Japanese limited edition reissue of the progressive rock act's 1973 album, packaged in a miniature gatefold LP sleeve. RCA. 2004.

CORTE DEI MIRACOLI is another Italian great that falls into the realm of traditional, keyboard-based symphonic. The band creates a sound fairly similar to BANCO, sometimes heavy, sometimes lighter, usually lyrical, always in the symphonic vein. The music is moderately complex and all members are good on their instruments. The first incredible recordings from this famous band elaborated tracks with symphonic keyboards and great mixture of progressive elements that combines certain aspects of GENESIS, VDGG and PFM. Corte dei Miracoli's self-titled album has a distinct symphonic prog sound being very melodic and contrasting in writing style with fellow Italians BALLETTO DI BRONZO, BIGLIETTO PER L'INFERNO or CAMPO DI MARTE. This is purely Italian progressive rock at its best. Pleasant albums after all!!!

Reissue of Italian progressive rock masterpiece originally released in 1974. Considered one of the best Italian prog albums of the 70's, combining hard rock with great keyboards & flute.

Japanese reissue of 1973 album, packaged in a limited edition miniature LP sleeve. Ricordi/BMG. 2003.

這張慨念專集靈感取材自名詩人但丁的作品”Divine Comedy”--神曲,展現出雄偉氣勢一氣赫成緊湊紮實.鍵盤部份也有些EL&P身影這張唱片一開始就緊緊的抓住聽者的注意. Spitaleri的vocals厚實如歌劇般的高音令人如沐春風與Olivieri的出神入化鍵盤功力縱貫全場令人嘆為觀止!(個人超欣賞他的) 節奏與合聲部份其他樂手配合的天衣無縫.(個人70年代義大利前衛搖滾十大專輯之一) keyboard愛好者必備,大力推薦! (by rockmaniac) A short lived Italian band only releasing two albums, the average ...E Fu Il Sesto Giorno and the classic Inferno. The latter featuring great use of the Moog as well as other amazing keyboard work, the band puts together an album length suite that is one of the classics in the history of symphonic progressive music. A must. This heavy progressive album is a dark and intense moog workout. The keyboardist has his Emerson chops down, from the Hammond stylings to the barrelhouse/classical piano style. The Emersonian touches appear here and there throughout but this is not an ELP keyboard trio or anything near it. They explore dark corridors filled with cobwebs of intensity that ELP were too wimpy to explore. There is some wonderfully penetrating moog work on this (political?) concept album. Except for a couple of breaks, the many tracks flow together into a continuous piece. The vocalist strongly reminds me of Doug Ingle from Iron Butterly. The vocals are in Italian, but don't let that stop you. The lyrics are provided so you can sing along! Strongly recommended to fans of ELP and the moog synth. The second album is the best with great keyboards and vocals (like ELP). It includes rock versions of the American and Soviet national anthems. The above statements about Metamorfosi's two albums was correct in the early '90's when they were written. However, in the mid '90's, original keyboardist Enrico Oliveri and vocalist Domenico "Jimmy" Spitaleri together with new drummer Fabio Moresco and bassist Leonardo Gallucci reformed Metamorfosi and began playing "Inferno" in its entirety to appreciative Italian audiences. During this time, they composed and began playing Part II of an envisioned trilogy, titled "Paradiso". They recorded and released Paradiso in 2004. Yes, for those of you who have noticed the Dante "Divina Commedia" reference, they are currently working on Part III - Purgatorio to complete the trilogy. Though I haven't heard any of these albums, I was privileged to see Metamorfosi perform all of Inferno and Paradiso together at NEARfest 2004. It was an excellent performance, reminiscent of ELP due to the "power keyboard trio" format (guitarless, though the bass and vocals are split between two people, so they're not a trio), and also reminiscent of other Italian prog bands such as Le Orme. The vocals were excellent and powerful (and, of course, Italian), though Spitaleri spent a lot of time wandering around on the stage and "conducting" the other band members due to lengthy instrumental passages. Very good stuff! And as far as the quality of the new material compared to the old? I couldn't tell where one left off and the other began. They seem to have fully captured the '70's Italian Prog feel in their new material. Great stuff, and I intend to order both Inferno and Paradiso as soon as my CD budget allows ... One more thing ... I'm keeping the link here to Spitaleri, Davide until someone can confirm this, just because it was in the original GEPR. However, I don't believe this is actually the same person as Domenico "Jimmy" Spitaleri. This may also negate the link to Thor, about whom I have even less knowledge.

