От Michael Baryshnikov (2:5023/24.3243) к All
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Hello All!
Залит Apoteosi/(1975)_Apoteosi
Малоизвестная, но очень неплохая итальянская прогрессив-рок-группа середины 70-х.
"Классика" РПИ - орган, гитара, женский вокал.
Альбом представляет собой две много-частных композиции + еще пара вещей.
Надо признать, что всё очень мелодично, технично, красиво и вообще - в лучших традициях итальянского прога 70-х.
ВЕСЬМА РЕКОМЕНДУЮ!
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Apoteosi biography
Founded in 1974 in Palmi, Calabria, Italy - Disbanded in 1975
APOTEOSI is a prime example of the countless Italian bands of the 1970s that disappeared after the release of one hit-and-run album. They seem to have been very much a family thing, with the Idà clan firmly at the band's core; their line-up consisted of Massimo Idà (keyboards, synthesizer), Silvana Idà (vocals), Frederico Idà (bass, flute), Franco Vinci (guitar, vocals), and Marcello Surace (drums). Apotheosis is the act of raising someone to godlike status, and APOTEOSI'S music comes across as the musical equivalent of this idea. Their self-titled album from 1975 contains lofty musical ideals and is a conceptual work inspired by their homeland of Calabria in Southern Italy. APOTEOSI formed while the members were all very young; Massimo was only fourteen at the time, while guitarist Franco Vinci had formed his first band THE GREEN AGE at the age of just seventeen. In spite of having played together for a considerable period, the band had no live activity of note. Their main influences included UK giants ELP, Yes and Genesis, and the Italian big three of PFM, Banco and Le Orme.
In addition to the three Idà siblings, their father Salvatore also played a pivotal role behind the scenes. He produced the album for his own small label, Said Records, and even composed one of the tracks. Despite the band members' tender years, they were technically accomplished musicians and their compositions have strong classical overtones. The album features the delicate female vocals of Silvana Idà, who also sang on some folk singles released on her father's label, although the disc is noteworthy for the lengthy instrumental passages spearheaded by brother Massimo's keyboards, which include Hammond B3 organ, Eminent string ensemble and Arp Pro-Soloist synthesizer. This album is definitely one for fans of melodic, keyboard-driven music, with 14-year old Massimo's expressive piano-playing being the cornerstone of the album.
Massimo Idà's classical studies were apparently interspersed with his work as engineer, studio musician and arranger in his father's studio. Since the break-up of APOTEOSI, Massimo has worked as a session musician and music producer for television; Silvana Idà left the music industry to start a family (her son currently plays in a rock band); Frederico Idà died in 1992; guitarist Franco Vinci continued to play and is active in the blues field; drummer Marcello Surace works as a studio musician. The original album is something of a rarity, having had a very limited distribution, and vinyl copies are highly sought after as a result. The album was reissued on CD by Mellow Records in 1993.
(c) SeventhSojourn (Chris), PA
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Line-up / Musicians
- Marcello Surace / drums
- Federico Ida / bass, flute
- Franco Vinci / guitar, vocals
- Silvana Ida / vocals
- Massimo Ida / keyboards, synthesizer
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booklet info
The Italian progressive rock of the seventies, lived as a moment of unparalleled artistic ferment, has been able to offer a series of records which are still unmatched today for freshness and originality of composition.
On one hand, we have giants like Banco, Le Orme, Premiata Forneria Marconi, New Trolls, bands of professional musicians supported by solid record labels. On the other, we have the so-called 'meteors', with ambitious recording projects that collapsed mostly due to the closing of their record labels (such as Trident, Bla Bla, Grog and many others).
What surprises the most is the presence of an almost amateur underground host of bands, who were able, however, to get to release a record, maybe only locally and without a real distribution behind.
This is the case of Apoteosi, a very rare, if not unique, progressive voice coming from the Calabria region. Their self-titled LP, released in 1975, therefore in a period of transition for the prog-rock genre, is undoubtedly one of the most emblematic LP's and shows how a young and geographically completely 'out of the loop' group has been able to create a small jewel. "Apoteosi" is a work deliciously poised between pastoral and refined moments and darker and 'crimson' moods, with an extremely original approach and that still deserves to be listened to carefully after exactly 40 years.
