Latest release: Orlando: Le Forme dell'Amore (2022)
Transiberiana (2019)
Banco del Mutuo Succorso would be a good example of my concept of "bands as brands". With charismatic opera styled singer Francesco di Giacomo and long time guitarist Rodolfo Maltese no longer with us, there's no chance for a true reunion. In addition, the original rhythm section is nowhere to be found. And finally, brother Gianni Nocenzi hasn't been with the band for some 35 years. That leaves only keyboardist Vittorio Nocenzi carrying the torch. In tow are 5 new members, each talented in their own right. So if Banco were to remain an functioning entity, it could very well do so even if V. Nocenzi can no longer participate, or even want to.
This prelude is poignant with Banco del Mutuo Succorso because Transiberiana lays out a blueprint for the future, not a retread of the past. When looking at the history of the band, they were part of the original Italian prog movement, and their records in this style spanned only 6 to 7 years. Which for a typical Italian prog band is a lifetime of records, but from a chronological standpoint, it's a very small period of time. Then "Banco" became a pop band throughout the 80s. They returned to participate in the 90s progressive rock renaissance, but mainly as a live act mostly recreating the past. As for new music, nothing special ever surfaced. Their highest rated albums are simply new recordings of past compositions.
Until now. Transiberiana has all the earmarks of the past, including the depth of composition, the talent of the musicians, and those oh-so-critical turn-on-a-dime musical breaks. This is the music of 1973 Banco del Mutuo Succorso moved up 46 years. It sounds every bit like an album from 2019, and the new members bring many contemporary influences to the table. It's up to Nocenzi to school the others on what it's like to be a part of the legacy that is Banco del Mutuo Succorso. And he's done a great job at that, and one gets the sense the band could continue in this vein for many years - evolving the brand as it were. Is this the best Banco album? No. It would be nigh impossible to beat their trio of original albums, perhaps the greatest 3 album run in history. And Come in un'Ultima Cena is another tough one to top. But their best album in the last 42 years? Yes, most assuredly it is!
---7/16/20
Garofano Rosso (1976)
The odd album out in the Banco del Mutuo Soccorso canon, though they were to repeat it again on Di Terra. That is, this is Banco without vocals! Francesco di Giacomo is such an integral part of the band, it doesn't seem possible to hear the music without him. And he's still a member, being credited here with "documentazione". The music (a soundtrack to an Italian TV series) is still patently Banco DMS, though they're changing with the times and adding more jazzy elements to their sound. The Nocenzi brothers continue to lead the band with their organs, pianos, and synthesizers ripping away. You'll hear some familiar themes from past albums as well. The music isn't as edgy or as epic as their earlier efforts, but taken on its own account, Garofano Rosso is a fine listen.
---12/26/21
Come in un'Ultima Cena (1976)
Banco del Mutuo Succorso started their career with what many consider the greatest 3 album run in all of Italy, and one could argue for progressive rock in general, competing mightily against the likes of Genesis and Yes. Then silence. 1974 blew by, and 1975 saw only the requisite might-break-in-the-States-probably-not English language album, that featured unique arrangements, but a bit watered down from the massive beasts they opened with. By 1976, Banco confusingly released an all instrumental soundtrack album, that has little to do with their namesake. And finally we get to Come in un'Ultima Cena, their true followup to Io Sono Nato Libero. Since still signed with Manticore, the band were obligated to do a co-release in English (As in a Last Supper). Nevertheless, that version didn't see an English language country release (until 2010!), having been dumped into Germany as an afterthought. And so this was the last hurrah for the classic Banco del Mutuo Succorso as we knew them. They had one more fantastic instrumental album left in them (Di Terra) and off the pop cliff they went, only to return during the prog revival years. But they were broken.
This premise leads to the album itself. It's important to understand the background from which Banco entered into this recording. And let's not forget the 1976 landscape in general, where progressive rock in Italy were in their last throes of survival. And that provides the story here. This is Banco neutered and ready for a domiciled life. No more hunting in the wilds for their food. Once that premise has been accepted, then the album can now enter your stereo for a proper listen. It's the name Banco del Mutuo Succorso that usually holds this album back. But a careful listen on its own, demonstrates the same intense progressive rock composition style. Di Giacomo is also in fine form here, perhaps a bit more strained than prior. But the edge of the instrumentation is gone, along with the youthful exuberance. It's progressive rock by professionals. Which means, it's an excellent album throughout. And yet, you know they can do better. My rating reflects more an objective viewpoint in this case, rather than my usual subjectivity. I owe them that.
---3/4/17
Io Sono Nato Libero (1973)
After two remarkable albums to start their career, could Banco del Mutuo Succorso maintain the momentum for a 3rd? The answer is a resounding YES. The sextet possessed so much talent, in both instrumentation and composition, it seemed that their imagination was endless. But the heroes of the band remain the Nocenzi brothers, who bring an arsenal of vintage keyboards, along with the latest in synthesizer technology. They play off each other as only two brothers could - each knowing what the other is thinking before they think it themselves. If I had to pick just one song from Banco's canon, it would be Io Sono Nato Libero's opener 'Canto Nomade per un Prigioniero Politico' which packs a wallop, and goes in dozens of different directions. Giacomo's powerful operatic voice sends the message home, that yes, we are born free! To take this even further, when someone asks me to play one representative of Italian prog, this is the track I pull out. The album doesn't stop there, as Banco mixes melody, complex instrumental sections, intense passion, and immense creativity. For my tastes, Io Sono Nato Libero is the best Banco has to offer, and considering the stiff competition, that's quite an achievement.
---8/25/21
Banco del Mutuo Succorso (1972)
The debut album by one of the pillars of the Italian progressive rock movement. As good as advertised, Banco DMS brings out all the elements that made them so stellar: Dual keyboards, heavy guitars, complex rhythms, and the operatic male vocals sung in glorious Italian. Highlights include long time favorites such as 'R.I.P', 'Metamorfosi', and the lengthy 'Il Giardino del Mago'. For my tastes, this comes in second place to the almighty Io Sono Nato Libero. Table stakes for any progressive rock collection.
---1/10/24
7/16/20 (new entry)
