Search Result

With Understanding Comes Appreciation The thing I love about the work of Miles Davis' fusion alumni (his alumni in general, really, but this is especially true of the fusion period) is that while every prominent musician who emerged from the band used Miles' ideas as a springboard, none of them mindlessly copied his innovations. For instance, Herbie Hancock was into funk, and so when he split off, he decided to pursue the genre much more doggedly than Miles ever did, but also added his own spin. John McLaughlin, meanwhile, pushed the rock angle Miles was working to entirely new levels —his Mahavishnu Orchestra is arguably the quintessential jazz-rock group. Joe Zawinul took on a more accessible approach to it with his Weather Report (who are still fairly odd, mind you, just not as odd; what I've heard from the suggests they are far from the watered-down fusion ensemble their critics make them out to be), and key releases by the likes of Dave Holland and Keith Jarrett abandon fusion entirely. And Chick Corea? Well, Chick Corea has always been into bossa nova as well as jazz fusion, and he wields the two together pretty successfully here. After the hugely successful sessions with “Silent Way” and “Bitches Brew” with Miles Davis, Chick Corea briefly formed an avant-garde jazz band called Circle but because he wanted a more accessible sound that would garner slightly more popularity, he scrapped that idea and started Return to Forever .

With Understanding Comes Appreciation What is sound? Think about all the different possible sounds heard throughout the day. Cars passing by, the chattering of people talking, keys jingling in your pocket, music playing in the grocery store, the microwave humming, the list goes on and on. Whether we are aware of them or not, we are constantly hearing sounds happening all around us. Now, let’s change gears for just a moment as I pose another question. What is time? Time is an interesting concept, used to measure the moments of our lives as we are moving through them. Time can be thought of numerically, graphing out the hours of the day to an individual’s specific schedule; however, oftentimes we find ourselves perceiving time in the future, (when we need to get things done, when we have to get to a certain place), and in the past (through nostalgia, regret, and desire for second chances), but how often is the full attention of the mind concentrated on the moment happening in the present? What if somehow sound could be used as a tool to experience time in this way? Composer Karlheinz Stockhausen takes this idea of perceiving time as it occurs in his piece " Kontakte ," where he experiments with untraditional uses of sounds, form, and spatial positioning. Among all the geniuses of the avant-garde, one of the greatest and one of the most important is undoubtedly the famous German composer: Karlheinz Stockhausen. He is even often considered as one of the greatest composer of the 20th century, if not of all the history of music, yes! you read that well. Very controversial and highly misunderstood at the time; nevertheless time and hindsight have helped to convince everyone that his impact and legacy was so essential (and still is today) to the evolution of music, including mainly all that has a link with electronic music. In the popular sphere, Karlheinz Stockhausen is an unknown, who is regarded as an intellectual and one of those crazy creators. Logically, this is not the kind of character that a listener who doesn't really have an artistic sensibility is going to dig into and find out about his career and his works. However, in the shadow of many, Karlheinz Stockhausen is for me one of those geniuses, who worked silently and who, I repeat, revolutionized music as few people do.

With Understanding Comes Appreciation The spacy province of Canterbury land was ruled by Daevid Allen-era Gong, and their You album is not only the definitive epitome of what Gong was all about, but also, the absolute apex in their musical career. This album, which completes the Radio Gnome Invisible Trilogy, encapsulates better than any other Gong record the perfect match between the band's ideology and spirit and the performers' sonic input. It is, to put it simply, their masterpiece. The ridiculously high-spirited lyrics about Zero's search for the ultimate key to mankind's freedom are perfectly complemented by the bizarre musical architecture that in You has found its more solid expression. The combination of avant-garde jazz's complexity, theatrical singing/chanting and electronic experimentation (synths, glissando guitars) have come to their ultimate fruition, something that can be easily noticeable thanks to the robust sound production and the sense of ordainment that seems to prevail in the album as a whole. Even though there's still lots of room for improvisation and expansion, it is clear that the anarchy and raw energy of their previous albums has been somewhat (not totally) subdued in favour of a bigger amount of cohesiveness in the band's functioning: it is clear that Allen and Mrs. Allen are the ideological captains of this ship, but it is also clear that their musical input has ceased to be a major asset in Gong's integral sound. Individually speaking, the most notable stuff is provided by lead guitarist Hillage, saxist/flutist Bloomdido, and the amazing rhythm section of Howlett and Moerlen. Hillage himself incarnates the mix of jazz and cosmic psychedelia that forms the core of Gong's instrumental facet (with his colleagues tending to trend toward one side or another); meanwhile Howlett and Moerlen have stopped being the "new kids on the block" and have already become a crucial part of the band's overall sound, serving as the main source of energy and bombast, especially during the jammed passages. Tim Blake's sonic provisions on synth and mellotron stand strongly on the most frontally cosmic side of things, serving as a powerful surrounding landscape for Hillage and Bloomdido's soloing excursions, touches of tuned percussion and male-and-female chanting...

