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11 Jun 2016

New Trolls “Searching For A Land” 1972 Italy Prog Rock

New Trolls “Searching For A Land” 1972 Rock Progressivo Italiano
full 
https://www.youtube.com/watch?v=cGzAqh4qL7Y


After the successful album with Luis Bacalov, “Concerto grosso per I New Trolls”, in 1972 I New Trolls released “Searching for a land” with a renewed line up featuring Vittorio De Scalzi (guitars, flute, keyboards, vocals), Nico Di Palo (guitars, vocals), Gianni Belleno (drums, percussion), Frank Laugelli (bass) and Maurizio Salvi (organ, piano). For this album New Trolls deliberately drew their inspiration from foreign bands such Colosseum, Deep Purple, Led Zeppelin or Jethro Tull although trying to keep an original touch while blending hard rock with classical influences. It’s a double album and it’s maybe too heterogeneous and not always convincing but it has some very good moments. It was released for the international market and completely sung in English and Italian-Canadian bass player Frank Laugelli, who replaced Giorgio D'Adamo in the line up, wrote most of the lyrics signing them as Rhodes. 
The opener good “Searching” begins with a nice acoustic guitar pattern and the lyrics in my opinion capture the spirit of the whole album that sometimes seems to lack a definite musical direction… “Travelling, wish I knew where I was going / Every place now looks the same / Nothing new seems to come my way / All my life I’ve been searching for something… But I’m happy to be free and to be able to weep / And I’m happy to be me…”. 
The second track “Percival” is introduced by a nice acoustic guitar arpeggio and features a distant and filtered vocal part that I don’t like at all. It’s a song about time passing by, sometimes you grow up and finally you realize that along the years you never found what you were looking for and now that you’re old you have even forgotten what your goal was… “Percival is my name / My kingdom is wide…”. Good acoustic guitar solo! 
“In St. Peter’s Day” is a beautiful acoustic ballad with a peaceful, dreamy atmosphere. The lyrics have religious references and the guitar and keyboards parts here are very good… “All the tears of the world have now been cried / I don’t want to hear the screamin’ of the crowd… For three times I heard the day bird cry / For three times your love I have denied now / I hear the beating of the hammers crucifying the soul off all summers…”. 
“Once That I Prayed” is introduced by piano and vocals and is another good track with a strong classical influence. The lyrics and music evoke a feeling of uncertainty and the need for freedom, an absolute freedom that could lead even to solitude… “Goin’ on my way I was trying to pray / Something may change into my life / Nothing to say, nowhere to stay / No hand to hold to keep me warm…”. 
The sound of the organ introduces the rarefied, dilated “A Land To Live, A Land To Die”, an instrumental track featuring a great organ work and an ethereal, dreamy atmosphere. The pace is slow, almost bluesy in some passages, and you can dream of a new promised land where to find peace and rest. 
“Giga” is just a short, nice acoustic guitar track that leads to the following “To Edith”, another dilated, dreamy track with an excellent keyboard work that closes the first part of the album. The lyrics are taken from a poem by Bertrand Russell… “Through the long years I sought peace / I found ecstasy, I found anguish, I found madness, I found loneliness, I found the solitary pain that gnaws the heart / But peace I did not find / Now, old & near my end, I have known you / And, knowing you, I have found both ecstasy & peace / I know rest, after so many lonely years / I know what life & love may be / Now, if I sleep I shall sleep fulfilled…”. 
The second part of “Searching For A Land” was recorded live and I think that is less interesting, with more hard rock and less classical influences. “Intro” is a long instrumental track where the members of the band showcase their great musicianship while the following “Bright Lights” is an uninspired hard rock track and in my opinion the weakest on the whole album. 
Next comes “Muddy Madalein”, a hard, bluesy track with a flute solo in “Jethro Tull style”. The lyrics tell about a man who, while walking in the street with his child, is puzzled by the meeting with the prostitute who was his “first shot”. 
The long final track “Lying Here” begins with classical reminiscences (Gregorian chant, flute and organ passages) that after six minutes melt into hard rock with clear references to Deep Purple and ample room for drums and electric guitar solos. 
Well, on the whole “Searching For A Land” might not be a masterpiece but I think that it is worth listening to and could be an excellent addition to any prog collection.. by andrea ...~ 


