Premiata Forneria Marconi (PFM) Per un Amico (1972)

From progarchives.com

Review by maani

This site introduced me to Italian prog, which has become my favorite subgenre after the “seminal” British prog bands. Indeed, the more I hear of it – especially early Italian prog (PFM, Museo Rosenbach, Banco del Mutuo Soccorso et al) – the more I’m convinced that it rivals British prog in every way. Composition, lyricality, textures, vocals, musicianship, etc. – the Italians are every bit as good as their British counterparts.

The band description notes early King Crimson and Genesis as influences in PFM’s work. However, while it may be that Genesis influenced them later on, this is not what I hear on “Per Un Amico.” (Indeed, the timing is all wrong: given that this album came out in 1972, this means it was written in 1971. Thus, PFM could not have heard either Nursery Cryme or Foxtrot, and there is little here that sounds like Trespass.) Although there is definitely some early Crimson influence (esp. the Lizard/Islands era), I hear mostly Gentle Giant and Jethro Tull. (As an aside, having listened to a great deal of non-British prog of late, especially from Italy, I am convinced that Gentle Giant had an absolutely extraordinary influence on European prog in general – far more than most people are aware.) Indeed, although PFM is in the Italian Symphonic Prog category, most of this album might be called Italian Canterbury School. Because although there are the occasionally “heavy” keyboards and textures associated with “symphonic prog,” the larger influences here are classical, folk and even a bit of jazz. [N.B. I have always felt that Gentle Giant was miscategorized on ths site: they belong in Canterbury, not Symphonic prog.]

“Appena un Po'” opens the album with a very lyrical (in the literal sense of that word – “of the lyre”) Baroque classical intro, moving into a more traditional “prog” composition with early Crimson, Tull and GG (especially the vocals) influences. “Generale” has even heavier GG influence, with a bit of ELP mixed in. The first three minutes, especially, bring to mind Minnear-like keyboards, Green-ish guitar, and Schulman-esque violin. The title track, “Per Un Amico,” is probably the most truly original composition. Although there is a passage toward the end that is clearly an “homage” to “Nothing At All” (from Gentle Giant’s first album), this composition both takes from and adds to the prog-rock lexicon in a way that none of the other pieces does. “Il Banchetto” is a very interesting composition. Opening with CSNY-like vocals and acoustic guitar (and this is by no means an insult), it moves into a mildly Genesis-like section full of texture, Banks-y keys and Hackett-like guitarwork, and then into a bizarre, disjointed GG-esque secition full of Minnear-like keyboard work. Pianist Premoli then launches into an Emerson-like keyboard solo reminiscent of the middle section of “Take A Pebble.” Then its “back to the beginning” for a CSNY-type ending. “Geranio” is the weakest composition on the album, and one of the two reasons I did not give the album five stars. The piece begins in fine Tull/GG style, but then gets lost in a largely directionless keyboard-heavy section, the last four minutes of which is repetitive in the extreme. (Did they simply run out of ideas?)

Despite the few missteps here, “Per Un Amico” is an excellent, well-executed, highly listenable album with very fine musicianship throughout. (BTW, where is the drummer’s credit?) As an aside, the other reason I did not give the album five stars is that, even without the few missteps, I do not believe it ranks with the true masterpieces of the genre – though it undoubtedly ranks with the early masterpieces of the subgenre of Italian prog. (We have had the “masterpiece” discussion ad nauseum in the forums; I have settled on this approach.)

All said, this is truly “an excellent addition to any prog rock collection.”

Premiata Forneria Marconi (PFM) Storia Di Un Minuto (1972)

From progarchives.com

Review by Sean Trane

PFM’s debut SDUM (Story a minute long) must certainly rank among the best “premières ouvres” in the music world (and certainly of Italy with QVL and PDP’s respective debut) ever published and unlike many other such works, it had the chance of wide public notice. But in fact of experiences, these fives were no rookies at all, and had way more experience than their average competition. Recorded in late 71 and early 72, SDUM was released early 72 and obviously they had heard some of the UK canons of the genre such as KC, ELP, GG and even Genesis whom had toured for the first time in their country. The album has a superb contrasting gatefold artwork, hinting at dark (night at the back) and bright (day at the front of the album) history that obviously lasts more than a minute since it seems to come down from prehistory (the inner gatefold), but on galactic time, man’s history is about a minute’s time.