With Understanding Comes Appreciation Trilogy , ELP's fourth album, features the trio settling down in more crowd-pleasing pastures. Actually, the group was gaining in maturity what they lost in raw energy. Every track on this album has been carefully thought, arranged, and performed to perfection, a process that also included some form of sterilization. ELP had reached their peak and this album is a prove of that. The hard Modern/Romantic Russian Classical influence in Keith Emerson's keyboard is softened by the powerful voice and bass of Greg Lake, plus the always precise drumming of Carl Palmer. Trilogy  is a challenge to the status quo of popular music, a confident coronation of majestic tendencies seen on "Tarkus" and "Pictures..." Though Peter Sinfield had yet to join, ELP's lyrical vision is hardly clumsy here, suggesting a literate bravado. This combined with what handily represent the band's most artful arrangements (" The Sheriff ," " Hoedown ") take the band to a new level. No longer are they flinging arrows at the battlements of mediocrity and fear (as "Tarkus" did), but on Trilogy  the trio has scaled the wall and assumed the mantle of the new musical vanguard that King Crimson wore but briefly. On Trilogy , we meet new feats that were later equalled but never bettered: the almost offhand genius of " The Endless Enigma " and " Trilogy ," the compelling tale of " The Sheriff ," a sublime ballad in " From The Beginning ," and the energized interpretation of Aaron Copland's " Hoedown ." If Trilogy  and the subsequent "Brain Salad Surgery" rank among the trio's great achievements, it's no accident. "Tarkus" took them in a new direction, and their musical styles flourished in this conjoined creative environment. It's not simply that they complemented one another, but that they drove one another to excellence. Listen to Keith Emerson's spacey solo on " From The Beginning ," Carl Palmer's tireless rhythms on " Trilogy ," or Lake's brave handling of " The Sheriff ," and you'll hear how each member could push the dialogue past old boundaries. Though it proved to be an unsustainable level of activity, Trilogy  remains one of ELP's finest achievements, and thus one of the great records in the annals of progressive rock. It's amazing to think that listeners would soon dismiss this music in favor of punk, when the same revolutionary sentiments are at work in each. Of course, prog (at its best) required superlative musicianship, while punk crashed down the gates to let anyone in. Both will become blips in the big musical screen with time, but with the distinction that punk coldcocked convention while prog (in the person of works like Trilogy ) outdueled it in a swordfight of youthful grace matched with an admirable cunning.

With Understanding Comes Appreciation Thelonious Monk's Brilliant Corners stands as a testament to the genius of one of jazz music's most influential figures. Released in 1957, this album showcases Monk's innovative and idiosyncratic approach to composition and performance, solidifying his status as a true jazz visionary. At the heart of this album lies Monk's signature piano playing, characterized by angular melodies, unexpected chord progressions, and intricate rhythmic patterns. The title track, " Brilliant Corners ," is a prime example of Monk's unique style. Its complex structure and unorthodox harmonies challenge the listener's expectations, while Monk's impeccable technique and sense of timing keep the performance cohesive and engaging. The interplay between Monk's piano, Sonny Rollins' tenor saxophone, and Clark Terry's trumpet is tight, weaving in and out of each other's lines with remarkable precision. Brilliant Corners also features some of Monk's most renowned compositions, including " Pannonica " and " Bemsha Swing ." These pieces exhibit Monk's ability to create memorable melodies that simultaneously possess an air of unpredictability. His use of space and silence adds a sense of tension and drama to the music, leaving moments for improvisation that are both thrilling and thought-provoking. This album is not just about Monk's individual brilliance; it is a testament to the talent of the entire ensemble. The rhythm section, comprising Max Roach on drums and Oscar Pettiford on bass, provides a strong and dynamic foundation for Monk and the other soloists to build upon. Their interlocking rhythms and intuitive musicianship enhance the complexity and energy of the compositions. Monk's Brilliant Corners is an album that rewards repeated listening. Its distinctive sound and boundary-pushing compositions were met with a mixed reception upon its release, but its influence on the development of jazz cannot be overstated. Monk's commitment to his unique musical vision, his impeccable technical skills, and his ability to assemble an incredible ensemble make this album a cornerstone of modern jazz.

