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Biography
In my eyes, Banco
del Mutuo Soccorso were undoubtedly among the top five or six
progressive rock bands in the world during their heyday in the
mid 70s, standing out as perhaps the greatest of all the Italian
groups. Their rich, refined musical attack, highlighted by the
classically inspired dual keyboard tapestry of the brothers
Nocenzi, plus the overwhelmingly expressive operatic vocals
of Franceso DiGiacomo, combined with their compositional ability
to effortlessly contrast awe inspiring power and bombast with
stunning beauty, made Banco a defining phenomenon in Italian
progressive rock. What vaults them into their own league, however,
was their ability to sustain a level of such immense quality
over the course of many albums, in contrast to the slew of Italian
bands who only managed one or two albums before burning out.
The first three Banco releases are all undisputed classics,
monstrous works that are undoubtedly essential to any serious
progressive rock collection. Other albums such as Come in
Un'Ultima Cena and the all instrumental ...di Terra
effectively sustain the bands legacy, and stand as essential
Italian releases in their own right.
Banco originally
began in Rome as a pop group whose core consisted of keyboardists
Vittorio and Gianni Nocenzi, though it was not until meeting
vocalist Franceso DiGiacomo at a popular music festival that
the classic lineup began to come together. With the addition
of Marcello Todaro on guitar, and a solid rhythm section, the
bands compositions began to become longer and more complex,
undoubtedly inspired by the penetrating influence of English
progressive rock at the time, as well as Vittorio's own passion
for classical music. After securing a deal with the Italian
label Dischi Ricordi, the band went into the studio to record
their landmark debut album, Banco del Mutuo Soccorso.
The classic status of this album is hardly in question, representing
a spark that would, at least in part, help nudge the burgeoning
Italian progressive rock scene into a full blown renaissance.
The next album, Darwin!, was arguably even better. After
Darwin!, guitarist Rudolfo Maltese would come on board,
and remain an integral part of the group until the present day.
1973's Io Sono Nato Libero is, simply put, one of my
favorite albums ever, an outstanding achievement that perhaps
stands as the band's magnum opus. It's hard to argue with any
of these albums, all display a distinct compositional approach,
and any person who is familiar with them might name a different
one of the three as their favorite.
At this point,
the band became impossible to ignore, and international recognition
was forthcoming. After ELP had signed PFM to their Manticore
label, they decided to take a chance on Banco, and the band
put out an all English album, simply titled Banco, which
contained English re-workings of various songs from the previous
three albums. This was followed by a film soundtrack entitled
Garofano Rosso, and in the same year by their fourth
proper album, Come in Un'Ultima Cena. The album emphasized
the classicism and gorgeous melodic instincts of the band, establishing
itself as another fundamental release, though one that has been
unjustly overshadowed by their previous work. 1978 was perhaps
the peak of the band's ambition, Vittorio Nocenzi was given
the opportunity to record with a full orchestra, the result
being the brilliant instrumental album, ...di Terra.
This period of Banco's extraordinary productivity would shortly
come to a close however, as 1979's Canto di Primavera
featured a simplification of the band's sound, veering more
towards folk music and emphasizing melody over complexity, and
while still good in its own right, ultimately hinted at the
pop direction the band would take during the 80s.
The 80s for Banco
is, presumably, a period of little interest for the progressive
rock listener, though I haven't familiarized myself with any
of these albums yet, and probably never will. Apparently, the
focus was on chart success within their country, which seems
to have been somewhat fruitful. Still, at the turn of the decade
the band decided to return to their roots, and re-recorded their
first two albums in 1991 as the Da Qui Messere Si Domina
La Valle set. The rest of the decade has been characterized
by live and studio releases reflecting their rediscovered progressive
mentality, and has certainly been highlighted by their first
appearances for American audiences, headlining two major festivals,
Progfest in 2000 and NEARfest in 2001, captivating all who were
present at either. -
Greg Northrup [October 2001]
Sources:
Banco del Mutuo Soccorso Official Website
 Banco
Del Mutuo Soccorso (1972)
This is a spectacular
debut from the band that would go on to release two of the greatest
progressive albums ever in Darwin! and Io Sono Nato
Libero. The album is made up of six tracks, but three of
them are short intro-type songs. The other three tracks are
all massive, lengthy and powerful pieces. "R.I.P. (Requiescant
In Pace)" opens things up with a heavy, rocking groove and introduces
the spectacular vocals of Francesco, bellowing operatically
over a comparatively simple, yet tremendous groove.