This Italian progrock band has made a lot of albums, my favorite is this 2-LP (released on a 1-CD), what an exciting music! The tracks are very alternating: Bowie-like vocals in "Searching", warm twanging acoustic guitar in "Giga", splendid Mellotron waves in "In St. Peter's day", beautiful classical inspired pianoplay in "Once that I preayed" and raw and heavy rock with hints from Led Zeppelin and Deep Purple in "To Edith" (powerful Hammond and fiery electric guitar) and and "Lying here" (Ian Gillan-like vocals). Only few albums sounds so varied and captivating, this one deserve more attention!.... by erik neuteboom ...~ 


After the impressive Concerto Grosso, TNT embarked on an ambitious project that would eventually become this album, a double vinyl with two distinct phases, the studio part mostly penned by guitarist De Scalzi, while the second part is recorded live and more the fruit of singer/guitarist Di Palo. Clearly the difference of style between the two main writers gave the album a schizophrenic feel. Sung in English with concept lyrics coming from newcomer Italo-Canadian Laugelli on bass, coming with a fold-out artwork and getting national promotion, the album was not as successful as hoped, due in no small parts to the afore-mentioned schizophrenia but also to its length as clearly TNT are a bit diluted at times. 
Indeed the first disc is a rather uneven but generally endearing succession of tracks that have their own personality. Starting on a greet Searching (a superb and tense song that manages to catch our attention and rivet us to, our seat), the first disc is an uneven affair with a very odd and irritating Percival (the acoustic arpeggios are fine) where the muffled and filtered vocals can only ruffle your feathers wrong. Apparently the songs are based on a man's disillusions and his quest for uncharted territories, while not really doubting of its doomed fate. St Peter's Day is a religious-toned track that sounds like Bowie was at hand, but the track's folk rock really takes off with the "mellotron" (not sure it is one, but sounds a bit like it) layers. Once That I Prayed preyed a bit on classical composer with the piano intro, middle section and the outro, but overall the tracks is very enjoyable and its fragility is its main asset. 
A Land To Live starts out like a Canterbury project, not least due to Salvi's fuzzed-out organ intro and the Wyatt-like singing before ceding in a long organ solo that Caravan's Sinclair would not disown. While Giga is mini track of acoustic guitars, the closing Edith is a pure delight, sharing the track's tension between the guitar lines and Salvi's synth and if the vocal do go back to the weird muffled Percival for a while, the track is one of the best from SFAL. 
The second disc is a very different affair, (falsely) recorded live and showing the group's rougher and rawer's façade, but also suffers from an irritating recording flaw with the public mixed (or overdubbed) in way too loud. While the Intro track is a bit of a showcase for the instruments to strut their stuff, Bright Lights shows little promise with its hard blues-rock and all soloing are relatively uninspired. The Muddy Madalein is a pure rip-off from Purple's Black Knight with an incrusted Tull/Focus flute. From the "live" part, only the lengthy Lying Here is really enjoyable, and after a lengthy (6-mins) organ solo, the track finally takes off in Colosseum fashion (can almost hear Farlowe's howls), but ultimately the extended guitar extravaganza is a bit repetitive. 
With this album, TNT was clearly over-stretching their talents on this double affair, it became clear that their main problems was their two guitarists pulling in different directions, creating a schizophrenia that would still allow the band to make another great record before breaking at the seams. Clearly in this chapter of influences, the winner is De Scalzi, who seems more inspired, while the more energetic Di Palo seems rather short on inspiration often ripping off other bands' works. Technically the first disc TNT's better work (yes, better than UT), easily reaching the four stars status, but the live album is anything but excellent and barely reaches the good level, hence its below four rating....by Sean Trane ...~


This double album from "The New Trolls" is quite disparate and shows little unity throughout over seventy minutes of music. The band was willing to conquer new markets and the album was sung in English (as Banco & PFM will do later on as well). I have little arguments for this: English or Italian is not the point. Only personality matters. 
And the least I can say, is that one could have expected more from the band. The early Bowie inspired "In St. Peter's Day" is not too bad but totally unexpected. One of the few true song that has this charming "Italian" style is "Once That I Prayed", thanks to its wonderful piano play. 

The tranquil and Canterbury oriented "A Land To Live?" is also elegant: vocals are on the soft side and the early stages of the song feature a fine guitar work which is taken over by a long (Hammond?) organ solo. A good heavy prog part. 