With Understanding Comes Appreciation Lots of jazz guitarists have veered into the world of rock and roll on occasion, but the number of "raised on the blues" rockers who have had the boulders to step into the high-falutin' domain of jazz-rock fusion can be counted on one hand. Most of us weren't sure it could be done at all until Tommy Bolin spun everyone's head around with his phenomenal work on Billy Cobham's "Spectrum" in 1973. I have no idea if that had anything to do with Jeff Beck's drastic change of direction but it might have. Or maybe he came to the realization that, singer or no singer, his fans just wanted to hear him let it rip more than anything else. No matter the reason, by hiring producer/wizard George Martin and assembling a basic four-piece combo of extremely talented musicians, Jeff created Blow By Blow , a recording for all modern guitarists to drool over forevermore. Simply astounding. With every stinging note Jeff Beck proves he is a Guitar God. Blow By Blow was both a landmark in Jeff Beck's career and a landmark in the history of Jazz-Rock Fusion, period. Jeff Beck brought the Guitar to the forefront in Fusion like no one had ever done before. Blow By Blow is full of one amazing song after the other. Jeff's Guitar sizzles on " Freeway Jam ," burns on " You Know What I Mean ," flows like a mountain stream on " Cause We've Ended As Lovers ," and burns with a subtle glow on Diamond Dust. The album is a powerhouse of jazzy funk rock fusion with nine strong tracks made all the better by George Martin’s flawless production skills and orchestral arrangements. Unlike previous efforts Jeff Beck executes flawless performances with each track carrying its weight replete with chunky bass grooves, Jan Hammer meets Herbie Hancock styled keyboard workouts and perfectly executed percussive backing. Beck himself delivers some of the tastiest guitar chops in all of the 70s jazz-rock fusion world ranging from behind the scenes rhythmic backup to fully fueled in the spotlight soloing. While not as lightning fast as John McLaughlin or John Abercrombie, Beck rather focused on a diverse palette of tones, timbres and mood setting licks that defined him as a true original. What makes Blow by Blow such a beautiful masterpiece of music is how everything comes together. Addictive funkified bass grooves and jazzed out keyboard antics are topped off with the perfect triumvirate icing on the cake via Beck’s inventive guitar riffs and daring solos that add all the right tones and sound effects to craft the perfect bridge between full blown jazz-rock fusion and danceable funk rock. Although officially an instrumental album, Blow by Blow is punctuated by moments of vocoder use which adds an interesting underlying element to the mix. Also prominent is the perfect use of percussion which drifts to and fro between the jazz and rock paradigms.

With Understanding Comes Appreciation The composer and conductor Leonard Bernstein said of one passage, "That page is sixty years old, but it's never been topped for sophisticated handling of primitive rhythms...", and of the work as a whole, "...it's also got the best dissonances anyone ever thought up, and the best asymmetries and polytonalities and polyrhythms and whatever else you care to name." Oks, first things first specially for the sake of new comers. The Rite of Spring , original French title, Le sacre du printemps (Russian: Весна священная, Vesna svyashchennaya), is a 1913 ballet with music by the Russian composer Igor Stravinsky, original choreography by Vaslav Nijinsky, and original set design and costumes by archaeologist and painter Nicholas Roerich, all under impresario Serge Diaghilev. The music's innovative complex rhythmic structures, timbres, and use of dissonance have made it a seminal 20th century composition. In his attempt to continue to represent his fascination with Slavic folklore, Igor Stravinsky premiered his third successive ballet, Le Sacre du printemps (more commonly referred by its English translation “ The Rite of Spring ”) in the late spring of 1913. Like The Firebird and Petrushka ballets before it, Rite is founded upon the neoclassical terrain that was still fairly early in formation during the early part of the 20th century. In these two works, Stravinsky began distancing himself from conservative musical understandings, creating new inventions to express his colourful atonal aspirations. His radical innovations led to new ideas sprouting into improvements on the quality of dissonance and rhythm combined. His experimentations eventually paved the way to his preliminary sketches for Rite on the pianoforte. Simply how one could possibly condense such a large scale of compositional material into one instrument is still beyond many. The backbone vertebrae (girders, if you like) are made of melodic asymmetry (micro and macro), colourful accentuation and articulation (melodic and harmonic), and complex rhythmical fluctuations. All of these ideas were already tried and tested in former works by others, but in a conservative fashion. Here, Stravinsky uses them as the sole chassis for work, setting it apart from all other investigations thus far. Despite its apparent intense complexity, Rite is completely listenable, and not as mechanical as its score sometimes suggests. In two parts, the score delves between dense and sparse orchestration. Unlike many other works for large orchestra, Stravinsky uses each instrument from its lowest to highest range, and plays with the instrumentalist’s skill from undemanding melodies, to obscure cross hashes of polyrhythms. The first part “ Adoration of the Earth ” initiates the work through an ominous bassoon melody, which he returns to on many occasions throughout the number. It’s fairly simple, yet distinct, and clear amid the clouded accompaniment of dissonant layers from other instruments. The introduction, which lasts a little under four minutes, could be sampled as what the rest of Rite offers in terms of surprise and joy. However, as the lasting plucked notes of the violins stretch to a point of uncertainty, the full orchestra engages in a violent mash of heavy off-beat brass accentuation, known as “Dance of the Adolescents.” From here the score flows in and out of remaining ideas which were first introduced in the introduction, but they are presented alongside clever accompaniment to maintain a devout interest from the audience, giving a more subdued quality, before returning to percussive chaos, back again to beauty and so forth.

