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Melos Limited Edition, Import

5.0 out of 5 stars 7 customer reviews

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Product Details

  • Audio CD (February 18, 2003)
  • Limited Edition edition
  • Format: Limited Edition, Import
  • Label: Bmg Int'l
  • ASIN: B00008DCSS
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #2,146,798 in Music (See Top 100 in Music)

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Format: Audio CD
I am a huge fan of Italian prog, and I am familiar with much of the repertoire. Very rarely in music, you run into something which is so obscure, unknown and rare, and which completely blows you away. This disc is one of the best pieces of music I've ever found. It's consistently superb from start to finish. It's consistent harmonically, in complexity, and has real scope, at turns sinister and soothing. It has a unique sound to it, and isn't as derivative of English bands or American fusion groups as some other Italian prog...though if you like Genesis and Mahavishnu I don't see why you wouldn't like this one. It epitomizes dark heavy Italian prog such as Il Balletto di Bronzo, Osanna and Museo Rosenbach. I don't know why this is always mentioned (usually in a lesser light) in connection with Palepoli, besides the guitarists being brothers. This is the better album IMO.
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Format: Audio CD
Cervello was another one of those Italian prog bands that gave us one album then disappeared. Melos, was that one and only album from Cervello. Originally released in 1973 on the Ricordi label, same label that gave us Banco and Museo Rosenbach, the original LP comes with a gimmick cover, which was nicely replicated to CD size when Si-Wan Records in Korea reissued this on CD. Anyway, if you're a fan of Osanna, particularly Palepoli, you need Melos. As a matter of fact, guitarist Corrado Rustici was the younger brother of Osanna's Danilo Rustici, so of course the comparisons to Osanna can't be avoided. But I can also compare this with Semiramis (particulary because vocalist Gianluigi di Franco sounds just like Michele Zarrillo) and of Biglietto Per L'Inferno (because of that similar sinister atmosphere), so if you're a fan of those groups, you're sure to enjoy Melos as well. Like Osanna, Cervello featured sax and flute, as well as the usual guitars and vocals, but unlike Osanna, the flutes and sax are more tame, and there's no Mellotron like on Palepoli, but the music is still quite incredible. The opening "Canto del Capro", which starts off with some really sinister chanting, before the music kicks in. Others highlights include "Trittico", "Scinsione" and the title track. And while Cervello disappeared from sight after this album, Corrado Rustici did not, he was later with a band called Nova, before coming to the United States, and unfortunately, playing with the likes of George Michael and Whitney Houston, which really smells of sellout to me, which is too bad. On Melos, Rustici's guitar playing is very much like Mahavishnu Orchestra's John McLaughlin (no surprise as McLaughlin was one of Rustici's guitar heros).Read more ›
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Format: Audio CD
Let me start of by saying that I own a lot of italian prog cd's but this - in my opinion - is possibly the best of them all.

A truly awesome album. Sounding very much like Osanna in places, with echoes in wild rhytm outbursts and sax themes. Another influence might be some horror music of Goblin or some moments of the dark magic from Il baletto di Bronzos masterpiece "YS". That is only one dimension on this album though, this dark and almost spiritual feeling in some passages here and there, especially heard on the intro: "Canto del Capro". Some distoried sounds and a chantlike voice introduces us to the powerful and mysterious world of Cervello. This track is very typical for their sound. The sax, the calm but disturbing melodies, their lie some sinister atmosphere around the tracks here. The singer has a very plesant voice, ot too light, not too dark. This could be what Osannas "Palepoli" would have sounded like if it had been divided into 6-7 songs instead of 2 long ones (and a short one). The rhytm and feeling of the track can all of a sudden burst into a mad part where it sounds like early King Crimson. Actually there arent any keyboards on this album. Instead its the guitars, flutes, saxophones and some vibraphones that rule here.

"Trittico" has also this very beautiful melodies, backed up by flutes and guitars. It reminds me of both Celeste (for the symphonic melodies) and Osanna (for the disturbed and "violent" parts that pops up here and there).Especially the flutes/guitars here sound very nice, and then around halfway into the track comes a furious and wild part, saxes and guitars going wild. Then it slows down again. The last minute or so is a wild freak out chant that sounds absolutley awesome. One of the best tracks here.
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Format: Audio CD Verified Purchase
Released in 1973 this album seems to generate very mixed reactions - people either love it or hate it. I happen to fall on the "I love it" end of the spectrum and feel that it is not only excellent Italian prog, but an important work unto itself. This album really is wonderful and blends aggressive, atonal passages with more delicate pastoral sections dominated by the flute and acoustic guitars. I like to think of it as a cross between the delicate side of PFM and the harshness of Van der graaf Generator (VDGG) (both incredible bands by the way).

The musicians on Melos include Antonio Spagnolo (bass guitar; 6 and 12 string acoustic guitar, flute voice); Giulio D'Ambrosio (alto and tenor electric saxophone; flute; and vocals); Corrado Rustici (lead guitar; flute; vibraphone; voice); and Remigio Esposito (drums; vibraphone). All of the musicians are superb and create an incredibly full and symphonic sound that alternates between the light (acoustic/pastoral) and the dark (heavy/atonal/avant-garde). Interestingly, there are no keyboards on this album and most of the lead parts are played primarily on heavily distorted electric guitars (he does use clean tones occasionally), although flute parts and jagged passages on the electric saxophone also fulfill the leads. Come to think of it, some of the sax work is vaguely reminiscent of David Jackson's playing (of VDGG). The vocals are also very good (in Italian) and the vocalist occasionally uses a falsetto. The vocal harmonies are also well done.

The dark passages on this album can take some getting used to - they are extremely intense, especially when the guitarist is flailing away on free form electric guitar solos (played with bone-crushing distortion and volume).
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