Apoteosi were well aware of being a white fly in a closed and hostile environment, and to prove this assumption there is a note written by Federico Ida (bassist and flutist) explaining how the apparent fragmentation of the band's music reflects that of Southern Italy; he also hopes that music can somehow contribute to the cultural revival of the Southern regions, whose miserable and static condition is vividly illustrated in the lyrics.
No wonder the fact that almost every musician in the band will take off towards important careers in the music world, reflecting the talent of a group that even featured a 14-year old keyboardist Massimo Ida. There's a curious "Coro Alessandroni" presence in the credits: "Apotheosis" was recorded in Rome, therefore we're probably talking about the same Alessandro Alessandroni who at the time had already worked on many different soundtracks written by Ennio Morricone.
The remarkable rhythm section and the musical cohesion of the musicians are standout elements in this LP, since they were able to create a musical continuum that holds a qualitative tension along the whole work; moreover, there is a close proximity to certain models the English progressive underground, rather than the Italian one, the Canterbury scene in particular. "Apoteosi" stands still today among the hidden and precious gems delivered from a florid era of artistic ferment.
(c) Matthias Scheller/Eugenio Crippa, January 2015.
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(c) Review by Finnforest, PA
Keyboard rich Italian with female vocals
Apoteosi is yet another of the Italian bands that made one great album and vanished. The group core was the three Ida siblings whose father apparently got them a record deal and produced them. Massimo Ida, the keyboard player, was just 14 years old when this album was recorded. If you plan to add some Italian prog to your collection this should be a prime candidate. The music is a wonderful blend of melodic symphonic Italian prog with some jazzed up rhythm. Primarily a keyboard album it is filled with marvelous piano and moog but also a decent amount of electric leads. The drummer is tight and impressive with great moments throughout. One thing that makes Apoteosi unique is that we have the angelic voice of Silvana Ida on several tracks rather than the typical deep operatic male vocals one is used to on Italian albums. Her singing is a bit meek and too low in the mix but it is very pleasant. The sound is a bit of a problem on Apoteosi, there was obviously little budget and things sound a bit thin. But the music is solid, a little mysterious, and full of heart from people who were likely aware this album would be their only one. They made the most of it in my opinion. Sure you can detect the youth and inexperience in places but you'd be amazed how well they actually do.
"Embrion" is a short and shimmering keyboard introduction for the first half with the band charging in full force for the remainder. I read that the music was a fragmented mess of everyone's ideas and that there was no time to really hash things out so they just used the chaos to their advantage and explored all of them. At times it sounds that way but that's also part of the charm. "Prima Realta" at nearly 15 minutes is the centerpiece and is wonderful stuff. With lovely piano, acoustic guitar and flute, crisp drums and bass, and heavenly vocals from Ms. Ida this track is vintage Italian as beautiful as PFM. At about 6 minutes we get our first taste of the spacey keyboard effects that admittedly sound a bit dated but are pleasing nonetheless. And to top it all off, a stunning and energetic ending. Next is "Il Grande Dishumano" which is more energetic finesse and along with "Prima" is another superb track. We get some fuzzed-out psych guitar and a tight rhythm that would make Bruford proud. Next up is "Dimensione" which starts as a short vocal piece to piano and distance delicate electric leads. Drums come in around 2 minutes and things pick up. The title track is the closer and it is a fiery instrumental rocker which by the end makes you wish that Apoteosi had been given a chance to take their time and do a second album. I bet it could have been amazing. Definitely don't judge this book by its rather bland album cover!
This album is highly recommended for lovers of quality 70s symphonic prog. While I acknowledge there are a few flaws with the sound that along should not stop RPI fans from getting to this title eventually. The young people involved wear their hearts on their sleeves and that always helps win me over. Their love for this music they came up with is obvious. I want to close by quoting fellow reviewer Andrea Cortese who summed up what makes this really special: He writes "....this is a hymn to their homeland, a hymn of hope for the awakening from the numbness of that wonderful piece of our beloved country. All this passion and emotional involvement are the propulsive force of this great opus...."
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Enjoy!
WBR, Michael Baryshnikov.
P.S. Сервер лежит - линия повреждена. Ждём.
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