PREMIATA FORNERIA MARCONI Per Un Amico -Italy Prog LP

$

35

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ITEM 
Artist: Premiata Forneria Marconi

Title: Per Un Amico
Stereo LP 

CONDITION

Cover: vg+, cover has slight edge wear

Vinyl: m-, looks unplayed (no skid marks near spindle hole)

Grading scale: m-, vg++, vg+, vg, vg-, etc. 

(similar to goldmine's, except I do not use m or nm)

All vinyl is graded visually, play grade upon request.

INFO
Label: Numero Uno

Label / Matrix #: ZSLN 55155

Country of Origin: Italy

Year made: 1972

Tracks:

This most successful of Italian groups internationally was formed in 1970 when a beat band named I Quelli met ex-Dalton member Mauro Pagani. The new group opted for progressive rock and, from 1971 onwards, gradually built up a solid reputation as a live band. In the beginning they mainly performed cover versions of recent material by British groups such as Jethro Tull and King Crimson. Their first album Per Un Amico (1972) proved to be very popular in Italy. Their music was easy on the ear and had a wide appeal. Before King Crimson's first album, a wide dynamic range (commonly used in classical music) was rarely (if ever) used in rock. PFM surely learnt much from that album. Whispering parts with acoustic guitar, violin or flute burst into powerful rock with mellotrons and electric guitars on their album. If Greg Lake and Ian McDonald had continued in King Crimson and developed on the tracks "Epitaph", "In The Court Of..." and "I Talk To The Wind", they would probably have sounded close to this. In PFM's early compositions there are also notable influences from the late sixties albums by The Moody Blues and Jethro Tull. Their second album Storia Di Un Minuto, released later the same year, was very similar. Arguably, their arrangements were marginally more complex and the melodies more memorable this time. The Italian home market reacted positively and suddenly PFM had a number one album!

EL&P's Manticore label subsequently signed the band. The result was Photos Of Ghosts, an album with English lyrics by ex-Crimson Pete Sinfield and remixes of all tracks from Per Un Amico, plus "E Festa" ("Celebration") from Storia Di Un Minuto and a new instrumental track ("Old Rain"). This album sold well both in the rest of Europe and in the USA. PFM spent a long time working on their next album, L'Isola Di Mente. (The English version The World Became The World also included a remake of "Impressioni Di Settembre" from their first album.) Many people regard this as the best PFM album. It reveals a much more distinctive group sound, although still with bonds to British progressive rock. The Crimson influence had decreased, but the complex arrangements were influenced by Gentle Giant and the triumphant guitar lines are close to Steve Hackett in Genesis. Still it is a pleasure listening to this album. Live In The USA (recorded during their first US tour), retitled Cook for the international release, is a typical live album - mostly of interest for the converted fans. As expected, the live versions are less polished and heavier than the studio tracks. What PFM lacked on their five first albums was a great vocalist.

For the album Chocolate Kings (1975) they acquired Bernardo Lanzetti from the recently disbanded Acqua Fragile. His voice was a dead ringer for Peter Gabriel and added new dimensions to the PFM sound. The album was their first to be conceived with English lyrics. Unfortunately the sales in the USA dropped due to poor marketing (Asylum Records didn't want to support a group that supported the PLO). Nevertheless, their popularity in Japan exploded soon after PFM's first tour there in 1975. However, tired of the life on the road, Mauro Pagani, arguably their premier instrumentalist, decided to quit the group. He soon made an excellent solo album, although it strongly contrasted the PFM sound.

Jet Lag (1977) was less commercial in sound than its predecessor. With their new violin player Gregory Bloch, PFM now aimed for a more advanced jazz-rock fusion sound, not far away from certain French artists. This didn't please most record buyers and on Passpartu PFM reverted to their patented symphonic rock style and even to Italian lyrics. Suonare, Suonare (1980) and Come Ti Va' In Cima Alla Citta (1981) were both musically competent, but paled in comparison with earlier efforts.

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