The original first album closes on the long "To Edith": while the instrumental parts (the longest ones) are damned good, the vocal ones doen't sound real great. It seems that Di Palo wants to emulate Plant ("Your Time Is Gonna Come"). Mixed bag feeling I'm afraid. 

What's available during the live part of this album is rather inconsistent. Basic hard to heavy rock with poor vocals ("Bright lights"), a self indulgent track as it was often the case in the early seventies ("Intro"), a Tull oriented "Black Night" under the name of "Muddy Madalein". Nothing extraordinary as you can see. 

The long "Lying There" is probably the one that is more appealing to prog ears. Very much keyboard oriented for a long while. ELP is at hand before the "vocals" start. It is yet another painful moment I'm afraid?These yelling are quite unbearable and the audience "reactions" quite suspicious. The guitar solo is as good or as dull (it belongs to your taste) as it can be. 

In all, this album is not what I consider as a masterpiece. Average corresponds more to my perception. Let's upgrade it to three stars since two and a half is not possible.... by ZowieZiggy ...~


I found this a frustrating album to listen to overall. Originally released as a double album with the first album being mostly an acoustic studio record, while the second album is completely live with new tracks. Finnforest hits the nail on the head when he labels the live album as almost unlistenable because of the crowd noise. I swear the clapping is louder then the music at times. Very annoying. Frustrating as I mentioned earlier because I really enjoyed the first album a lot, only to get hit with this abrasive and agitating second album. Of course on the cd it's all on one or i'd just throw away the second disc. 
"Searching" opens with intricate guitar as drums then vocals join in. Piano 2 1/2 minutes in takes the lead. Vocals are back late. Good song. "Percival" again features that intricate acoustic guitar. Bass, percussion and expressive vocals join in. Cool tune. "In St.Peter's Day" opens with acoustic guitar as piano and vocals join in. It kicks in briefly before 2 1/2 minutes then settles again as contrasts continue. "Once That I Prayed" opens with piano. Vocals before a minute. "A Land To Live A Land To Die" opens with organ that builds as piano joins in then vocals. Guitar after 1 1/2 minutes. A fuller sound before 3 minutes. Some distorted organ takes over with bass and drums. Nice. A spacey vibe 7 minutes in as sounds echo. "Giga" is a short tune with acoustic guitar melodies. "To Edith" opens with strummed guitar that soon becomes picked. Synths join in. Reserved vocals 1 1/2 minutes in. Drums follow and the vocals get theatrical at times. Electric guitar after 7 minutes. 
I have to say if I was rating the first album by itself I would give it 4 stars. It just makes me feel so good it's hard to explain. And that's what makes this recording so frustrating for me because the next 4 live tracks ruin it for me. It's not that the LED ZEPPELIN-like music is bad (although I would give it a low 3 stars) ,but the in your face crowd noise kills it. 
So 3 disappointing stars overall. I just received a message from Paolo who is from the same city as the NEW TROLLS(Genoa), anyway he has a book about 70's progressive rock from Genoa that says THE NEW TROLLS overdubbed the live crowd on the second album of "Searching For A Land". It's a fake live album in otherwords and it sure sounds like it....by Mellotron Storm ...~ 


The biggest challenge facing the New Trolls, at least for contemporary fans, is that they had (have?) absolutely no identity. And no album in their discography underscores this fact more than Searching for a Land - a title which be can interpreted figuratively. As such, when I first bought the LP 25 years ago, I hated it and promptly sold back into the marketplace. As is often the case, I decided to buy the CD again, and reevaluate properly - and hopefully more objective this go round. 

And so yes, I can hear the merits of the album in a different light. Album #1 is a folk / psych / prog amalgamation. Not too distant from what was happening in the UK during that era, as one might find on the Transatlantic label for example. Singing in English was a highly unusual move for Italians back then, and unfortunately it loses something in translation. The vocals are oddly affected, though I find them interesting all the same. Album #2 is a live recording that brings out the band's inner Deep Purple. The phony piped in audience noise is ridiculous, as if they recorded the album in front of a bunch of 13 year old girls - and they were Frank Sinatra. Ha! All the same, the New Trolls were accomplished musicians and the album has a kinetic energy that is infectious, even if it's entirely unoriginal. 

