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25 Sep 2016

De De Lind "Io Non So Da Dove Vengo E Non So Dove Mai Andro’ Uomo E’ Il Nome Che Mi Han Dato" 1973 Italy Prog

De De Lind  "Io Non So Da Dove Vengo E Non So Dove Mai Andro’. Uomo E’ Il Nome Che Mi Han Dato" 1973 mega rare …highly recommended…!
 " Interno Dell Tempo.& Vollo De Derivery" {HQ} 
Flute-driven heavy progressive band from, as you may guess, Italy. Well, to call this “heavy-progressive” is only partly right because they also use much time on quiet, acoustic parts with some very beautiful and atmospheric flute and the usual emotional Italian vocals. The album is probably a concept-album as many of the same themes and riffs are repeated through the whole album. There’s not a single track here that stands out from the others, instead the album works best as a whole and has a very fine and continuous flow. As with all other flute-driven progressive rock bands, it’s almost impossible to not be reminded of Jethro Tull when listening to this, but the album still have the unique Italian touch to it just like most other progressive rock albums of the 70’s from that country. There’s a good balance between the heavy parts and the quiet acoustic ones. The flute usually plays the riffs along with the guitar in the heavy parts, while it wanders more of it’s own in the quiet parts and often evolving into very beautiful melodies where the rest of the band soon joins in. Excellent stuff and recommended for anyone into flute-dominated prog and Italian progressive rock. ….. 

An interesting and creative example of progressive field is represented by the Milanese De De Lind, authors of a single disc rightly reassessed over time by experts and considered today one of the happiest works in the field of melodic prog, through the intelligent use and never invasive of the flute and the beautiful voice of the singer Vito Paradiso. Among other peculiarities of the group, stands the kilometric title of the LP, I do not know where I came from and I do not know where ever I go. Man is the name you have given me, in addition to the curiosity aroused by the label distribution of the disc, as the Mercury label was interested in projects light years away compared to the progressive world. 
Entering a market in 1973, peak year of the first wave prog, the De De Lind have designed a product arranged and played well, clean execution and characterized by fairy-tale texts and slightly visionary, marked by the sound of the flute and the Gilberto Plot guitar parts that are inserted now aggressive now rhythmically to perfection in sound texture, thanks to the excellent mastery of the instrument performed by Matthew Vitolli, all refined by the voice of paradise, a rare example of vocalist “in part” perfect both in times of pure hand to emphasize that with the right pathos (the final Escape and death) the most intense work steps. The concept structure, then, succeeds surprisingly not to penalize the success of the whole, despite De De Lind particularly fond plots essentially noise-free tracks with excessive playing time and avoiding deliberately suites that weigh down the whole thing, respecting the plot gender without the delays gain the upper hand on the essentiality of the compositions. 
The initial escape death and offers a compelling insight about the quality of the musicians, with the introduction of percussion that heralds the entrance of Vitolli guitar, which carves out its own space in the central part of the song with a gentle arpeggio before the flute to accompany the voice of Heaven, by shaping a melodic song with a vaguely nihilistic; the next back in time serves as an ideal continuation of the first track, maintaining the same peculiarities and reserving the guitar a predominant role, buttressing the style of De De Lind without redundancies designed to undermine the whole. But the moment probably the best of the entire work is Afraid of nothing, the third song of the LP that condenses all the talent of the Milan group, coupled with the Lorigiola-Rebajoli to build a powerful rhythm section that masterfully integrates with guitar, while the splendid flute Plot contributes to the piece could undoubtedly more progressive, with the voice of Heaven to bring out a melancholy text that adheres superbly to the sound texture. The disc continues with the diptych formed by Loss and War Cemetery, opening a “second part” of the LP just less fluid but not botched, favoring traits melodic and acoustic, especially in the pre-final Want to relive, where stand out arpeggios and singing while minimizing virtuosity, before closing the work with and then, very short piece concludes by stating that only the vinyl title. A great job, albeit different from the majority of the proposed progressive Italic, perhaps closer to Pop (at the time) by using copious acoustics in the place of electrical schitarrate overly pretentious, I do not know where I came from and I do not know where ever I will go. Man is the name you have given me is an example of superb workmanship progressive and bearing one of the best voices of the period, the memo Vito Paradise which, after the dissolution of the group (which took place by return from the publication of the work) will also attempt a very fruitful solo career, unfortunately without carve out that space which he undoubtedly deserved. From a collector’s point of view, the work of De De Lind categorize them among the rarities of the period, given the textured gatefold cover with a beautiful charcoal drawing on white paper, difficult to find in good condition because of the porosity paper, very prone to get dirty in a short time. Certainly a disc not easy to find, I do not know where I came from and I do not know where ever I go. Man is the name we have given to me is still considered as one of the best products melodic prog jobs during the legendary ‘70: having enjoyed numerous reprints in both CD (even recently) vinyl, a reputation the group has seen consequently grow around him a small cult of law has enabled De De Lind to join in the busy stable of actors meteor groups maybe one job, but certainly worthy of further revaluation….. 

