BANCO DEL MUTUO SOCCORSO Darwin! (Rock Progressivo Italiano, 1972)

Review by siLLy puPPy — Out of the multitude of Italian prog that emerged in the 70s, of which there are too many greats to mention, only a few reached the
top tier status that placed them as the crown jewels of Italian progressive rock. Alongside critically acclaimed acts such as Premiata
Forneria Marconi and Le Orme came another Italian great from the city of Rome and like an episode of punctuated equilibrium, a
term that describes a sudden burst of evolution rather than a gradual ascent, BANCO DEL MUTUO SOCCORSO or BANCO for short
unleashed their second album of 1972 and expanded their musical paradigm a millionfold on their sophomore release DARWIN!
Named after the famous evolutionary theorist Charles Darwin, the band crafted a concept album based on his theories about the
birth and evolution of all species on the planet. Like the self-titled debut the music is driven by the powerful classical trained
keyboard counterpoints of brothers Vittorio and Gianni Nocenzi alongside the powerful rhythm section and the operatic
powerhouse vocal style of Francesco Di Giacomo.

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SPLIT ENZ True Colours (Crossover Prog, 1980)

Review by blockmaster1 — Pure Pop Perfection... For Half of the Album, At Least.
Somewhat detailed review of "True Colours"

Keep in mind, all what follows below is purely my own opinion. You may agree or disagree with my views.

More pure pop perfection' for half of the album at least. Some songs sound like generic pop that fails to
get your attention and engage your senses.

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INSIDE THE SOUND Wizard's Eyes (Progressive Metal, 2017)

Review by VianaProghead — Review Nº 169

A couple of weeks ago, a very special package arrived in my mailbox. It wasn't a great surprise for me because some
time ago I was contacted by Andrew Nazarenko asking me if I was interested in receive the last work of Max
Velychko. He would send me a physical copy of the album. Of course I said yes. First, because I'm always interested
in knew the new things which are being made in the world of prog. Second, as a collector of albums I never lose the
opportunity to increases it. Besides, it's better to have a hard copy to review an album than a digital copy. Sincerely,
I never listened to his previous debut studio album of this project, "Time Z". But, as I had already contacted with his
guitar style on the project of Vladimir Gorashchenko, Modern Rock Ensemble on the album "Touch The Mystery", an
album already reviewed by me on Progarchives, I'm really very interested because he made a great job on
Vladimir's album.

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SOUL DOUBT The Dance of Light and Shade (Progressive Metal, 2017)

Review by kev rowland — Apparently this Italian band were formed as long ago as 2001, but it was only just before Christmas
last year that they released their debut album, a concept containing 20 songs which clocks in at
just under 100 minutes in length. Someone can't have sent them the instructions that told them that
Italian prog bands are supposed to sound a certain way, as these guys have taken influences as
diverse as Pain of Salvation and Saga and have put them together in a totally innovative and
refreshing manner. If you want harmony vocals combining with modern keyboard sounds, melodic hard
rock, complexity and simplicity, then it has all of this and much, much more.

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HERBIE HANCOCK Mwandishi (Jazz Rock/Fusion, 1971)

Review by siLLy puPPy — The 60s was a busy time for child prodigy HERBIE HANCOCK. After getting his feet wet in the jazz world with Donald Byrd, it took him
no time at all to be noticed by the greatest bigwigs in the industry. Miles Davis, arguably one of the greatest jazz talents ever to have
roamed the planet, snatched HANCOCK up at the tender age of 23 and placed him as a major part of his Second Great Quintet.
HANCOCK remained with Davis throughout the decade and although he was catering to Davis' every musical whim, was carefully
taking cues in many ways and soaking in his masterful tutelage like a sponge. Despite having released a great number of albums
during his stint as keyboardist-in-chief on such classic albums ranging from "Seven Steps To Heaven" all the way to "In A Silent Way,"
HANCOCK himself hadn't really come of age on his own until he got to his "Fat Albert Rotunda" album where he seemed to have
found his inner voice and took his own path down jazz-funk-fusion alley.

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GENESIS Archive 1967-1975 (Symphonic Prog, 1998)

Review by judahbenkenobi — As a huge Genesis fan of the Hackett era, this boxset finally made me understand the reason why the band turned from a prog-god of the 70's to a mainstream pop monster of the 80's.

And the reason is simple: Genesis was born pop, and had to die pop. Their progressive era was just a "brief" respite in order to accomodate to the tendency of the moment. Proof of this is not only their debut album, but CD4 of this compilation. As most reviewers have focused on CD's 1-3, I will call the readers' attention to this fourth disc, a compilation of demos and other rarities of the band's early days.

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PICCHIO DAL POZZO Pic_nic'@'Valdapozzo (Canterbury Scene, 2004)

Review by Mellotron Storm — Of PICCHIO DAL POZZO's four studio albums this one seems to get completely ignored by fans. This is the re-union album and so far their final studio release from 2004. When they got back together they decided to make an album dedicated to AREA's singer Demetrio Stratos. In part they did this because one of the band members found a tape of Demetrio singing live and solo from a 1979 concert. After cleaning the tape up and going digital with it they were able to use a lot of Demetrio's incredible vocal expressions on this album.

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PHIL MILLER Split Seconds (Canterbury Scene, 1989)

Review by Mellotron Storm — Phil Miller needs no introduction to those of us who are into Canterbury styled music. He's played guitar with DELIVERY, MATCHING MOLE, HATFIELD & THE NORTH, NATIONAL HEALTH and more. "Split Seconds" would be Phil's second solo album after the excellent "Cutting Both Ways" from the year before. He again decided to have his IN CAHOOTS band play on one part of the album as we get Pip Pyle, Fred Baker and Steve Franklin while Phil along with Elton Dean are the constants. The other part of the album features Dave Stewart and Barbara Gaskins with John Mitchell helping out on one of those tracks and Richard Sinclair on another. It just seems to me that this is a pale version of his debut. The same style just not as good in my opinion. I miss Hugh Hopper too.

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