With Understanding Comes Appreciation From start to end, this album is an absolute killer. Every single second is just excellent, the listener cannot lose his attention on the music. Last one with Robert Wyatt, Third is by far Soft Machine's best offering. With four pieces of approximately 20 minutes each, mainly instrumental, the musicians push back the frontiers of space modal jazz-rock and avant-garde far beyond. Hard to believe this is the same band who released their first two albums full of psychedelic and often poppy tunes. It still blows my mind when I think of what they created here. This is without a doubt one of the greatest recordings of all time. Interesting that they brought in some guests here, it's not something they had done in the past or would do in the future. Again, it just seems like everything about this album is special. Very cool that Jimmy Hastings is one of the guests here playing flute and bass clarinet. This was originally released in 1970 as a double album with 4 side long suites. The recording of "Volume Two" marks the undisputed watershed in the career of Soft Machine, who since 1969 have been experiencing their most inspired and prolific creative period. Immediately after the release of their second album, in May 1969, Robert Wyatt, Hugh Hopper and Mike Ratledge participated in the recording sessions of "The Madcap Laughs," Syd Barrett's solo debut; they then collaborated, in the summer of the same year, with Kevin Ayers for the creation of "Joy of a Toy," alongside characters such as David Bedford and Rob Tait (who would later also collaborate with Lol Coxhill and Mike Oldfield). The album was released in November by the newly formed Harvest, after another collaboration with Kevin Ayers (this time by Robert Wyatt alone, under the pseudonym of "Whack Skins" to avoid contractual complications) for the 45 rpm single "Soon Soon Soon," in September, although the piece was not released by Harvest before 1976 on the "Odd Ditties" compilation. Finally, in October they performed at the Actuel Music Festival, where they shared the stage with very important artists of the time such as Caravan, Frank Zappa, Captain Beefheart and Pink Floyd. The artistic maturation of Soft Machine, dealing as session men or collaborators with increasingly different and elaborate realities, leads the group to harbor a growing musical frustration due to its dimension as a power trio: the group's scores become increasingly articulated and complex, while the performance of the pieces, entrusted to only three people, forces the band to contain their compositional ambitions, having to limit themselves to the (although imaginative and creative) format of the psychedelic rock of the first two works. Already in May, Wyatt had tried to resolve the issue by proposing to Brian Hopper to join the band as the fourth member, but his collaboration was limited to a few dates in the summer of 1969 and the recording of approximately ninety minutes of drones, minimalist experiments and jams psychedelics that proceeded on a totally different path from the one taken by the group on "The Soft Machine" and "Volume Two." These tapes, edited and cleaned of the noises and inaccuracies of the original recordings, will be published in 1996 by Cuneiform with the title "Spaced," and represent a unique testimony to the stylistic evolution of the group between the Sixties and Seventies.

