The Trolls

The first formation of the group, known simply as Trolls, was born in Genoa in 1966 by an idea of ​​Scarpettini Pino (keyboards) and Vittorio De Scalzi (vocals and guitar). The group also appeared Ugo Guido (vocals and bass), Giulio Menin (drums) and Peter Darini (guitar and vocals). With the name “The Trolls” the group recorded for the label His Master’s Voice, 45 laps behind the fog (B-side this evening). Later in 1966, and Cherish the world that you and others with a different cover but without training and De Scalzi.

The onset of the New Trolls

In 1967 the group changed its name to “New Trolls”, with a new line: Vittorio De Scalzi (vocals and guitar), Nico Di Palo (guitar and vocals), Giorgio D’Adamo (bass), Mauro Chiarugi (keyboards) and John Belleno (drums and vocals).According to a legend (denied by De Scalzi), this group was chosen on the basis of an article published in a newspaper of Genoa, where a music critic, had listed the best musicians in town. However, it is known that the choice of this training took place after many vicissitudes, at first they had to belong to the group even Renato Rosset (replaced by Chiarugi) and Sergio Blandini (replaced by Di Palo).
The group began performing in local citizens, offering a style combining elements of beat and psychedelic. In the spring of 1967 the New Trolls were already sufficiently known to be chosen by François Bonnier as the opening act of the Italian concerts by the Rolling Stones. At the same time, the group recorded a 45 rpm”sensations / Before there was light with which the New Trolls won the Critics’ Prize at the Festival of Rieti. In 1968 he participated in the competition a record for the summer with the single Visions / I’ll stop you, which sold over 200,000 copies.Also in 1968 was released their debut album, the concept album entitled Without time without a flag.
In 1969 the New Trolls landed at the Festival of Sanremo with the song that I have you, which was followed by two more hit singles, in front of my eyes and a mine.The following year he was released the album New Trolls, which collected individual products from the group until then.

The turning progressive

The turning progressive
The 1971 was a major turning point for the group. After having participated in the Sanremo Festival again (with a cover of the song is a story of Sergio Endrigo), the band recorded what many critics consider their masterpiece: Concerto Grosso for New Trolls. The album features sounds now fully progressive, combining elements of classical music passages that recall the great British bands of the progressive era (such as Jethro Tull and King Crimson). The Concerto Grosso material was written by Luis Bacalov, and the making of the album saw the participation of Maurizio Salvi.
In the same year was born the first fan club in the group, based in Turin, Corso Ferrucci 72. It was one of the first Italian fan club (at the time the word “fan” was not commonly used) still in operation, is also one of the oldest fan club in Italy.
Transformations
In 1972, D’Adamo left the band, replaced by Frank Laugelli. Maurizio Salvi Even in this period became a permanent member of the New Trolls. In 1972, with this lineup the band released two albums: Searching for a land and Ut.
The next few years in which members of the group, some differences which have arisen during the recording of Ut, is devoted to some side projects: Di Palo, Laugelli, Belleno Salvi and released the album Songs of innocence songs of experience, while De Scalzi and D’Adamo, gave birth to the New Trolls Atomic System with Tullio De Piscopo on drums, Renato Rosset on keyboards, George Baiocco to the wind, Ramasandiran Somusundaran on percussion, recording two albums.
During this period he worked as a De Scalzi also label, the label founded Magma, based in Genoa and distribution Discs edited by Ricordi.
Palo then forms the Ibis, which released two albums.
After the publication of a new collection, entitled (as a previous work of 1969) simply New Trolls, and the participation of the tour Belleno D’Adamo and Fabrizio De André, the group back together in 1976 with the arrival of guitarist RickyBelloni (coming from a New Idea and on tour with De André with bassist and drummer) and the return of Di Palo. With this new feature released New Trolls Concerto Grosso No. 2 (1976), although not reaching the success of the first Concerto Grosso, this work was well received by audiences and critics.
In the mid-seventies Di Palo had to be away for health reasons, and while remaining formally a member of the group ceased to participate actively in the recordings and live performances, this is the period in which the group began working with Giorgio Usai, former keyboardist of New Ideas. Meanwhile, the New Trolls were dedicated to the creation of two albums by Ornella Vanoni, I am in and out of I (both 1977), which followed a successful tour. The official record production team had a new short stop, filled with the publication of a live album (Live, 1976) and a collection (Revival, 1977).
In 1978 came two new hits, the caress of evening That individual and his back Aldebaran, Aldebaran and the album.
In 1979 he sang the theme song of the TV show “Luna Park” presented by Pippo Baudo, with the song-style disc: We, too, in the same year, took part in the movie Dear Dad, with Vittorio Gassman and oversaw some of the reasons included in the film.
During this period, is published only for the Spanish market, the album Nunca en horas de clase and containing 45 turns It’s downtown and I can see the rain (with English lyrics written by Douglas Meakin and Mike Fraser).