The De De Lind had an Italian quintet was born in 1969, composed of Vito Paradiso (vocals, acoustic guitar), Gilberto Plot (flute, saxophone, keyboards), Matthew Vitolli (guitar, piano, flute), Eddy Lorigiola (bass), Ricky Rebajoli (drums). The band’s name was inspired by that of a Playboy model in the late '60s, Diane Lind. With this line in 1973 they gave birth to one of the most underrated of our national progressive works: I Do not Know Where I come from And I Do not Know Where I’ll never, Man Is The Name That I Han Given. L 'album, as well as having a long title, it is very well recorded and edited, full of acoustic moments alternated with bursts of electric guitar and drums. Also great vocals, which is mixed with those that are the atmospheres of the music, often accompanied by flute phrasing. The album is considered a concept album, with lyrics and music that touch issues like war, death and memory. Note how the eight tracks come together to form two suites, the first consisting of the three songs that open the 'work, while the’ other from the remaining five, as it appeared to the ears of LP. 

It begins with “Fuga e Morte”, rich piece of tempo changes and breaks, with electric guitar and flute in evidence. Also excellent drummer and voice work, coming together in what can be considered one of the best songs on the disc. It leads in the final a most delicate organ with the second track, “Indietro Nel Tempo”, which opens with a crescendo of powerful electrical agreements on which you replace a guitar solo, which marks the song for much of his life, until the resumption of the sung and to a return to calm which enshrines the 'beginning of the third song, which closes the first suite or façade: “Paura Del Niente" This time the atmosphere is more relaxed and sang tells a nice little scene almost carnival. In its development we can find psychedelic solos and drum rolled, as always alternating with moments when the song rests. 

Then comes the second suite, with a solo crescendo flute that opens "Smarrimento”, a track that tells the vision of Don Angelo, always following the explicit characteristics right 'time, that is, the’ alternating between calm moments and the more hard. “Cimitero Di Guerra" is instead marked by more gloomy atmosphere, with clear reference to the title. You may feel like the flute ripercorra issues already addressed, the thesis which confirms the fact that we are dealing with a concept album. "Voglia Di Rivivere" is an 'other track pensive and dreamy. Out the rhythm section in the finale that brings us to the close of the second side and of 'album, with "E Poi”, whose sung merely to remind us what the title of’ work… 

Once while surfing the net I came across an Italian website dedicated to prog rock. There was an album high up at number 7 on it’s list of 20 best Italian prog albums that I had never heard of… a quick topic search found a grand total of zero threads dedicated to the album so I got intrigued. So I threw caution to the wind and got a copy of this album. Wow! what an album. Fans of guitar driven prog like Osanna or groups like Quella Vecchia Locanda will LOVE this album. 

