Release in 1992, Il Tempo Della Semina was recorded
in 1974 and a causality of the Trident label's collapse;
luckily a cassette copy survived and is the basis for
In some ways this album sounds better than the debut
which is amazing considering the source material.
Biglietto still had some good ideas here resulting in
twenty minutes of captivating material, and fifteen
minutes of goodness.
The album begins with the explosive title track, which
was also captured on the Live 1974 album with a
slightly different arrangement.
"Il Tempo Della Semina" picks up right where the first
album left off, featuring plenty of articulate drumming,
mounds of keyboard, heavy guitar, and of course the
enigmatic voice of Claudio Canali.
The singer sounds determined and cinematic,
reminding me very much of Christian Decamps from Ange.
Canali's mysterious vocals hide for much of the song, a
s the band takes front and center through various twists
The sextuplet organ figure at the five minute mark is
impossibly great and propels the group into overdrive,
pausing only briefly to set up dynamic contrast.
This trademark light-and-dark is what makes the debut
so enjoyable, and that feeling continues throughout
"Il Tempo Della Semina."
"Mente Sola - Mente" is a throwaway vaudeville piece
that totally halts the album's momentum.
"Vivi Lotta Pensa" recaptures quite a bit of that energy
and the short song doesn't outstay its welcome.
"L'arte Sublime di un Giusto Regnare" threatens to do
just that, but luckily fades out before becoming overly
"Solo Ma Vivo" is the best of these three shorter tracks,
and gives the best indication of the direction in which
Biglietto was heading - a more succinct, almost
At last the long "La Canzone Del Padre" completes
the set, and strikes a balance between the band's
earlier, heavier material and more lighthearted work.
The song sounds like a cross between Banco and Jumbo.
The last minute of the song however is utterly brilliant and
the payoff makes "Il Tempo Della Semina" more than
worth the purchase price.