The eighties
After Aldebaran, the style of New Trolls was gradually losing the last elements of progressive, in favor of a style more tied to pop-rock, although characterized by increasingly sophisticated compositions and performances. The New Trolls albums of 1979 was influenced by the Bee Gees (songs like That idea), but also picks up sounds of the past in songs like OK! (Flames on the Pacific) and Sunday in Naples (with text written by Lucio Dalla and with an introduction to music by Ricky Belloni obtained from a recorded content in the song A horse, a love album Sacrifice Equipe 84).
In 1980 the group released a 45 rpm music, a rock song, with a cover of Posters of Claudio Baglioni on the B side, was the last recording of the New Trolls with Giorgio Usai. 1981 was also marked by a hit single, There the angel in the house (with a B-side, The train, which is characterized by the virtuoso guitar Di Palo) in this recording was followed by a new and definitive abandonment of D’Adamo.The New Trolls, were now a quartet, continued their discography with albums FS (1981, a concept album on the theme of the trip) and America OK (1983 (in collaboration with Mogol).
Followed by further investments in the Sanremo Festival: in 1985 he won the critics’ prize dog face (with text by Fabrizio De André and Roberto Ferri, but signed only by the SIAE Irons), and in 1988 was presented in San Remo Clear Sky (completed, Friends as a whole next album just by De Scalzi and Di Palo Belleno). Belloni in that same period he played with Frank Sinatra album Physiognomy and the next tour, which is taken the live album Redcoats.
The nineties
In 1991, without a Pole who had embarked on a solo tour accompanied by session musicians, the group collaborated with Anna Oxa, writing songs for her album All the thrills of the world and accompanied on a tour during which the songs were recorded for a live album. Later, Belleno decided to abandon the group and continue working with Oxa. In 1992 he replaced Alfio Vitanza (formerly Milk and honey). With the new drummer, and the return of Di Palo’s return Usai, New Trolls is still performed at the Festival of Sanremo with those of us (1992), releasing the album of the same name where, in addition to the San Remo song of old tracks are reincisioni .
After Ricky Belloni also leaves the band to work at Channel 5 and to play in the “Extras”. Come in, however, in organic Roberto Tiranti participating in the group’s last appearances in San Remo, including one with Greta and the last with Umberto Bindi Bindi and presenting a piece of Renato Zero, “Beds” (inserted, then, in ‘ Official New Trolls’ last CD, “Salt of the New Trolls”). The last act of the New Trolls chapter, before further dissolution, is a song called prophetic free Gliders (1997).
The year two thousand
In 2006 there was a reunion of New Trolls, with a new team, led by the two historical components, De Scalzi and Di Palo. This training has published at the end of June 2007, the new album New Trolls Concerto Grosso The Seven Seasons in November 2007 and the casket New Trolls Concerto Grosso Trilogy Live, a DVD and two CDs of live concert big three played together for the first time in Trieste Unification of Italy in Piazza 05/08/2007.

History

Founded in Milan in 1968, the group has assets of three albums, In CaudaSemper Stat venenum 1969.

Already announced their fourth album on the official website of Antonius Rex, titled ”Mystic Voices”.
Theirs is a unique sound for its time, able to mix dark influences, progressive and above all cursed psychotic dirges taken directly from another dimension of the medium Franz Parthenzy that went into a trance and “dictating” the coordinatesfor the lyrics of the group. One of the few real examples of a very esoteric musicthat looked to the occult as a possibility for an afterlife.
Their sound anticipated that dark rock with progressive influences that developedfrom there a short time in England with Black Sabbath and also with the BlackWidow. Their sound is mixed with evil effects of church organ, Hammond organ, piano, violin, flute, guitar riffs and a sometimes unsettling recited in Italian andLatin. In 1974 Bartoccetti creates a new project called Antonius Rex, with changes of musicians, but still with the singer and pianist Doris Norton in training.