The next piece,
"Metamorfosi" is less vocally based and highlights the tremendous
talents of dual keyboardists Gianni and Vittorio Nocenzi. Next,
the 18 minute centerpiece "Il Giardino Del Mago" showcases a
monumental and emotional combination of instrumental and vocal
parts, an epic track. All in all this is a landmark classic
that, like the next two albums, is undisputedly essential to
any progressive rock collection. Not to be missed.
- Greg Northrup
[May 2001]
Click
Here for Tracklist and Lineup Info
 Darwin!
(1972)
The second Banco
album is another in their series of classics and stands as one
of my most treasured albums. In fact, Darwin!, was the
first Italian album I got, and once I got to the shuddering
grooves of "Cento Manni E Cento Occhi", I was completely converted
to the passionate, thundering sound that would characterize
one of my favorite bands. It's all here, the dual keyboard tapestry
of the brothers Nocenzi, trading off Hammond assaults, delicate,
heart wrenching piano runs and fire-breathing moog themes, building
together in unison to moments of unimaginable climax. Atop this
are the always outstanding vocals of Franceso DiGiancomo, who
comes crashing in with his operatic, distinctly Italian, vocal
prowess.
Nearly every song
on here is a gem. "L'Evoluzione" is an utter whirlwind, beginning
a tender ballad, then accelerating into a bombastic groove.
"La Conquista Della Posizone Eretta" is a keyboard driven apocalypse,
breathtaking throughout. And man... check out "Cento Manni E
Cento Occhi". This is the song that made me a believer the first
time I heard it, an up-tempo barn burner that moves through
a number of themes, carried by Franceso's vocals, before arriving
at its unbelievable, aggressive conclusion. "750,000 Anni Fa…
L'Amore" is a tremendously moving ballad featuring Francesco
backed only by a shimmering piano theme, an expressive, morose
and almost romantic atmosphere pervade the song.
All in all this
is another unequivocal classic. The first three Banco albums
are all among my personal favorites, showing a band in the midst
of a period of nearly unmatched consistency, on par with any
of the more renowned English bands. Darwin! is an excellent
place to start exploring Italian progressive rock. - Greg
Northrup [May 2001]
Click
Here for Tracklist and Lineup Info
 Io
Sono Nato Libero (1973)
Io Sono Nato Libero is
one of the crowning jewels of the entire Italian scene,
and arguably Banco's magnum opus. Mainstay guitarist Rudolfo
Maltese is brought on board here, and his contribution is
definitely felt, as the sound is yet another step forward
in complexity and depth. Wonderful, more sophisticated arrangements,
awesome production and typically emotive playing characterize
the album. Although I found the album to be less immediate
than Darwin!, I find it to be just slightly better
in the long run, as the two main tracks, "Canto Nomade..."
and "Dopo Niente..." each posess a wealth of different grooves
and subtle flourishes that take some time to get your head
around.
"Canto
Nomade Per un Priginero Politico" is a dynamic, powerful
and overwhelmingly dramatic masterpiece. It unfolds throughout
the first seven minutes through a series of brilliant Francesco
vocal parts, shifting from balladry to aggression to a climax
of complete power. The last half is filled with mind-blowing
instrumental sections, ending in a percussive apocalypse.
The next song, "Non Mi Rompete", is one of the more accessible
Banco songs, poppy yet still very beautiful and emotional.
"La Citte Sottile" is probably the weakest track here, being
Gianni Nocenzi's first venture into the realm of composition,
but it is still a solid cut, featuring some excellent instrumental
work and a very dark theme throughout. "Dopo... Niente e
Piu lo Stesso" is another masterpiece, spanning the extent
of Banco's capability as a band, and exploring their extensive
capability to seamlessly shift through various moods and
feelings. The song ends by dramatically flowing into the
classical flourish of instrumental closer "Traccia II".
Io Sono Nato Libero is certainly one of my personal
favorite albums, and effectively caps the band's classic
early 70s trilogy. A clear-cut progressive rock classic
that, like the previous two, is undoubtedly essential.
- Greg Northrup [May 2001]
Click
Here for Tracklist and Lineup Info
 Come
in Un'Ultima Cena (1976)
Come
In Un'Ultima Cena came out three years after their last
real album, the stunning Io Sono Nato Libero, the time
in between these releases was taken up by an English compilation
for ELP's Manticore label, and a soundtrack album, Garofano
Rosso. Here we have some compositions that are much more
concerned with a cinematic atmosphere, and grandiose classical
movement. Gone is the powerful bombast and off the wall frenetic
energy of the first three albums. Here, we are presented with
a much more refined, toned down and compositionally mature
band. The emotion is still very tangible, and while the compositions
are very progressive and intricate, there are certainly moments
where the band turns on the aggression in reference to their
previous albums. Overall, Come In Un'Ultima Cena is
much more vocal based than any of the previous albums, being
totally structured around Francesco Di Giacomo's beautiful
narrative. If you adore this guy's voice, you'll love this
album.