The band would go on from here to release their most progressive album in UT, before splintering/devolving into various fusion and/or pop rock incarnations. As I said in the prelude: The New Trolls never had an identity for anyone to relate with. And thus they haven't aged well....by...ashratom ...~ 


Fabulous album! This is my cup of tea - great musicians, memorable melodies, great passages with Mellotron and Hammond and lots of acoustic guitar. There is great variety, not least in the light and shade of the dynamics. The only detracting factor are the, what I can only describe as, "freakish" vocals. A weird falsetto screeching that make me think.."why?" - don't bands ever consider the effect of vocals that were this idiosyncratic? Apparently not but at least they are minimal and the music is of such high quality that it does not mar the overall enjoyment. 
The live tracks are quite raw but offer up another side to the band - a heavier, more aggressive side. Their split personality apparently stemmed from the two guitarists and their relative and seemingly opposite points of view regarding band direction. 
The studio album is near to perfect, whereas the live tracks and vocals damage the rating slightly. More like this please!...by...Crazyworldof ....~
A double album set showing the duo-personalities of the band, the first disc, a studio offering showing the musical styles that Vittorio De Scalzi preferred, and a live disc of all brand new material showing the musical style that Nico Di Palo preferred. This was the first album that started showing cracks in the New Trolls (that would lead to their temporary demise after their following album, UT). The band witnessed the arrival of two new guys, keyboardist Maurizio Salvi and bassist Frank Laugelli. This album is certainly not a continuation of Concerto Grosso Per 1, as there are no orchestrations, and the vocals are all in English (although not so good English, which I can't understand why, since they pulled off the English quite well on their previous album). The studio cuts are the first seven cuts, and the remainder are the live cuts. 

Really, I have to say the studio cuts are a mixed bag, some of the stuff dragging on longer than they need to, but the first three are excellent, "Searching", "Percival", and "In St. Peter's Day". These songs show a more acoustic side to the band, which I thought was quite welcomed. "In St. Peter's Day" also features some nice use of synth and Eminent. "Once That I Prayed" is more classically influenced. "A Land to Live A Land To Die" is a pleasant number, but does seem to drag on too long. "Giga" is simply a short, instrumental acoustic piece obviously inspired by Yes' "Mood For a Day". "To Edith" sounds like a more proggy version of Led Zeppelin, complete with spacy synthesizers and Robert Plant-like vocals. 

The second disc is nothing short of totally killer! The live disc shows a very excited audience that reminds me of Beatlemania circa 1964, except you won't find screaming 12 year old girls here. Here the hard rock influence is plain to see to everyone, as this was more Nico Di Palo's show. "Intro" starts off with a drum solo, before going into some nice jams with some jazzy passages. Then comes the totally killer "Bright Lights" with such high pitched vocals that brings to mind Judas Priest's Rob Halford. An amazing hard rock song with the prog elements to keep the progheads happy. "Muddy Madalein" is a wonderful combination of the Deep Purple and Jethro Tull sound, Ian Gillan-like vocals and Ian Anderson-like flutes. Then you have the 18 minute "Lying Here". Starts off rather slow with some nice organ, but after a few minutes, the band really gets ripping with such a killer piece, it's hard to believe that they did it, without the benefit of a studio. 

Searching For a Land certainly had a sound that would really polarize the band come their next album, UT, by which point the band would break up with Ibis and New Trolls Atomic System rising from the ashes. 

Really, you need this album for the live half, it's killer, but the studio half is rather uneven, but still has plenty of worthwhile material...by...Proghead72 ...~ 

History 
The band was founded around the mid-1960s, when musicians Vittorio De Scalzi, Nico Di Palo, Mauro Chiarugi, Giorgio D'Adamo and Gianni Belleno decided to form a band called New Trolls, after the name of the previous band of one of them, The Trolls. 

After a first series of concerts in local clubs, New Trolls gained popularity to the point they were chosen as supporting act for the Rolling Stones, on their Italian tour dates. Soon after, they released their debut single, "Sensazioni" (1967), the first of a very long series of chart hitting songs. The band was one of the best live acts in Italy at the time, and Hendrix-inspired guitarist Nico Di Palo was one of the first Italian guitar heroes. 

Their first full-length album, Senza orario Senza bandiera, came in 1968 with lyrics written for it by famed singer-songwriter Fabrizio de André. This release was very successful at the time. A second album, simply titled New Trolls, followed two years later (1970) as a compilation of their singles. By the end of the same year New Trolls would have faced their first line-up change, when Mauro Chiarugi left the band. The other members managed to go on as a quartet. 