The ’70s

The group has been created by the Goblin’s Claudio Simonetti and Massimo Morante. In 1973, Claudio Simonetti, Massimo Morante with record some demos in the studio of Simonetti the EUR during his period of military service. Also in 1973, and Claudius Maximus, with the ‘producer friend Giancarlo Sorbello, leave for London where he contacted the engineer / producer Eddie Offord, already famous for having recorded several albums of Yes, Gentle Giant and Emerson, Lake & Palmer, who agree, after listening to their demo, to produce their album. In 1974, with Fabio Pignatelli, on bass, and Carlo Bordini, on drums, forming the Group of OLIVER and return to London where he recorded new demo, with the addition of American singer Clive Haynes, known months before in a London subway station , and where to record new demos while playing some concerts in British schools. Eddie Offord part on tour with Yes and no longer has time to follow and produce the group, and then the band, disappointed, returned to Italy, but thanks to Claudio’s father, Enrico Simonetti, get a contract with the Cinevox Record. While recording the album, Carlo Bixio, director and producer of Cinevox, proposes to Dario Argento, who was looking for a rock band for his new film, by OLIVER listen to their work. After listening to their music Silver decides to record the soundtrack of their deep red which, initially had to arrange and perform the music of the famous jazz musician Giorgio Gaslini, who had already started working on the film with the orchestra. After some discussions with Silver, Gaslini leaves the film and Dario asks the students to complete the work by dialing the main pieces missing. With Walter Martino on drums (instead of Carlo Bordini), the group changed its name to “GOBLIN” and begins to record the soundtrack of the film composing the music major: Deep Red, Death Dies and Mad Puppet. Deep Red is one of the most popular and famous of the group.
In 1975, the Goblins get this soundtrack with the “gold” by selling, in the first year out, a million copies remained for fifty-two weeks in the charts and selling 45 rpm LPs (16 weeks in first place , a record never surpassed by any other Italian artist), not only in Italy but also in other European countries and especially in Japan.
It is said that the famous song of the arpeggio was born in the cellar two in the morning, from an idea by Fabio Pignatelli, only played with a folk guitar, Massimo Morante be corrected by 4 / 4 to 7 / 4, then the Goblins have made in the studio with the Minimoog, the harpsichord and the folk guitar. Fabio has also created the bass, the melody of the original Minimoog is Walter Martin (son of the famous pianist Bruno Martino), while the engraved in 3 / 4 and the whole sequence is the organ dell’Incisa Claudio Simonetti; in back of the 45 laps, Death Dies, drums and keyboards do not sound, respectively, Walter Martin and Claudio Simonetti, but, again respectively, Marangolo Augustine, then with the Goblin permanent in place of Martin, and his brother Antonio as Marangolo guest on some discs. The following year (1976) Goblin realize Roller, whose songs were not originally composed as a film music, the same were subsequently used as the soundtrack of the film by George A. Romero Wampyr 1977. The training at the time of Roller was as follows: Maurizio Guarini (Fender Rhodes electric piano, Moog, Clarino, Augustine Marangolo (Drums & Percussion), Massimo Morante (Electric and Acoustic Guitar, Fabio Pignatelli (Gibson Ripper Bass Guitar), Claudio Simonetti (Hohner Clavinet and planets, Logan and Elka “Keyboard Violin”, Hammond organ, electric piano and acoustic and Minimoog). The record, however, did not have the success hoped for. The group then comes back on the road to composing soundtracks and, although devoid of Mauritius Guarini, who has since left the band, makes Suspiria in 1977, the soundtrack of the eponymous film by Dario Argento, certainly the most experimental album, perhaps the most inspired of the Goblin soundtrack, an avant-garde itself.
In 1978, the group realizes The Fantastic Voyage of Bagarozzi Mark, a progressive concept album on the topic of drugs and first sung by the band. The album, although it is among the most successful of their career, does not get the deserved success and sales are very low and only reveal the year is reassessed by critics and audiences becoming a true cult status, earning in 2001 a reissue on CD complete with a video track that contains an exclusive interview with the band made by colleagues (and fans declared) Luke Cirillo and Maurizio Mansueti.
Also in 1978, after returning to training by Maurizio Guarini and the creation of the soundtrack of “Dawn of the Dead / Dawn of the Dead” Romero (with Suspiria and Deep Red, one of the best-selling albums in the world of Goblins), Morante leavesthe band to start a career as a singer in the production of Renato Zero. Log in formation Carlo Pennisi, cousin of the brothers Marangolo, former guitarist of Flea on the Honey, Flea, Etna, Libra (just Marangolo with the brothers had fought in the first three bands and, with only Augustine, will feed three years in New Perigeelater). After having fired two more soundtracks (I like do not like and antigangsters Team, both in 1979), the group also lost Simonetti, attracted by the possibility of producing two lucky dance album with Easy Going and Vivien Vee and to realize the very famous and danzatissimo Play jouer Claudio Cecchetto.