Digitally remastered Japanese limited edition in an LP-style slipcase.

3rd Album, released in 1973 - Alvaro "Jumbo" Fella / vocals, electric piano (3,7), organ (3), sax (7) - Daniele "Pupo" Bianchini / acoustic (4) & electric guitars - Sergio "Samuel" Conte / keyboards - Dario Guidotti / flute, mouth harp, acoustic guitar, sixtro (7), vocals (2) - Aldo Gargano / bass, Mellotron (5), bells & sixtro (6) - Tullio Granatello / drums, timpani (6,8) With: - Lino "Fats" Gallo / slide guitar (5) - Franco Battiato / VCS3 synthesizer (5) - Angelo Vaggi / Minimoog synthesizer (5) - Lino "Capra" Vaccina / tabla & percussion (5)

Japanese reissue of 1974 album, packaged in a limited edition miniature LP gatefold sleeve. Ricordi/BMG. 2003.

Digitally remastered reissue of 1977 album by the Italianprog act with 'New York' added as a bonus track, for a totalof eight cuts. Also contains the original cover art. 1998Polydor release.

Limited edition 24 karat gold reissue of the 1973 release. 24-bit remastered Italian prog rock packaged in a digipak. 2002.

2nd Album, released in 1972 - Alvaro "Jumbo" Fella / vocals, acoustic guitar - Daniele "Pupo" Bianchini / acoustic & electric guitars - Sergio "Samuel" Conte / organ, piano, electric piano - Dario Guidotti / flute, mouth harp, acoustic guitar - Aldo Gargano / bass - Vito "Juarak" Balzano / drums

Italian reissue of the Italian progressive rock act's sole masterpiece, originally released in 1973. Lyrics By – Marcello Reddavide Music By – Michele Zarrillo Electric Guitar, Acoustic Guitar, Vocals, Arranged By – Michele Zarrillo Piano, Electric Piano, Synthesizer, Harpsichord, Idiophone [Sistro], Arranged By – Maurizio Zarrillo Guitar [Di Giorgio], Twelve-String Guitar [Ovation], Synthesizer, Arranged By – Giampiero Artegiani Bass, Bells – Marcello Reddavide Drums, Percussion, Vibraphone, Effects – Paolo Faenza Design [Cover Design] – Gordon Faggetter Photography By – Fabio D'Emilio

This may be the ultimate of the so-called "pastoral" progressive rock albums. Acoustic guitar arpeggios, flute, mellow crooning vocals and piano with a brick left on the sustain pedal all permeate this album; and on top of it all, there's almost as much Mellotron as Genesis used in their entire career. The music is meandering and ethereal, with more musical complexity than the average New Age album, but very much the same mood. In short, it's the epitome of the seventies' pastoral-progressive style. Comparisons come easily for this album. Recorded in 1974, two years before it was eventually released, this album was to a great extent a product of what had gone before it. Imagine a cross between Trespass (minus "The Knife") and Per un Amico, and you won't be far off. There are also traces of the accoustic sections of Yes' "All Good People" by, and the beginning of "Favole Antiche" is more than a little reminscent of the opening to "Court of the Crimson King". Principe di Giorno is certainly progressive, but it's hard to classify it as rock. The climactic moments on this album are handled by either sax or an ARP synthesizer, but these are hardly blistering solos; instead, they're more akin to the climactic moments of classical music which rely on compositional skill as much as volume to create the mood. There are many shortcomings people will find with this album. The pace is never anything other than sedate, there is hardly anything on here that is technically challenging for the musicians, the style is derivative, and surely the Mellotron could have been given a rest a little more often. The fact is, though, that the melodies and arrangements are truly gorgeous. The absence of a track like "The Knife" on Trespass means that the mood is never broken. In fact the only song that strays too far from the ethereal mood of the rest of the album is the last track "L'Imbroglio", but rather than being a piece to stir the blood and quicken the heartbeat, it's a silly throwaway piece that leaves anybody with a sense of fun in a good mood when they finish listening to the album. There are many albums which I regard as pleasant listening and will happily pull out when the mood takes me. Camel's Snow Goose and Novalis' Sommerabend come to mind. However, none touch me as deeply as this truly beautiful album. Essential for anyone who likes the softer side of the Italian scene, or thinks that too much Mellotron is barely enough.

Limited edition 24 karat gold reissue of the 1972 release. 24-bit remastered Italian prog rock packaged in a digipak. 2002.