First off some research… De De Lind was named for a Playboy model of the 1960’s. Naturally my curiousity was aroused so I googled the name and found some ..inspiring pictures of her.. rather inspiring hahah. Unfortunately.. as so often happens De De Lind was a one and done group. However as many did do.. they came in and left with a bang. Very surprised.. like I was the RRR album that this album is not more popular. Part of that may be that the album is placed in Art-Rock. The music has nice symphonic touches, which is more than some that are and have been in symphonic have.. but that is a matter for the forums not the review. Don’t be mistaken by the Art-Rock moniker. This is a great statement in Rock progressivo italiano that upon first listen.. as well as subsequent listens.. is worthy of such a high ranking on that website. The album title.. abbreviated for space constraints on the page is ’ Io Non So Da Dove Vengo e Non So Dove Mai Andrò, Uomo e’ il Nome Che Mi han Dato’ quite a mouthful of course which translates roughly to 'I Do not know From Where I come and I do not know Where Never I will go, Man is the Name That I’ve been given’ Yeah we do love prog don’t we. As far as the album itself… great stuff in the QVL vein. Lots of great flute and guitar, though not much of anything in the way of keyboards here, other than some piano in places way in the mix, good reason… there is no keyboardist in the band which was not exactly commen in prog those days. As far as the album itself… 

The Album kicks off with Fuga E Marte and something a bit unexpected.. a kettle drum intro which is joined by the accoustic and wah guitars. After a nice little intro the drums herald a upbeat bass and guitar melody which give way after a bit to the enterance of vocalist Vito Paradiso. I love his vocal style.. more on that as we go through the album.. here he has a urgent very masculine quality to it. A sudden tempo and stylistic shift brings us a lovely clean flute melody in conjunction with some accoustic guitar. 

The next song Indietro nel Tempo starts with a flute and accoustic melody which is slowly drowned by by the first apperence of a recurruinrg dramitic musical 4 chord musical theme highlited by some bouncy bass playing and great wah guitar. Trama’s blazing saxophone runs enter out of nowhere after several times through the theme. Paradiso enters along with a change in rhythm that can be best described as bouncey and his vocals lines match it perfectly.. his delivery is letter perfect at this point. Great guitar riffs abound in this song. Sounds very good turned up to 11 on the stereo. A reprise of the theme takes us right into Paura del Niente with some nice accostic playing. Paradiso enters with some plantively spoken vocals that while nice aren’t as effective as when he lets it rip. A nice Tull inspired flute/guitar section follows the 4th verse. The song really gains character with a solo bass line that with each repeated play gains both tempo and limber. The drums come in and are followed by a nice guitar solo. The kettle drums signal the end of that and the begining of a nice and rather flighty flute solo. A very nice track.. interesting arangement on it. 

Next comes what must be considered the centerpiece of the album. Smarrimento begins with a strident militant line done Ian Anderson style. This line quickly turns quieter and more reflective with a nice clean sounding flute section.. however something is coming.. the pace pice up.. the tension builds…you hear the memacing guitar chords warning you that something is coming until …..release… the e-guitar and flute explode together which of course soon dies down into a acousitic guitar line repeated until Paradiso enters with pleasant plaintive vocals that work much better than they did on Paura del Niente. A great track and my favorite on the album.. great use of dynamics and tension. 

Cimitero Di Guerra brings the kettle drums back punctuated by guitar power chords. Very nice intro. A rather hypnotic track due to the subdued flute, and accoustic guitar with some effective vocal delivery. The track ends with a reprise of the strident flute lines of the beginning of Smarrimento ..this time delivered by the flute and guitar. The next song Voglia De Revierre has a nice rather pleasing accoustic melody with the bass drum tempo shift into a reprise of the Indietro Nel Tempo theme with some stinging lead guitar work with some saxophone low in the mix. Very nice song. The album ends with E Poi with slashing guitars over strumming acocoustics with suddenly stop and leave us with Paradiso delivering a plainive verse before the slashing guitars come back and bring the song and album to conclusion. 

Hard album to rate for the forum.. it’s one of the better albums of Rock progressivo italiano that I’ve heard. Quality wise.. 5 stars easy. Is it essential to understanding prog or even Italian prog. No it’s not.. but I strongly recommend you check this album out. You will like it, trust me on this. For myself.. 5 stars… for the forum at large 4 stars. 

Michael (aka micky)…by progressivearchives….. 

I like this album a lot for several reasons but mostly for the vocals and the hard rocking sound. Of course the folk passages which are usually dominated with acoustic guitar and flute provide a great contrast with the harder edged sections. 