80s and 90s

Reduced to only Marangolo Pignatelli, the band sees the return of Guarini on keyboards with the occasional help of Carlo Pennisi and Roberto Puleo on guitars, releasing the soundtracks of three films: Patrick (1979), Contamination (1980), Dark Omega (1981).
In 1982, Fabio Pignatelli, in collaboration with Maurizio Guarini, built a new lineup of Goblin which sees Marco and Mauro on guitars Rinalduzzi Lusini voice.Marangolo Augustine, involved with the New Perigee, is replaced by drummer Derek Wilson, who also had been part of the Goblin for one week in 1975, soon after the departure of Walter Martin. The structure thus consists approves a pop album titled Flight matrix that collects the desired success.
Also in 1982, Dario Argento tries to reform the real Goblin to the soundtrack of Darkness, affecting Pignatelli, Simonetti and Morante (Marangolo is still unavailable due to the link with the New Perigee). However, the concomitant release of Flight, preventing the members to bear the historic name. So the soundtrack of the movie comes out (interesting mix of dance, electronic and progressive with extensive use of the vocoder) on behalf Simonetti / Pignatelli / Morante (Walter Martin also participates on percussion only, without being credited).
Flight wrecked the project, the group reduced to only Pignatelli, Guarini, with the collaboration of Walter Martin and Antonio Marangolo on sax, published in 1983 the soundtrack of the film Night. Subsequently, Simonetti, and Pignatelli, like Goblin, compose some songs for the movie Phenomena Argento’s Phenomena, even if the song, erroneously attributed to the Goblin record is written and presented only by Simonetti and Pignatelli in 1989, composed the music for The Church by Michele Soavi. The widespread use of technology, does not affect the quality of the work, although the battery is replaced by a drum programming often too ostentatious.
Over the course of the ’90s, the group remains inactive. However, many interesting record releases (including a compilation of mostly unreleased material and a beautiful live of 1978, the only far left), keep up the interest of many fans to the group. The band’s repertoire also is proposed in the study by Simonetti and only live in Key Pià very hard, by the daemon, which the same band Simonetti has been a leader since the late 90s, and that, in the very first incarnation , is represented by Nicola Di Stasi, former guitarist of the books (which had served Walter Martin, Carlo Pennisi and Maurizio Guarini) later replaced by NBruno Previtali.

