By ProgBlog, Aug 16 2015 08:59PM
It may be the largest seaport in Italy, served by several cruise lines, but Genova is hardly geared up for tourism. I first visited the city in May 2014 for the Riviera Prog Festival but was intrigued by the UNESCO World Heritage designation for the largest medieval city centre in Europe including the Palazzi dei Rolli. This vertical city also has some unusual modes of transport. Your 100 minute ticket (€1.60) is good for the Metro, local train services, the bus and elevators and a funicular railway. The lifts are incredible – I couldn’t quite believe the map last year when I saw ‘ascensore’ marked and I somehow managed to walk right past one; last week, when I went for a return visit with my wife Susan, I made sure we used them. There’s even a Starship Enterprise-like lift that travels horizontally for some distance before ascending – possibly the only example of its kind in the world.
It seems appropriate that Genova should host an annual prog festival though it’s actually a music festival associated with a musical equipment fair held in the Fiera, the exhibition centre reclaimed from the sea in the 1960s.
Last year the excellent Black Widow Records (Via del Campo 6R) had decamped to the prog festival leaving the shop closed but on our first afternoon we somehow managed to make the pilgrimage to what I can only describe as one of the best record stores I’ve ever visited. Small in area but filled with vinyl and CDs, owner Massimo Gasperini is a fountain of knowledge and also friends with a number of musicians. He may not have been quite prepared for the Englishman who came into his shop and encouraged by his wife, began to select a rather large pile of CDs. Rather than having the CDs themselves accessible, Massimo has saved space by displaying four CD covers in plastic wallets the size of a vinyl album. It also meant that the storage racks could be uniform; a system I’d previously seen in Rossetti Records in Milan. On former trips I’d taken lists or one of my Progressive Italiano books but the gaps in my collection are becoming fewer and fewer and I now recognise what I want to acquire without too much trouble. The gaps that do exist are generally more recent album releases, bands that formed or reformed during the third wave of progressive rock and these 90s onwards groups aren’t all covered in my books. I have to rely on engaging the shopkeeper in conversation, mostly in English because my Italian is very basic, using a shared appreciation of the music itself. I was both surprised and impressed to see a copy of Marsbeli Kronikak by Hungarian symphonic prog band Solaris. Initially released in 1984, this is a highly regarded piece of work and somewhat difficult or expensive to come by in the UK. When I last checked my Amazon wish list it was selling for £43; I bought it there and then for €17. It really is a well-crafted melodic piece of work, spoiled only by some harmonica on the last of the two bonus tracks.
An old release from 1973 that I’d not previously come across in any of my travels was Melos by Cervello, the only record they produced before breaking up. I was aware that there was no keyboard player in the band but there’s plenty of flute and they utilise some interesting dynamics; the entire concept is based around Greek myths which is enhanced by a strong Mediterranean feel.
I saw Il Tempio delle Clessidre at the Riviera Prog Festival last year and was impressed enough to buy their first CD and a T shirt from their merchandise stand. I’d previously seen a review of their 2013 album Alienatura in Prog Magazine but I’d not actually seen it other than at the music festival. They’re a Genova band and their material is released on Black Widow Records so it wasn’t too much of a surprise to pick it up in the shop!
I’ve now seen La Coscienza di Zeno twice, on the second day of Prog Résiste last year in Soignies and again the following month, once more in Genova. I think I preferred the Genova set more, possibly because I’d heard the material which has some neat hooks but can also be quite rhythmically complex. A lack of ready cash and a shortage of luggage space meant I didn’t buy anything on either of these occasions but I couldn’t resist buying Sensitivita (2013) this time.
I’d resisted buying Latte e Miele records until I got a copy of Passio Secundum Mattheum from 1972 on a day trip to Padova from Venezia late last year. I‘d originally been put off by suggestions that the members of the group were inspired by religion but found the music and musicianship quite incredible, genuine classic Italian prog and anyway, rather religion than dodgy right-wing politics. I’ve been looking out for Marco Polo Sogni e Viaggi from 2009 but Black Widow had Passio Secundum Mattheum The Complete Work which is a 2014 remake of the original album, extended and rearranged and released on the Black Widow label – Latte e Miele being another Genovese group. It’s interesting to see the list of narrators who appear on the album, a list that includes other Genovese and some of the greats from the original RPI scene.
I’ve been a Goblin fan for some years and managed to find a copy of the eponymous Cherry Five album, which I like a great deal, in Pisa a couple of years ago. I was delighted that a reformed Cherry Five had just released Il Pozzo dei Giganti which is based on Dante’s Inferno, on the Black Widow label. It’s quite clear they’ve picked up from where they left off in the 70s; not only is it thematically Cherry Five material but the analogue keyboard sounds are very fitting.
Finally, Massimo produced a CD that wasn’t in the racks and asked if I was interested: Palepolitana by Osanna, the just-released reinterpretation of Palepoli from 1972 by the current line-up. I explained that I was a big fan of the original album but less impressed by their later material; Landscape of Life (1975) has two great tracks but the line-up was in transition for that album and the remaining material is really very throwaway. Massimo told me that the original Palepoli was supposed to have been a double album and the current group had not only recreated the material released in 1972 but included the songs that would have made up the other LP in the proposed double album, described as “an act of love for the city of Naples...” There are hints of the very early material, the Mediterranean feel mixed with psychedelia but I still prefer the three tracks Ora Caldo, Stanza Citta and Animale senza Respira which continue to reveal surprises.
That’s my advert for the Genoa tourist board. I've not mentioned one other of the Genova greats: La Maschera di Cera. I've got all their albums apart from Petali di Fuoco (2010) plus a considerable number of albums by Fabio Zuffanti. Coincidentally, Genova featured in the travel section of The Guardian this weekend http://www.theguardian.com/travel/2015/aug/14/italy-genoa-food-drink-chocolate-walking - it was as though I was still there...