“Fuga E Morte” opens with a good rhythm of bass and drums as a gong clashes repeatedly. It kicks into gear 1 ½ minutes in and vocals follow a minute later. Flute after 3 minutes. A calm with acoutic guitar and flute after 5 minutes. Spoken words with organ 6 ½ minutes in. “Indietro Nel Tempo” might be favourite track. Flute and acoustic guitar to open before we get some power as the drums and guitar arrive a minute later. Love the guitar here as they just seem to jam. Those fantastic vocals come in after 3 minutes. Amazing tune. “Paura Del Niente” is mellow with acoustic guitar and reserved vocals early before the flute joins in.The tempo picks up 2 ½ minutes in. Nice bass. It calms right down 3 minutes in before it starts to kick back in a minute later. Some aggressive and raw guitar as drums pound away. Another calm after 5 minutes with flute only before a fuller sound ends it. 

“Smarrimento” opens with flute. Guitar before 2 minutes and the tempo picks up before 3 ½ minutes. It settles back down with flute and fragile vocals. Heavy guitar and pounding drums come in after 7 minutes to end it. Nice. “Cimiterno Di Guerra” opens with drums and gongs before the vocals come in. It turns pastoral before 1 ½ minutes. This is such a beautiful passage. It kicks in before 4 ½ minutes with drums and flute leading the way. Guitar and some heaviness 5 minutes in. “Voglia Di Rivivere” opens with fragile vocals and acoustic guitar. Flute after a minute then guitar and drums come in after 2 ½ minutes as the solitude leaves. Great section. It blends into “E Poi” which contrasts the light and heavy really well…… by progarchives….. 

De De Lind were formed in Milan in 1969 and the name of the band was inspired by a famous Playboy model. After some singles in a “beat” style they turned to progressive and in 1973 they released an excellent debut album with a line up featuring Matteo Vitolli (electric and acoustic guitars, percussion, piano, flute), Gilberto Trama (flute, sax, piano, organ, horn), Vito Paradiso (vocals, acoustic guitar), Eddy Lorigiola (bass) and Ricky Rebajoli (drums, cymbals, percussion). It’s an interesting conceptual work that, through the eyes of a dying deserter, tells about the horrors of war. Lyrics perfectly fit the music, even if they could seem a little bit naives, and the result is absolutely good. 

The opener “Fuga e morte” (Escape and death) begins with a martial marching beat describing troops going to fight a bloody battle. While the battle rages on a man runs desperately away, trying to escape from the massacre. The rhythm here becomes frenzy and powerful electric guitar riffs underline the anxiety of the fugitive. “I was running along endless paths, I couldn’t stop / Dark used to rule / No one with me but worry…”. The fugitive feels that he can trust nobody, he’s lonely and frightened… “Beware of your neighbour / I’ve always been told / He could be the enemy / That you have been waiting for a long time…”. Then acoustic guitar and flute seem to bring in rest and peace. When sunrays begin to filter in a ancient forest and hope seems to rise, a faceless man shoots the fugitive soldier down. While grey lead bullets take his life away he tries to scream… Too late! His life is fading away. 

“Indietro nel tempo” (Back in time) begins softly, then memories come back and souvenirs start storming on the notes of fiery electric guitars… Red faces and black shadows, all the family is reunited around the mantelpiece while outside a cold wind is furiously blowing… “In the stormy nights / The wind was howling / And the grandfather used to tell us / Stories about brigands…”. 

On “Paura del niente” (Fear of the nothingness) the rhythm calms down again. Life is still hanging on and other images peep out… The souvenirs of a carnival parade and a little boy wearing a mask, an old man on a bench who seems to be carved in the stone, a white carriage passing near the protagonist’s house, long chimneys emitting black smoke, a wondering lonely dog looking for a new owner… To die like that seems so unfair and absurd, for the protagonist the wish to meet a sweetheart is still so strong… “I would like to meet you / Just before the sun dies / On another day, again…”. Then music takes off again, rebounding forth and back, desperately pulsing, crying, thundering, breathing life again… 

The instrumental finale of the previous track melts in “Smarrimento” (Bewilderment) that starts like hanging on a dream on delicate flute passages before the music darkens on heavier guitar riffs… Then soaring vocals on an acoustic guitar arpeggio describe in an almost caustic way a priest at a funeral. The clergyman is between two men in black, his voice is trembling and his look seems lost… “Do you remember, Don Angelo? / You used teaching us to believe in God…”. 