The reunion of the 2000 and subsequent projects

In 2000, the formation of Deep Purple (Claudio Simonetti, Marangolo Augustine, Massimo Morante and Fabio Pignatelli), meets unexpectedly. The excuse comes from the soundtrack of the new film by Dario Argento, I did not sleep, the Panel concludes that controversy and conflict between irreconcilable. Although the work of high artistic level, the four melt for the umpteenth time. Morante Pignatelli and Marangolo communicate the intention to continue and begin to develop the new songs.
The first monograph in 2005 and the only authorized by the group, titled Goblin: the music, the fear, the phenomenon, written by journalist Giovanni Aloisio with the support of Morante and Pignatelli. In 2007 comes the official biography of Claudio Simonetti written by Gabrielle Lucantonio using the same Simonetti, entitled Deep Rock, Deep Red from the Third Mother. In 2011 released “Goblin seven notes in red” by Fabio Capuzzo which presents the history of the group, unpublished interviews and hard-filmography.
In February 2006 it published a BackToTHe Goblin2005 training that aligns Maurizio Guarini, Marangolo Augustine, Massimo Morante and Fabio Pignatelli.The last two are the main architects of this new incarnation of Goblin, Claudio Simonetti, however, lacking that, in a climate of conflict with others, decided to devote himself to his daemon. The group publishes a very impressive drive, self-produced, but can not bear the name Goblin, whose use it, since 2001, the four components together historians (Marangolo, Simonetti, Morante and Pignatelli).The group’s name (and title), is therefore Back To The Goblin. In 2009, after 32 years of absence from the stage, the Back to the Goblin return to perform live for a handful of concerts in Europe with the added support of a musician, keyboardist Aidan Zammit maltese. On 16 December 2009, surprisingly, the group announced its dissolution, due, once again, to incurable internal strife.
In 2010, Massimo Morante, Maurizio Guarini and Claudio Simonetti, form the New Goblin, with the addition of two components of the daemons: Titta Tani on drums and bass Bruno Previtali. With the new lineup, the five hold some concerts in Italy and abroad. They are currently recording a new album that contains 7 classic songs rearranged by the new formation (Deep Red, Suspiria, Phenomena, Roller, I’m not sleepy, and Rock Sound and Darkness) and six previously unreleased tracks. Also will be released a DVD Live, recorded during the band concert held February 18th at Alpheus in Rome, before a large audience and devoted.
In early 2011, Fabio Pignatelli and Agostino Marangolo also organize a training alternative Goblin, Goblin renamed World first, then, definitely, Goblin Rebirth.Next to them, playing the veteran Aidan Zammit (already in Back to the Goblin), keyboardist and guitarist Danilo Cherni Giacomo Anselmi. The group debuted live April 22, 2011, at the Crossroads, a place that is located on the outskirts of Rome, in front of an audience, even in this case, large and enthusiastic. In this context, Augustine Marangolo announced that the evening would be immortalized on disc. After the concert, finally, to the many fans who surrounded him, Fabio Pignatelli stated its intention to publish a studio album made up of only unpublished.

Past Goblin incarnations

1975 – Cherry Five

Massimo Morante – guitars

Claudio Simonetti – keyboards

Fabio Pignatelli – bass

Tony Tartarini – vocals

Carlo Bordini – drums percussions

1975 – Reale Impero Britannico

Massimo Morante – guitars

Claudio Simonetti – keyboards

Fabio Pignatelli – bass

Tony Tartarini – vocals

Walter Martino – drums, percussions

1975 – Profondo rosso/Deep Red

Massimo Morante – Guitars

Claudio Simonetti – keyboards

Fabio Pignatelli – bass

Walter Martino – drums, percussions

1975-1977 Roller/Suspiria

Massimo Morante – guitars

Claudio Simonetti – keyboards

Fabio Pignatelli – bass

Agostino Marangolo – drums

Maurizio Guarini – keyboards

1978 – Il Fantastico Viaggio del Bagarozzo Mark

Massimo Morante – guitars, vocals

Claudio Simonetti – keyboards

Fabio Pignatelli – bass

Agostino Marangolo – drums, percussions

1978 – Zombi/Dawn of the dead

Massimo Morante – guitars, vocals

Claudio Simonetti – keyboards

Fabio Pignatelli – bass

Agostino Marangolo – drums, percussions

Antonio Marangolo – sax on “Zombi sexy” and “Oblio”

Tino Fornai – violin on “Tirassegno”

1979 – Squadra Antigangsters – Amo non amo

Claudio Simonetti – keyboards

Fabio Pignatelli – bass, acoustic guitar

Agostino Marangolo – drums, percussions

Carlo Pennisi – guitars

Antonio Marangolo – sax

1979-1981 – Patrick – Contamination – Buio Omega

Maurizio Guarini – keyboards

Fabio Pignatelli – bass, acoustic guitar

Agostino Marangolo – drums, percussions

Carlo Pennisi – guitars (Patrick and Buio Omega)

Roberto Puleo – guitars (Contamination)

Antonio Marangolo – saxophone (Contamination)

1982 – Volo

Marco Rinalduzzi – guitars

Fabio Pignatelli – bass

Derek Wilson – drums

Maurizio Guarini – keyboards

Mauro Lusini – voce

Antonio Marangolo – saxophone

1982 – Tenebre (as Simonetti/Pignatelli/Morante)

