mas uma boa faixa.

"La Luna Nuova" (The New Moon), começa como um hino com uma seção de teclado muito bonito que vai em crescendo, entretanto, flauta e percussão se juntam com algum sentimento jazzy, quando o ouvinte pensa que a faixa chegou a um ponto calmo, tudo começa de novo, uma canção que está sempre com antecedência como se perseguindo algo que não atinge completamente. O violino no meio dá um sabor delicado especial e novamente o hino e a perseguição começam tudo de novo. 

"Dolcissima Maria" (Sweetest Mary): A flauta doce e percussão suave é um dos pontos mais altos de todo o álbum. Ainda não tenho certeza se as letras têm conotações religiosas relacionadas com a Santíssima Virgem, porque o texto é tão ambíguo que pode funcionar como uma oração ou uma canção de amor puro.

O álbum termina com a instrumental "La Via Lumiere" (Lumiere Street) é uma peça com claras influências de Mahavishnu Orchestra, em torno do meio da música o PFM retoma o som clássico italiano para preparar o fim que se desvanece suavemente no humor sinfônico típico.

Premiata Forneria Marconi's third Italian album (their fourth if one counts the 1973 release Photos of Ghosts, the English version of Per un Amico) came out shortly before ELP's Manticore imprint released its English version under the title The World Became the World. Unless lyrics sung in a language other than English is aggravating to you, by all means prefer the original version. Like for Banco del Mutuo Soccorso and Le Orme, the music of PFM is impregnated with the lyricism of the Italian language. The most confusing of the group's first three LPs, L'Isola di Niente (The Island of Nothing) sees the group pushing its music to a new level of complexity, while giving a first hint at their later jazz-rock orientation. The title track (which will became "The Mountain" on The World Became the World) is a very powerful, almost shocking 11-minute epic, with choir, rolling echo-drenched drums and some of the most theatrical vocal performance you are likely to hear on a PFM record. BMG's 24-bit gold remastered CD reissue has helped clarify the choir sections (murky at best on the cheap vinyl pressings from days of yore), but the impact of the piece is still lessened by the tons of effects the group used. "Is My Face on Straight" is the only track that appeared in English on both LPs. The lyrics of ex-King Crimson's Pete Sinfield match the cadavre exquis-like collage of seemingly unrelated musical sections. PFM exhibit some of their best musical chops on this crazy number. "La Luna Nuova" (retitled "Four Holes to the Ground" on The World) is the track sounding the most familiar in comparison to the group's first two albums. It is also one of their best symphonic progressive rockers, with that sweet Italian flavor the harsh "L'Isola di Niente" eschewed. The ballad "Dolcissima Maria" is little more than that, but still much better in this rendition than its English counterpart "Just Look Away." The closing instrumental "Via Lumiére" (needlessly retitled "Have Your Cake and Beat It" on The World) was this album's enigma. Beginning with a rather free-form bass solo from Jan Patrick Djivas, it evolves into a frantic jazz-rock vamp, before reverting to a Yes-like mid-tempo finale. L'Isola di Niente was to be the group's last masterpiece (the next LP, Chocolate Kings, will show serious signs of fatigue) and remains one of the first Italian progressive rock wave's finest records, but it is more of an acquired taste compared to Storia di un Minuto and Per un Amico.

Tracklist:

1 L'Isola Di Niente 10:42

2 Is My Face On Straight 6:36

3 La Luna Nuova 6:21

4 Dolcissima Maria 4:01

5 Via Lumière 7:21

6 Via Lumière (Single Version) (Bonus Track) 3:31

Credits:

Arranged By – Claudio Fabi, PFM

Bass, Vocals – Jan Patrick Djivas

Drums, Percussion, Vocals – Franz Di Cioccio

Guitar, Vocals – Franco Mussida

Keyboards – Flavio Premoli

Lyrics By – Mauro Pagani (tracks: 1, 3 to 6), Pete Sinfield (tracks: 2)

Music By – PFM

Violin, Flute, Vocals – Mauro Pagani

PREMIATA FORNERIA MARCONI - The World Became The World (1974-2014) SHM-CD / FLAC (image+.cue), lossless

Este é o segundo álbum do PFM a ter musicas gravadas em Inglês (o primeiro foi "Photos Of Ghosts"). "The World Becames The World" é composta por todas as cinco faixas do álbum "L'Isola Di Niente", além da faixa 'Impressione Di Settembre' (rebatizado "The World Becames The World") do primeiro álbum da banda, "Storia di un Minuto", com letras de Peter Sinfield substituindo a letra original italiano.

A faixa-título do álbum "L'Isola Di Niente" tornou-se "The Mountain", "La Luna Nova" se tornou "Four Holes in The Ground", "Dolcissima Maria" tornou-se "Just Look Away", "Via Lumiére" tornou-se "Have Your Cake And Eat It", e "Is My Face On Straight"é, naturalmente, a mesma faixa.

A música é basicamente a mesma (e excelente), mas os vocais e as letras-se soam melhores no álbum original. "Dolcissima Maria", em particular, é muito melhor do que "Just Look Away" na minha opinião. No entanto, eu gosto das letras de Sinfield na pista "The World Became The World" e essa pista é muito agradável, como é a original " Impressione Di Settembre", em "Storia di un Minuto".

De qualquer forma, é um excelente adição a qualquer coleção de Rock Progressivo e para os fãs do PFM.

Tracklist:

1. The Mountain

2. Just Look Away

3. The World Became The World

4. Four Holes In The Ground

5. Is My Face On Straight?

6. Have Your Cake And Beat It

Bonus tracks:

7. La Carozza Di Hans (UK single version)

8. Four Holes In The Ground (Unreleased single edit)

9. Celebration (Unreleased 1975 single version)

Musicians:

- Flavio Premoli / keyboards, lead vocals

- Mauro Pagani / woodwind, violin, vocals

- Franco Mussida / guitars, lead vocals

- Franz Di Cioccio / drums, percussion, vocals

- Jan Patrick Djivas / bass, vocals