In 1971 they released the album which was to become their trademark: Concerto grosso per i New Trolls. The album was a fantastic example of early symphonic rock experimentation, with classical music arrangements written by composer Luis Enriquez Bacalov. As the first effort in Italy to merge rock music with classical treatments, this album is still considered one of the most important Italian progressive rock releases ever. 

The second line-up change came by 1972, when bassist Giorgio D'Adamo was replaced by the Italo-Canadian Frank Laugelli. With the new line-up the band released Searching for a land, a double album with some live tracks and mostly sung in English. This new record was a disjointed album and not a great success, as most of the English-sung albums by Italian artists. That same year brought another New Trolls album: Ut, introducing a heavier sound similar to hard rock. Even though the release was successful, creative differences emerged and the band broke into two parts, with Di Palo and De Scalzi going in two different ways. A legal struggle began for the use of the band name ensued. 

Vittorio De Scalzi reunited with Giorgio D'Adamo, effectively forming another band called New Trolls. The De Scalzi incarnation of the band released a single Una notte sul Monte Calvo, a popular rendition of Mussorgsky's Night on Bald Mountain, as New Trolls. A legal battle followed and the next album was released with the title N.T. Atomic System as a result, keeping the style of New Trolls prior to Ut. Despite some accounts on the web De Scalzi never intended to call the band New Trolls Atomic System. An Italian court ruled in De Scalzi's favor and Di Palo and the other three band members released their next album with a question mark replacing the name of the band. The quartet was later dubbed Ibis, a band oriented towards hard rock. 

The De Scalzi led lineup, often mistakenly referred to as New Trolls Atomic System, released their first album in 1973 with arrangements similar to the ones used previously in Concerto grosso per i New Trolls. In 1973 De Scalzi founded Magma Records which released the album. De Scalzi himself played the flute, keyboards and guitar in this work. The second album, Tempi dispari, was a live instrumental jazz-rock fusion album, completely different from the previous New Trolls sound. With the court case settled De Scalzi was again able to use the name New Trolls, despite this Tempi dispari was rather unsuccessful. 

The disappointment of Tempi dispari triggered the breakup of the De Scalzi led incarnation of New Trolls. Amazingly, De Scalzi rejoined his old friend/rival Di Palo and drummer Belleno for a new chapter in New Trolls' history. Bassist D'Adamo remained and singer/guitarist Ricky Belloni was hired to complete the line-up. In 1975 the band released a live album on Magma simply titled N.T. L.I.V.E. which contained songs prior-breakup and some excerpts from the forthcoming studio album Concerto grosso no. 2, which was released in 1976. Concerto grosso no. 2 revisited the style of their best selling album, but this time the critics considered it to be "pale" and too "pop-vein". Magma Records eventually released both "Concerto grosso" albums in a single package. 

1978 brought a new member to the band, keyboardist Giorgio Usai. Then the band slowly begun to abandon its progressive style in favour to a mainstream pop rock sound that gave them many more hits (Quella carezza della sera and Aldebaran among them). The New Trolls kept in this line until the early 1990s. 

From then on, the name New Trolls has appeared sporadically in the music scene. Along the 1990s Vittorio De Scalzi recruited several musicians to make tours playing old New Trolls songs. Some album remakes and best-hits collections have appeared too. In 1999 Di Palo, Belloni and Belleno tried to regroup the band (again) but came into legal conflict with De Scalzi. 

In 2001 a two-disc set was released credited to De Scalzi: La storia dei New Trolls. Recorded live, the first disc includes reworkings of old tracks, while the second is a complete rendition of Concerto grosso per i New Trolls with full orchestra. 

By 2002 the band led by De Scalzi kept touring with La storia dei New Trolls repertoire. Di Palo and former band members regrouped as Il Mito New Trolls, only touring and performing old songs, not releasing any record yet. 