Fabio Pignatelli – bass, drum programming

Claudio Simonetti – keyboards, drum programming

Massimo Morante – guitars

Walter Martino – percussions

1983 – Notturno

Fabio Pignatelli – bass, guitars

Maurizio Guarini – keyboards

Walter Martino – drums

Antonio Marangolo – sax

1985 – Phenomena

Fabio Pignatelli – bass, drum programming

Claudio Simonetti – keyboards, drum programming

1989 – La Chiesa

Fabio Pignatelli – bass, keyboards, drum programming

2000 – Non Ho Sonno

Massimo Morante – guitars

Fabio Pignatelli – bass

Agostino Marangolo – drums

Claudio Simonetti – keyboards

2005-2009 – Back To The Goblin

Massimo Morante – guitars

Fabio Pignatelli – bass

Agostino Marangolo – drums

Maurizio Guarini – keyboards

Aidan Zammit – keyborads (joined 2009)

The story of the “Banco del Mutuo Soccorso” began in late 1968, when the seventeen year old Victor Nocenzi, enfant prodigy-keyboards, managed to obtain a hearing before the major label RCA, stronger signal Gabriella Ferri, for which he already set to music excerpts. Record companies were, in those years, reluctant to promote solo instrumentalists, and legend has it that Nocenzi had vaunted the existence of an unspecified group he headed. It found, therefore, in a position to set up in a hurry to present a musical audition. Purpose recruited relatives and friends able to “hold an instrument” and invented the name of Banco, perhaps inspired by any bank or insurance zone

The group met in their own rehearsal room, to Marino, in the Castelli Romani, which later became known as the “stable” and so it was in reality a real barn renovated and fully equipped (himself says Victor Nocenzi in an interview) “with the mangers filled with amplifiers, distortion and musical instruments instead of hay for the cows”

The first line was composed, in addition to Victor and his brother Gianni Nocenzi the piano, by Gianfranco Coletta (component of Chetro & Co. and, later, the Alumni of the Sun) on guitar, bass and Mario Fabrizio Falco Achilli on drums, these components of the psychedelic rock group Crash founded by brothers Hawk, with whom Victor collaborating for several months. The hearing examiners and obtained the consent of the child “Banco” created three songs that were included in a compilation of new formations called “’70 Sound” and released only on cassette. The pieces in this collection (I see the phone, my freedom, and Father Francis) will be engraved, a few weeks after the audition, a training already retouched, with Claudio Franco Pontecorvi Falco on guitar and drums

The seventies

In 1971 the Banco participated, with little luck, the # 2 Pop Festival Caracalla in Rome. Among the groups who attended the festival were the experiences and wildflowers that had already released one single (outside the city / two children in the yard with the label Apollo ZA-50014). The time to socialize and, at the end of the event, the Banco had assumed its final formation, incorporating Francesco Di Giacomo, Renato D’Angelo and Pierluigi Calderoni, respectively, vocals, bass and drums group experiences, as well as Marcello Todaro, guitarist of Campo dei Fiori. It was a real qualitative change: the group passed by the songs of the first period, beat, progressive compositions, classical music strongly influenced by the formation of the brothers Nocenzi refined and embellished by texts written by Francesco Di Giacomo

The group participated, with the addition of another guitarist (Claudio Accarino, part of the group from 1970 to the end of 1972), the second edition of “Festival of avant-garde and new trends”, held in Rome at the Villa Pamphili from 1 to June 4, 1972, finishing tied for first place with the Circus 2000

This formation released their debut album in 1972, Banco, which, with songs such as RIP (Requiescant in peace), the long suites, The garden of the magician and Metamorphosis, a short but beautiful instrumental insert final vowel, catalyzed the immediate attention of the public of the emerging Italian progressive rock scene. Also very special artwork on the cover of the vinyl, shaped like a clay piggy bank.
In the same year the second album was released, Darwin!, The first concept album released by the group: all the songs are in fact linked to the central theme of the theory of evolution of species by Charles Darwin.
These two albums can be considered the most creative and original group, focusing on the dizzying and virtuosic interweaving of keyboards and the inimitable brothers Nocenzi tenor registers Di Giacomo, the service of a peculiar cross between the English prog-rock, the sounds of the Mediterranean and the tradition of Italian opera, which peeps out in the most unexpected moments.
The first turnover occurred in the formation of the group in 1973, when Todaro was replaced on guitar by Rodolfo Maltese, coming from a Homo sapiens. I was born in the Free (1973) Maltese formally appeared as a guest, but in fact was a member of the Bank.
In 1974, on a proposal by Greg Lake, the Bank abandoned Remember to switch Manticore label, owned by the British group Emerson, Lake & Palmer, which was also merged PFM. In 1975 the album was released Tour (also known as Tour IV), which shows in English for the foreign market, the best songs of the first three albums (similar to the operation of the PFM Photos of Ghosts). The album was critically acclaimed both in Italy and abroad.

