MAURY E I PRONOMI (ec​)​citazioni neoclassiche

by Mellow Records MMP467

supported by
/
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.

about

1. Il Racconto degli Dei (26:03)

I- Hermes e il bambino 4:31
II- Affari di famiiglia 2:43
III- Campi di Delfi 2:30
IV- Apollo, Minerva e l'Etrusco 5:36
V- Fiato Immortale 2:58
VI- Le porte dell'Averno 4:06
VII- La caduta degli Dei 3:39

2. Lei e Venezia (12:02)

3. Voglio cambiare (5:49)

4. Oceano (9:00)

5. L'Assenza (7:41)

(Ec)citazioni Neoclassische' (2004) is an album that
I bought a while back but didn't pay much attention
to until I read torodd's recent interview with Maurizio Galia.

I'm glad I decided to re-visit this album as a result because
this is another of those sadly overlooked little gems,
although fans of the wackier stuff might want
to look elsewhere.

Maury E I Pronomi originally formed in 1979 but didn't
release any material until 1997; they have subsequently
released three albums although this seems to be
the only one that's widely available.
Some of the material on the album dates back to the
band's early days so the result is an interesting
marriage of traditional and modern RPI.

The legacy of ancient Greece and Rome is one
of many influences on progressive rock and it seems
to have captured the imagination of Italian bands in particular.

Many RPI bands value their rich heritage and each has
its own attitude to the classics.
In Maury's case they reinterpret the myths by adapting
them with a modern twist.
The classical symbolism is laced with humour and
contemporary references (computers, internet, nightclubs)
that describe the old gods walking among modern men.
This review is intended to offer a modicum of help with
the Italian text and thereby to hopefully increase appreciation
of the music.

The first track 'Il Racconto deli Dei' (The Tale of the Gods) is actually a 7-part suite that's built around a dialogue between a young child and Hermes, the messenger of the gods to humans in Greek mythology. This is an ironic and well-constructed saga where each track segues into the next. It seems to be based on the amorality of the gods; perhaps it's an allegory for the demise of religion in Western Europe, but that's just my personal take on the story.

The first part 'Hermes e il Bambino' (Hermes and the Child) introduces the titular child who finds an old book atop a
cupboard and begins leafing through its pages.
As he does so, the sound of interference comes from the radio
and a stranger appears.
The child questions the stranger (Hermes) who reassures
him that he need not worry as he has a story to tell:
'And a true story... no, you're not dreaming, this is reality...
I come from heaven, I am sent by the gods, do not be afraid.
The song itself is based on a piano-led melody with some
metal guitar licks weighing in every so often.
The song ends with the child telling Hermes to leave
but the divinity persuades him to let him stay until
he tells his story.

The central part of the suite seems to be concerned with
the most light-hearted part of the story. Leaving aside
the two instrumental pieces we have the twin Dionysian
festival of 'Affari di Famiglia' (Family Affairs) and 'Apollo,
Minerva e l'Etrusco' (Apollo, Minerva and the Etruscan).

In 'Affari di Famiglia' Hermes explains to the child how
his story begins two thousand years ago in ancient
Greece where the great Jupiter played poker with Neptune,
and Vulcan was arrested in the street for stealing gold and
silver and for frequenting whores:
'Why, all over the world, are they no longer masters?
They are mere fools without divinity.'
The child responds: 'What kind of gods are they?'
This song moves the story along at a fairly brisk tempo
and the jocular lyrics are accompanied by a synthesizer
quacking away good style in the background.

During 'Apollo, Minerva e l'Etrusco' Hermes continues
to lambaste the gods for now hanging out at a
fashionable nightclub, calling on Apollo to come down
from the throne because he is 'no good' and telling Minerva
to eat less because she looks like a maid with a fat belly:
'And all together dance... consume lots of beer and lambrusco,
and then belch with happiness.
' I can't hope to capture the humour of the original Italian lyrics
but what I can tell you is that this song is based around
a riff that sounds remarkably similar
to King Crimson's 'Starless'.

The mood darkens with 'Le Porte dell'Averno'
(The Gate to the Underworld), a song that's tinged
with sadness through its wonderfully plaintive guitar riff.
The messenger Hermes is also guide and escort to both
men and gods, and as the 'conductor of souls' he leads
the souls of the dead down to the Underworld.
Hermes tells how even the gods have their own pain,
one of eternal grief. When destiny calls each man,
old man or child must enter a new dimension and
he warns the child not to look 'At the end of the path
where stands the gate to the Underworld.'

The story finishes with 'La Caduta degli Dei'
(The Fall of the Gods), basically a reprise of
the opening track, as Hermes tells the child he is
returning to the shadows.
The child pleads with him to remain but Hermes
bids his final farewell: 'It's late and the Underworld
waits for me, my time has come.'

'Lei e Venezia' (Her and Venice) is a love song set
in Venice that contains allusions to the famous
Venetian adventurer and womaniser:
'A hundred tricks of Casanova, a treasury to those
who find them.
' The protagonist reflects on days that he has never
forgotten and wonders if one day he were to meet his
old hard-hearted lover would she greet him and talk
of love: 'Do you strive to remember?
A memory of love always returns, but memories are
never enough.
' My judgement may be a little clouded by my own love
for romantic Italian progressive music but for me
this song bears the stamp of genius.
It's a truly gorgeous piece of Baroque-tinged rock
with rippling piano, choral effects, stunning guitar and
synthesizer.
And the novel use of African percussion during
the closing section adds to the depth of the piece.
Absolutely sublime.

The bluesy rocker 'Voglio Cambiare' (I Want to Change)
really just offers a bit of variety although it features some
frantic Hammond and a neat tempo shift.

Next we have the swaggering rhythm, chopping guitar
and swirling Hammond of 'Oceano' (Ocean).
This track features a marvellous instrumental section
where tin whistle, flute and percussion conjure up
the image of a lilting ship while the guitar mimics
the call of a whale.
The rough seas of the music are matched by the lyrics
about a stormy relationship:
'Me and you... divided by an ocean...all the lies, so many misunderstandings... and now we are fighting and neither
wants to give in.'

'L'Assenza' (Absence) is concerned with the Bologna
railway bombing of August 2nd 1980 that killed 85 people
and injured more than 200:
'Bologna was rocked by a bomb at the station,
a distant echo of despair'.
This terrorist attack took place during the socio-political
turmoil of the 'Anni di piombo' (Years of Lead,
so-called because of the vast number of bullets fired).
The song tells of one of the victims, the good times
she shared with friends on the beach and
how they still miss her twenty years later:
'The bad news came abruptly that evening,
and when we all met, without you, the magic was gone.'

'(Ec)citazioni Neoclassische' is a fine blend of modern
and seventies-style RPI with some additional elements
of Neo-Progressive.
This is a must have album.

Review by seventhsojourn
from progarchives.com

credits

released March 29, 2004

line-up

Maurizio Galia
vocals, keyboards, piano, yamaha CS15D

Nicola Guerriero
guitars

Enrico Testera
bass, ovation acoustic guitar

Sergio Ponti
drums

with

Marco Giacone Griva
lead guitar

Sergio Cagliero
hammond organ

Dino Pelissero, Bruno Giordana, Michael Seck
woodwind

tags

license

all rights reserved

about

MELLOW RECORDS Italy

for other not necessarily progressive productions,
please visit:

mellowyellowlive.bandcamp.com
eightiesvibrations.bandcamp.com

contact / help

Contact MELLOW RECORDS

Streaming and
Download help