2007 saw what is currently the latest reunion of De Scalzi and Di Palo. Reuniting elements from both members' bands, the reformed New Trolls released Concerto grosso: the seven seasons, a continuation of their classical/rock blending "Concerto grosso" series. For this issue, the band returned to English lyrics, written by Shel Shapiro. The record was produced and released by the band's own label, Aereostella.....~
Imagine, if you will, hearing two tracks from an album that, despite a vast experience of contemporary rock and jazz back in 1975, was unmatched in your listening experience. Imagine that you were informed of the band's name, but not the name of the record. You were given only a brief and vague description of the lp's cover, and the fact that it was a double lp, like Pink Floyd's Ummugumma, one studio, one live. 
Such was my dilemma, after initial inquiries from the other side of the world amounted to nothing, a dilemma solved only five years ago by searching the web. The result turned out to be this record, Searching for a land (correct title). 
The two tracks I had heard were the live "Lying here" - with the most spectacular and gothic organ and vocal introduction you might imagine, which gradually evolves through a haunting flute passage into a pyrothechnical guitar solo which knocked my socks and shoes off. 
Nico Di Palo was the guitarist, and he really plays inspired electric guitar on this album - even though the power of the live performance is a little dimmed by the two more obvious heavy metal tracks ("Bright lights" and "Muddy Madalein") prior to this stupendous conclusion to what was the live lp. 
The other track I heard was "To Edith", with lyrics by the legendary philosopher Bertram Russell (yes!). It includes a sound that I thought was a theramin, but it may be a moog. The production of this track is not as great as it might be, but this concludes the often acoustic side of what was originally the studio album. 
There are some wonderful tracks on this record - the use of organ by Vittorio De Scalzi is another superb feature of "A land to live, a land to die" on the studio lp. Aspects of folk, classical and jazz intrude from time to time. 
Despite a few rough edges, this is a great record. I rate it with the very best of Italian prog I've heard, with added intensity in its dynamic range of musical and poetic moods. It's a wonderful thing that all the lyrics are in English, a fact that sometimes detracts for me in listening to New Trolls' other discs (I now have six from the late 60s to mid 70s)....by... A. Dutkiewicz...~
Although New Trolls had released their share of albums since 1968 (and singles since 1967), it was with 1971's Concerto Grosso Per 1 that the band was finally established in prog circles. That album features one side of rock with classical orchestrations (courtesy of Luis Enriquez Bacalov), and the other half consisting of an extended jam (and a rather unnecessarily long drum solo). In 1972, they had some lineup changes, in the keyboards and bass department, in comes keyboardist Maurizio Salvi and bassist Frank Laugelli. They followed up Concerto Grosso Per 1 with a two album set, the first set a studio offering, the second disc a live disc. The first disc consists of mellower pieces, many of them acoustic, with some ballads and classical-influences. "Searching" is the opening number and has a rather acoustic psychedelic feel. "Percival" continues in the acousic vein, where "In St. Peter's Day" shows more of a classical influence (I'm pretty certain, coming from Maurizio Salvi's keyboard playing), not to mention some use of synth and Eminent 310. The second half of the album is nothing short of amazing, however. The band gets much heavier, into Deep Purple and Led Zeppelin territory, but without forsaking the prog rock elements. "Intro" starts off with a drum solo, before the band gets in to jazzy territory. "Bright Lights" shows the hard rock side of the band, with some really high pitched vocals, reminding me of Rob Halford of Judas Priest. In fact I really get a kick off this song, because of the vocals, to think Nico Di Palo was sounding like a vocalist from a band who had yet to release any albums. In fact I really get a kick of the high notes he hits throughout this album (including the more mellow, acoustic numbers found on the studio half). The next pice, "Muddy Madalein" sounds like Deep Purple teaming up with Jethro Tull, with Ian Anderson-like flutes and Ian Gillan-like vocals. The last piece is an 18 minute killer piece called "Lying Here". Starts off with some rather mellow organ, but after a few minutes the band really gets intense, with Nico Di Palo giving his share of distortion and feedback on his guitar, plus some really great jams throughout. No drum solos here. The audience really went wild to this music, which was all-new material. The cheering reminds me of the height of Beatlemania circa 1964, except the cheering wasn't from screaming 12 year old girls. That's the one complaint, the cheering often drowned out the wonderful music. Perhaps the other biggest problem throughout the whole album is the vocals are in English, and for some reason, the English isn't so great, which is really weird, because the English was excellent on Concerto Grosso Per 1. They wanted to sing entirely in English in order to break the international market, basically they beat PFM by one year to it. But while PFM succeeded in cracking the international market (because they had Greg Lake sign them to his Manticore label, and hence no problem with international distribution, including the United States), New Trolls obviously had no luck, as no international label had interest in this album (at least, not until many years later when the Japanese started reissuing Italian prog albums). This album also started showing the cracks in the band, because the studio half showed that Vittorio De Scalzi prefered prog rock, while the live half showing Nico Di Palo preferring hard rock. This came to a head with their next album, UT, where the band broke up and in the ashes came Ibis and New Trolls Atomic System. 