“Cimitero di guerra” (Cemetery of war) features gloomy and ethereal atmospheres. It’s introduced by percussion and gong and starts with a solemn pace… “Cemetery of war in the sun / White crosses remind the horror / Where wheat fields were stretched / So many broken lives lie, in vain / Oh soldier, unknown soldier / That has been buried in a burned field / For you, who are in the oblivion by now / They wrote that you are known to God…”. Lyrics then describe a little nun that goes from door to door promising prayers in exchange of charity. She’s dressed in black and her dress is like dark shadow… Well, the criticism against official religion and the commoditisation of pain here is strong. 

“Voglia di rivivere” (Wish to live again) begins in an almost dreamy way. The attachment to life of the protagonist is strong, but the time is running over… “My time is running over / With the ghosts of some happy hours… My time is fading away / With the smile of the people who take the last train…”. Then comes a short instrumental reprise from the second track that leads to the last piece. 

“E poi” (And then) is a beautiful short track and a perfect conclusion for such a good album. The lyrics are the title of this work… “I don’t know where I’m coming from / And I don’t know where ever I’ll go to / Man is the name I was given”….. .. by progarchives….. 

Italian one-shot band De De Lind hailed from Milan and were found in 1969, named after the famous 60’s Playboy model of the same name.The three early singles saw a band starting as a pure Pop/Rock band and developing slowly to a Hard Rock ensemble.The line-up was singer Vito Paradiso, multi-instrumentalists Matteo Vitolli and Gilberto Trama, bassist Eddy Lorigiola and drummer Ricky Rebajoli, a mid-60s member of Beat groups New Dada and I Nuovi Angeli.By 1973, when the band released their sole album with the ultra-long title “Io so da dove vengo e non so dove mai andrò. Uomo è il nome che mi han dato”, De De Lind had adapted a full-blown Hard/Psych/Prog style.An interesting album for the most of its part, “Io non so da dove…” offers moments of Hard Rock delight with major progressive and folk influences, though the harder moments are more dominant.The longer cuts are obviously the most interesting.Here the hard rockin’ grooves, led by powerful electric guitars and the vocals of Paradiso, alternate with gentle acoustic parts filled with delicate folkish flute work and sometimes nice sax solos.These parts seem to be possibly the best ones with the band being capable of creating some trully atmospheric soundscapes with strong psychedelic and singer/songwriter inspirations.OSANNA and JUMBO are good reference points.Organs are sporadically appearing without even notice them.The shorter compositions either follow a typical Hard Rock vein or sound similar to the above forms, though a bit more compressed, with good guitar/flute interplays.The album sounds a bit dated and sterile nowadays, but should have been a really good entry back in 1973.Te band continued to perform live for sometime with new drummer Fabio Rizzato replacing Rebajoli, before splitting up.All members disappeared from the scene except Vito Paradiso, who had a brief solo career at the end of the 70’s.A good album next to the likes of JUMBO, OSANNA, I CALIFFI or CAPITOLO 6.Decent Hard Progressive Rock with lots of driving flutes and a high energy, but not much diversity or flexibility.Overall recommended…… by progarchives….. 

Vito Paradiso / vocals, acoustic guitar 
Gilberto Trama / flute, saxophone, keyboards 
Matteo Vitolli / guitar, percussion, piano, flute 
Eddy Lorigiola / bass 
Ricky Rebajoli / drums, percussion 

1. Fuga E Morte (7:21) 
2. Indietro Nel Tempo (4:18) 
3. Paura Del Niente (7:46) 
4. Smarrimento (8:00) 
5. Cimetero Di Guerra (5:20) 
6. Voglia Di Rivivere (3:35) 
7. E Poi (2:05) 

johnkatsmc5, welcome music..







Cassette Deck

Cassette Deck