A History of Italian Rock Music A brief summary of Italian rock music by excerpted from TM, ®, Copyright © 2002. All rights reserved. (Thanks to Tommaso Franci, Lorenzo Casaccia, Max Osini, Antonio Suriano, Fabio Tonti, Luca DiMeco, Alessio Gambaro, Davide Lavecchia, Eugenio Smisurato) Prehistory TM, ®, Copyright © 2003 All rights reserved. Italy was traditionally dominated by melodic ballads that stemmed from its folk tradition. The Sixties were largely spent adapting that tradition to the new rhythms that were coming from Britain and the USA.
The first 'rock' bands appeared, but were mainly cover bands. The first original singer-songwriter was probably Piero Ciampi, whose Piero Italiano (1963) displayed the influence of the French 'chansonniers' and little awareness of the Greenwich Movement.
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Italy's main contribution to the psychedelic era was, a musical event put together by decadent-futurist pop artist Schifano the same way Andy Warhol put together the Velvet Underground. They improvised a cacophonous jam, Le Ultime Parole di Brandimarte (with the instructions 'to be listened with the TV on and no volume'), off their only album Dedicato A (1967), one of the most experimental tracks of the time. The 1970s: Progressive-rock TM, ®, Copyright © 2003 All rights reserved. See also Italy hatched one of the most prolific schools of progressive-rock.
Italy had no major rock tradition. The progressive school was an unintended consequence of two phenomena: a boom of classically-trained musicians and the 1968 student riots. Raja rani cut songs download. In 1969, Italy was awash in young erudite musicians who wanted to change the world.
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They identified with the ideology of the hippies, but retained the language of Bach. Progressive-rock was born out of this contradiction. Notable albums include: the New Trolls' symphonic Concerto Grosso #1 (1971), 's Storia di un Minuto (1972), 's apocalyptic concept Ys (1972), mostly the brainchild of keyboardist Gianni Leone, Latte E Miele's Passio Secundum Mattheum (1972), (1)'s Darwin (1972), ' psychodrama Concerto Delle Menti (1973), 's Hammond-driven sci-fi saga Felona e Sorona (1973), 's symphonic concept Contaminazione (1973), Museo Rosenbach's Zarathustra (1973), with the eponymous five-movement suite.
Predating all of these albums was Antonio Bartoccetti's project, Jacula, that concocted the gothic/decadent nightmare In Cauda Semper Stat Venenum (1969). A sub-genre of Italian prog-rock was Italian jazz-rock, well represented by albums such as 's jazz-rock nightmare Palepoli (1973), Arti & Mestieri's chamber jazz-rock workout Tilt (1974), and Perigeo's Genealogia (1974). Walter Maioli's Aktuala added ethnic flavors to jazz improvisation on their Aktuala (1973). The greatest of the jazz-rock bands was (1), fronted by vocalist Demetrio Stratos, one of the most original singers of his age, whose Arbeit Macht Frei (1973) merged agit-prop lyrics, jazz-rock jamming, raw electronics, Middle-eastern scales, and Stratos' psychotic warbling. While the group evolved towards the quirky free-jazz of Caution Radiation Area (1974) and Maledetti (1976), recorded experimental albums entirely devoted to the human voice such as Metrodora (1976) and especially Cantare la Voce (1978). The late years of Italian progressive-rock yielded Pierrot Lunaire's Gudrun (1976), the brainchild of Arturo Stalteri, 's Picchio Dal Pozzo (1976), that ranks with the best of the Canterbury imitations, Corte dei Miracoli's Corte dei Miracoli (1976), a double-keyboards tour de force, La Bottega Dell'Arte's Dentro (1977), that matched the instrumental prowess with memorable melodies, and Locanda delle Fate's Forse le Lucciole Non Si Amano Piu` (1977), a refined work that stands as a sort of swan song of the entire movement. Specialized in soundtracks for the horror films of director Dario Argento, particularly Profondo Rosso (1975) and Suspiria (1977).
The 1970s: Singer-songwriters TM, ®, Copyright © 2003 All rights reserved. See also Italy boasted a prolific school of singer-songwriters (or, better, 'cantautori'), who began to emerge in the years following the student riots of 1968, a sort of sociocultural divide for post-war Italy. Lucio Battisti's melancholy soul-pop ballads (co-written with lyricist Giulio 'Mogol' Rapetti) pretty much defined the post-1968 era: Il Paradiso (1969), Un'Avventura (1969), Acqua Azzurra Acqua Chiara (1969), Mi Ritorni In Mente (1969), Emozioni (1970), Pensieri e Parole (1971) and Il Mio Canto Libero (1972). Was an articulate sociopolitical chronicler who portrayed his generation's mood on Radici (1972).