With Understanding Comes Appreciation As the 60s abruptly became the 70s, the psychedelia of the former era was transmogrifying into something more sophisticated. With the prog-rock explosive nature of 1969 occurring with bands like East Of Eden and King Crimson forever changing the rock history books, bands who came before who were more focused on the psychedelic pop aspects of the scene rather than the sophisticated compositions of what would develop suddenly found themselves upping their game manyfold and the creative expressions were sudden and highly effective. Caravan was one such band that was one half of The Wilde Flowers, with the other half, of course, being The Soft Machine. While Soft Machine started out on a similar trajectory as their counterparts, they seemed determined to race full speed ahead into the world of jazz and upon every subsequent release jettisoned the rock aspects of their music. Caravan had the complete opposite approach. They simply took the psychedelic pop rock features on their debut album and upped the sophistication several times over and focused MORE on the rock instead of less. The results equated in being one of the most exciting releases to exist in the progressive rock work in the early year of 1970. After releasing their eponymous debut album in 1968, their label Verve decided to close down their rock and pop division. As such, the band had to wait two years before finally becoming signed to Decca, and releasing their second album. Their first album was fun listening, and certainly quite underrated, but now Caravan were poised to write some of the best and most iconic albums to come out of the Canterbury Scene. In fact, the next four albums in this series are worthy max ratings. With one of the best titles for an album, If I Could Do It All Over Again, I'd Do It All Over You  is not as hippy-esque as the cover photograph would make you believe. Caravan 's second album shows a startling amount of growth since their debut. In the two years since they issued that psych-pop charmer they'd honed their craft, improved their songwriting, developed a taste for epics, started flirting with a little jazz-rock (perhaps inspired by the success of their pals in the Soft Machine), and become the tight unit seen on this album. The band had gone from the psychedelic followers of their debut to innovators in their own right, presenting a Canterburified vision of psychedelic jazz-influenced prog with a more mellow and sunnier attitude than the Softs, with the occasional outbreak of more energetic playing. The end result was good enough that a few months before recording the album Frank Zappa (who was acting as compere at a festival Caravan were performing at, due to a snafu with the Mothers' work visas) spontaneously joined them onstage for a jam —and when your band is good enough that Zappa is that keen to play with you, you know you've arrived.

With Understanding Comes Appreciation Modern Jazz-Rock/Fusion is the true progressive music movement of our time. It makes no compromises, leaves no stone unturned, and never panders to its audience. You're either in or you're out. As of this review's writing, that trend is showing no sign of letting up. If you want a good example of what real Prog is these days, pick up a Fusion record like this one. You'll laugh hysterically at how so many Dream Theater and Yes sound-alike groups are being recognized as the "new" movement in the prog scene, when all of the actual progression is happening right here in artists such as Hiromi Uehara. Easily the most exciting, consistently high-level, creative jazz-rock fusion album I've encountered in the 21st Century. Yes, there are a lot of sounds, riffs, and familiar passages from my long love and association with the music of Chick Corea, but there is also tons of fresh, mouth-jarring ideas expressed here and by all four of these incredible musicians. Guitarist David Fiuczynski is truly masterful and chamelonic in his playing —a brilliant foil to Hiromi's stellar, melodic, and often heartbreakingly beautiful keyboard playing. Hiromi Uehara's "Sonicbloom" albums feature her expanding the sound of her usual trio by adding David Fiuczynski on fiery electric guitar. This in turn allows Hiromi to really draw on the rock and prog influences which colour her fusion work, as demonstrated in the first Sonicbloom album, Time Control . Taking in influences from Zappa to Gentle Giant to the jazzier Canterbury outfits, Uehara keeps things rooted in fusion territory by focusing mainly on the piano and introducing more modern keyboard instruments only sparingly. The end result, then, refreshes the fusion sound of yesteryear with a healthy influsion of recent developments in more purist jazz piano circles, resulting in a unique and engaging sound. On balance, I think Hiromi might be the best-kept secret in fusion today.