Come
In Un'Ultima Cena is a concept album that has something
to do with Christ and the Last Supper of the New Testament.
The music seems very concerned with delivering the appropriate
moods throughout, and is quite successful, as most of the
album is highly emotive. Unfortunately, the album starts off
slow, "...A Cena Per Ensempio" is a weak opening track that
originally had me worried when I first listened to it. The
next track thankfully restored my faith. "Il Ragno" is one
of the best Banco songs ever, if a little more subdued compared
to their earlier work, great vocal melodies, and a powerful
organ riff, develop into something gloriously complex. "Slogan"
is a track that most recalls the classic Banco bombast, though
it doesn't quite reach the energy level of something like
"Cento Manni E Cento Occhi", it is another magnificent track.
The
rest of the album has some more gorgeous moments, like the
emotional vocal melodies of "Voida Mila", and the totally
fabulous ballad "La Notte E Piena", which also includes some
beautiful orchestration. Overall, this is a magnificent album
yet one that is even less immediate than any of its predecessors.
This is perhaps their most mature, structured and complex
offering, and what it lacks in raw energy, it makes up for
in emotion. Come In Un'Ultima Cena is another great
Banco album, and though not quite as essential as their first
three (few things are), it is still a phenomenal work in its
own right. - Greg Northrup [May 2001]
Click
Here for Tracklist and Lineup Info
...di Terra (1978)
...di
Terra
is Banco del Mutuo Soccorso at their most ambitious. Ironically,
the aspect of the band that is often cited as their greatest
strength, the famed voice of Francesco Di Giancomo, is absent
from this release, as the band attempts to go an all-instrumental
direction by melding their fiery style with the full orchestra.
...di Terra is probably one of the most successful stabs
at this idea that I've ever heard. The music is superbly
composed by Vittorio Nocenzi, achieving a perfect balance
of prog-rock splendor, classical beauty and sheer bombast.
This is an extremely inspired album that doesn't come off
as gimmicky at all. Orchestra swells, complete with full
percussion and horns, complement the Nocenzi brothers' dazzling
piano and keyboard runs, who also employ synthesizers from
time to time.
...di
Terra may be a little off-putting initially because
this is in no way your typical Banco album. It's composed
very much in a classical manner, sacrificing little to none
of the compositional integrity of the piece to incorporate
a "rock" base. It therefore takes some getting used to.
Themes develop very gradually, and may disappear suddenly
only to re-emerge three tracks later. Volume dynamics are
likewise very different, you might need to really pay attention
or turn up to hear the softer parts, only to have your speakers
explode when the orchestra goes forte. Song divisions are
arbitrary and mean little in the grand scope of the piece,
as it's very much intended to flow together. In any case,
after some patience, ...di Terra reveals itself as
one of the finest Banco albums. - Greg Northrup [May
2001]
Click
Here for Tracklist and Lineup Info
Canto di Primavera (1979)
[Ricordi SMRL 6247]
Banco’s
Canto di Primavera is an underrated album. Certainly,
the record is a major departure from the band’s previous
classics, and such changes will invariably attract mixed
opinions, regardless of how successful the outcome might
be. On this album, Banco goes for a much more vocal oriented
sound, with heavy elements of folk and pop mixed in. It’s
by no means a half-assed attempt at commercialization
however, as its often perceived. While the songs are uniformly
catchy, the band displays a deft touch in crafting impeccable
melodies while retaining a degree of compositional sophistication.
Think of the softer moments from “Come In Un Ultimo Cena”
and you’ll have a good idea of what to expect here.
While songs like the title track and the upbeat “Sono
La Bestia” are based around extremely catchy vocal parts,
the backing instrumental portions are surprisingly intricate,
and remain so throughout the record. The dual keyboard
presence is very much in effect, complemented by occasional
woodwinds, and various stringed instruments. The horn
patches on the keyboards can be a little cheesy, but on
the whole the album features a tight, consistently interesting
instrumental backing. To be sure, Canto di Primavera
doesn’t surpass any of the previous Banco albums, and
those who experienced diminishing returns on their post-Io
Sono Nato Libero output will probably want to pass
on this album. However, those who did enjoy the mid to
late 70s output, and who viewed this album with some trepidation,
as I did, will probably want to follow Banco here to cap
off the collection.
- Greg Northrup [April 2003]
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