This album is often ignored, being sandwiched between Concerto Grosso Per 1 and UT, and it is a bit of an uneven album, but there's enough excellent material to make this album worth having.....by... BENJAMIN MILER...~ 



- Nico Di Palo / guitar, lead vocals 
- Gianni Belleno / drums, vocals 
- Frank Laugelli / Rhodes bass 
- Maurizio Salvi / piano, organ, synthesizer 
- Vittorio De Scalzi / guitar 

A1 Searching 4:43 
A2 Percival 5:22 
A3 In St. Peter’s Day 4:59 
A4 Once That I Prayed 3:57 
B1 A Land To Live A LAnd To Die 8:19 
B2 Giga 1:54 
B3 To Edith 9:31 
C1 Intro 7:33 
C2 Bright Lights 6:51 
C3 Muddy Madalein 2:24 
D Lying Here

Albums 
1968 - Senza orario Senza bandiera 
1970 - New Trolls (collection of singles) 
1971 - Concerto grosso per i New Trolls 
1972 - Searching for a land (double album, studio recording on the first disc, live recording on the second) 
1972 - Ut

1973 - N.T. Atomic System (New Trolls Atomic System) 
1973 - Satisfaction (Tritons, remake collection of rock classics) 
1973 - Canti d'innocenza, canti d'esperienza (Nico, Gianni, Frank, Maurizio (pre-Ibis)) 
1974 - Twist and shout with satisfaction (Johnny Dei Tritons, remake collection of rock classics) 
1974 - Tempi dispari (New Trolls Atomic System) 
1974 - Sun supreme (Ibis) 
1975 - Ibis (Ibis) 
First reunion. The reformed New Trolls released: 

1976 - Concerto grosso no. 2 
1976 - Live 
1978 - Aldebaran 
1979 - New Trolls 
1981 - FS 
1983 - America O.K. 
1985 - Tour (live, includes the single Faccia di cane) 
1988 - Amici 
1990 - Live con i New Trolls (2 LP, live with Anna Oxa) 
1992 - Quelli come noi (includes the single Quelli come noi and re-arranged old songs) 
1996 - Il sale dei New Trolls

2001 - Live (Vittorio de Scalzi - La Storia Dei New Trolls) 
2001 - Concerto grosso live (Vittorio de Scalzi - La Storia Dei New Trolls) 
2005 - Live (Vittorio de Scalzi - Il Suonatore Jones: played early tracks of New Trolls in Live DVD) 
2007 - TR3 (Nico di Palo - Il Mito New Trolls: live DVD, recorded in 2004) 
Second reunion (but Il Mito New Trolls was continued by Ricky Belloni). Since then the band has released: 

2007 - Concerto grosso: the seven seasons (1CD and 2LP edition exists) 
2007 - Concerto grosso trilogy live (1DVD + 2CD - songs from all three "Concerto grosso" albums) 
The band is divided two again. (La Leggenda New Trolls and UT(Uno Tempore) New Trolls): 

2012 - Live in Milano (UT New Trolls) 
2013 - Concerto Grosso 1-2-3 di Luis Bacalov (La Leggenda New Trolls) 
2013 - Concerto Grosso N° 3 (La Leggenda New Trolls, 1CD and 2LP edition exists) 
2013 - Do Ut Des (UT New Trolls, 1CD and 1LP edition exists) 
2015 - E' (UT New Trolls)

1975 - New Trolls (double compilation album) 
1977 - Revival (compilation) 
1987 - New Trolls story (compilation) 
1987 - New Trolls raccolta (compilation) 
1989 - Quella carezza della sera (compilation) 
1994 - Singles A's & B's (compilation of singles) 
1996 - Concerto Grosso e raccolta (compilation) 
1997 - Il meglio (studio live, recorded 1993, aka. Una Miniera) 


johnkatsmc5, welcome music..

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music forever

music forever

“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958

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vinyl