With Understanding Comes Appreciation 2112 achieved a triple feat: 1) it saved Rush's career. It was like Rush was at the plate with two out and two strikes on them and with 2112 they hit a homerun, and the rest is history, 2) it showed artistic integrity (after all it is a record that "doubles the bet" of its predecessor, incorporating even more elements of progressive rock) and 3) it was a major contribution to a sub-genre (that is, prog rock) that seemed to be in decline after reaching its peak in 1974. 2112 is Rush's fourth album and their first real breakthrough in terms of both record sales and critical acclaim. The band arrived rather late in the progressive movement, their debut self titles album, having been released in 1974, a full five years after King Crimson and their contemporaries brought Prog blazing to the forefront of popular music. In addition, Rush didn't really get progressive until their third album, "Caress of Steel," their earlier attempts being competent but somewhat derivative and undistinguished hard rock fare. They first began to show signs of a more ambitious approach in 1975 with their "Fly By Night" album. After the departure of the original drummer, the band had the incredible good fortune to find a replacement in Neil Peart. Not only was he a fantastic drummer, but he also turned out to be quite a gifted writer, and his lyrics were a major part of what took the band to the next level, as well as his penchant for science fiction, fantasy and more ambitious subject matter in general. Hints of this can be found as early as in "Fly By Night's" sprawling "By-Tor and the Snow Dog," a first attempt at an epic that didn't quite work. But fortunately for Prog fans everywhere, the band did not let the raggedness of these early attempts discourage them, and their next release was the even more ambitious "Caress of Steel." Once again, critics called it a failure, although fans seemed to be warming up to what the band was trying to do. Finally, despite fervent objections by their record company, Rush made 2112 , and in doing so struck musical gold. Just as bands like Yes and Genesis were running out of steam, and with the arrival of the Ramones in 1976 threatening to shred the very fabric of Prog to ribbons, Rush came out with an epic that experienced a popularity not enjoyed by any twenty minute plus song since Jethro Tull's "Thick As A Brick" four years earlier. It certainly didn't hurt that the band's reputation was more cemented in hard rock, a popular genre at the time, than in the rapidly waning excess of Prog.

With Understanding Comes Appreciation The reason why Banco del Mutuo Soccorso so much deserves their status as an epitome of the best Italian prog of all times is the fact that its first three efforts are highly remarkable masterpieces in which complexity and beauty are taken to their maximum levels. All three together follow a coherent line of artistic ambition and consistent recreation of sonic potential. Along with PFM and Le Orme, Banco del Mutuo Soccorso (Banco), make up the "Big Three" in Italian progressive rock history. With the exception of one long break from the mid-'80s to the early '90s, they have been together since 1969 and weathered many changes: shifting personnel, the fickleness of the music industry, tragedy, and economics. They went 25 years without releasing a studio record but continued to perform. They have influenced countless bands in their home country as well as in Germany (Sylvan), England (Ozric Tentacles, Flower Kings), and the U.S. (Mars Volta). Their sound is harmonically advanced, borrowing liberally from classical tradition, jazz, folk, and theatrical rock. Early recordings, such as their 1972 self-titled debut and 1976's Come in Un'ultima Cena, offered acclaimed portraits of their particular musical strengths —operatic vocals, fleet, sophisticated dual keyboard work, syncopated rhythms, and complex harmonics in long tunes that more often than not sounded like suites. During the '80s, their sound shifted radically: Banco embraced progressive pop, wrote shorter tunes, and sounded like a cross between AOR and new wave. Darwin! will remain Banco del Mutuo Soccorso's masterpiece. This album, the band's second, is the proud equal of Premiata Forneria Marconi's "Per Un Amico" and Le Orme's "Felona e Sorona" in the Italian progressive rock hall of fame. In Darwin! , every promise made by Banco's eponymous debut was realized. Vittorio Nocenzi's writing has flourished into complex songs blending Italian songwriting, bel canto, and progressive rock. Guitarist Marcello Todaro crystallized the band's luxurious sound, all topped by Francesco Di Giacomo's operatic vocals. Darwin! is a full blown concept album that centers on the Darwinist belief system or theories of life on the planet, how we came to be here, disregarding creationism, and wholly encompassing ideologies of evolution. Banco thankfully (for some) do not attack God as such but take on this evolutionary ideology as a theory of how the earth and the universe were created. Charles Darwin refuted these ideas on his death bed, nevertheless it is an enticing idea, and I guess an irresistible one that many bands hold to for content. In the case of Banco they feature some interesting lyrical notions on the idea. Today the theory of evolution has been naturalized and accepted, but that was not the context in a religious Italy in 1972, where it was a counter-hegemonic concept. What could be more brilliant and "progressive" than making a conceptual work around evolution? You just need to listen to the first lines of the opening track to figure out Banco's daring approach to the topic at the time: “Prova, prova a pensare un po' diverso / Niente da grandi dei fu fabbricato / Ma il creato s'è creato da se / Cellule fibre energia e calore” —“Try, try to think a little differently / Nothing was created by great gods / but creation was created by itself / Cells, fibers, energy and heat"