After the short self-explanatory Introduzione, (which I find a good condensé of what PFM is about), the group’s best known track comes in triumphantly, taking its inspiration between KC’s debut (the drumming could be Giles’) and ELP’s Lucky Man, but adding a typically pompous Italian slant. Starting on sizzling guitar riff Festa could’ve been an early 70’s British heavy prog song (ala Atomic Rooster) if it had an organ instead of moog answering the riffs, but soon enough a piccolo and weird Focus-like vocals interrupt the reverie and the madness continues, with the mellotron holding the centre of the debate.

One of the rare real critics I have for this album is the way they divided the album centrepiece over the two sides of the vinyl, but this less a problem on the Cd. Dove Quando’s first movement starts in typical PFM fashion, having those soft vocals over mostly acoustic music that is close to classical music (at times) The second part is an instrumental expansion of the musical themes developed in its first movement, but dares pushing a little jazz in the arrangements. And a bit later going wild in the call and response. Both Han’s Car and Thanks are excellent tracks that are again within the realm of the music developed on the A-side of the album.

Rumours has it that these seasoned veterans chose to play this album live in the studio and I can easily believe it as it’s got an exciting feel to it that other PFM albums don’t. And if this was indeed true (live in studio), why the hell didn’t they apply the same treatment to the patchy PUA and the soporific LIDN.

Review by Fitzcarraldo

PFM and Italian Progressive Rock are almost synonymous; the band is often used as a benchmark against which other Italian bands are measured (“Do they sound like PFM?”). This is understandable, as PFM were in a class of their own. The musicianship and consummate songwriting is immediately evident on this, their first album.

“Storia Di Un Minuto”, “Per Un Amico” and “L’Isola Di Niente”, the first three PFM Italian albums, are all Progressive Rock classics. In fact I also like the Anglicised versions of these (“Photos Of Ghosts” and “The World Became The World”) plus quite a bit of PFM’s later music too, even though the band developed a more jazzy and pop sound and became less Progressive.

The music on this album is so melodious, with oodles of acoustic guitar, piano, synthesizer, Mellotron and organ. Not forgetting bass, drums, flute and violin. The sounds from these instruments are weaved together expertly and provide a joyous musical texture. Frankly, this music sounds so good I couldn’t care less what genre of music it comes from.

I like all the tracks very much, but the more well-known are ‘Impressioni di Settembre’, ‘È Festa’ and ‘La Carrozza Di Hans’, these becoming the band’s anthems at concerts by all accounts. No wonder, as they are superb. I marvel at how ‘together’ each track sounds. ‘È Festa’ (which could be translated as “it’s a party”, “it’s party time” or “it’s festivity”) is almost onomatopoeic: it’s so vivacious, so infectious that I put it on sometimes just to get a lift. Great bass, guitar, keyboards, drums and flute. ‘Grazie Davvero’ is also a favourite of mine, with calm parts, big-band sounding parts, great acoustic guitar, and melody, melody, melody.

I can’t really say which other bands, if any, the music reminds me of, although it does feel very Italian in style and there are definitely some reminders of classical music, perhaps baroque, plus Italian country tunes. I like the way the music is constructed: there are many changes in melody, tempo and mood in each track.

‘È Festa’ plus the tracks from the band’s second album “Per Un Amico” were rehashed with English lyrics (except ‘Il Banchetto’, which stayed in Italian) by Pete Sinfield for the PFM album “Photos Of Ghosts”, released by ELP’s Manticore Records and which is perhaps better known outside Italy. So if you are familiar with “Photos of Ghosts” you will recognise ‘È Festa’ on “Storia Di Un Minuto” instantly, and you should be delighted to hear for the first time the band’s anthem ‘La Carrozza Di Hans’ (I like so much the calm interludes using acoustic guitar, vocals and organ). The original vocals in Italian on all these songs are very pleasant indeed.

Even though the album came out in 1972 the music does not sound at all dated. At only 34 minutes, it’s over all too quickly but, as with PFM’s other albums, I get up feeling invigorated. In my opinion this album is a classic and I unreservedly recommend it to you. I cannot give this album anything other than 5 stars. Don’t hesitate to get it.