In 1976 he was posted as in a last supper, sponsored by a European tour that saw the bench to play as a supporter of a “giant” of the English progressive rock, Gentle Giant, of which the Roman group, however, was a more than credible version ” Mediterranean “with the same trend, at least in the early years of his career, to elaborate and refined arrangements and the internal structure of the pieces totally unrelated song format. This album was made is also a version in English (As In A Last Supper), with the translation of Angelo Branduardi.

In the same year the group also recorded Red Carnation, the soundtrack in the film (based on a novel by Elio Vittorini, directed by Luigi Faccini). This is the first instrumental album of the Bank, which opened a new era in the evolution of the band’s style. Again instrumental, sounding even more complex, was the next … of land, which were explored solutions that trespassed from rock to jazz and classical music. This complex construction, the Bank took advantage of the contribution of the Symphony Orchestra Musicians Union in Rome, directed by Antonio Scarlato professor of composition at the Conservatorio Santa Cecilia in Rome, in addition to the collaboration of keyboardist Alessandro Essene.

From … of land, the name Banco was formally replaced with the short bench, now widely used by journalists and fans.

The seventies Banco closed with another acclaimed album, Song of Spring, with its evocative atmosphere of ethnic and pastoral. On this album John Colaiacomo Kaleidon the successor to the bottom, replacing D’Angelo.

The eighties

The first job of the Bank in the eighties was a live album (the first) entitled Terminal, where the group reviews the salient features of its history. Conceptually sealing his “first era”, the Bank prepared this album to a change of course in particular the abandonment of certain typical patterns of progressive rock of the seventies, in particular in relation to the structural complexity (and the length in minutes ) songs, songs in favor of relatively simple and straightforward. This trend is well represented by the first two albums of the decade, Urgent (1980) and Good News (1981). During this period, training was enriched by Karl Potter on drums, musician of color who had previously worked with Pino Daniele and that helped give more punch to the rhythm section of the Tour.
The album appeared in 1983 Tour, which is another turning point because of the defection of Nocenzi Gianni, who left the band to pursue a solo career and work with the Japanese Akai as a test of keyboards and samplers.
In 1985 the Bank acquired a new component of leading, multi-instrumentalist Gabriel Amato, former band member of Aretha Franklin. The result was the album … and Via (1985) and participation in the Festival of Sanremo, but displeased many fans, who struggled to recognize the spirit of the Tour of the past. He therefore opened a period of crisis which led to several years of silence, interrupted only exit of Do not put your fingers in the nose, the first solo album of Francesco Di Giacomo, who participated as musicians, however, all members of the last training the Bank.
In 1989 it was finally published Plautilla Woman, a collection of unreleased songs of the seventies.

The nineties

In the early nineties, following what was in fact an example of many progressive rock band “classic”, the Bank initiated a revival of his first period, returning to the name Banco and bringing on tour songs of the seventies.
Later it was released a box set (shaped like a piggy bank, calling the debut album cover), containing the first two albums, Banco and Darwin! re-recorded in the studio with new arrangements.
Also in the line of revival style (albeit with completely new content) was 13 of The (1994). Three members of the group’s historical Nocenzi Vittori, Francesco Di Giacomo and Rodolfo Maltese, together with the young guitarist Philip Roman Marcheggiani Acoustic embarked in the draft, in which several songs were reinterpreted classics unplugged. During this period, the Bank also undertook several world tours and touched Japan, Mexico, United States, Brazil and Panama. From one of the most successful concerts (in Japan, 25 and May 26, 1997) was suddenly the live album Naked (which also included a new song of the same name).
At no stage followed Nude (2003), a live album in celebration of the thirtieth anniversary of the band, seeing as guests the likes of Morgan, Mauro Pagani, Federico Zampaglione (Tiromancino), Gianni Nocenzi, Eugene Kelly, Philip Gatti, Angelo Branduardi for a series of successful concerts.