01. 1st Movement 4:27
02. 2nd Movement 4:12
03. 3rd Movement 2:56
04. 4th Movement 1:23
05. 5th Movement 3:47
06. 6th Movement 3:26
07. 7th Movement 2:26
08. 8th Movement 1:52
09. 9th Movement 4:30
10. 10th Movement 3:54
11. Skywaves 3:23
12. Electric Avenues 8:02
13. Birds Over Prague 1:00
14. Floating Clouds 2:28
15. Gongs 2:27
16. Mother And Cousin 3:00
17. Winds And Gong 3:04
18. Moog Sequence 2:16
19. Roxanne 5:56
20. Metal Windows 0:43
21. Slow Steps 4:20
22. Manuela 1:52
23. Rob Tiger 1:12
24. Sub-Electronic 1:54
25. Original Gongs 3:02
Clarinet – Luciano Tessari (tracks: 1 to 10)
Composed By, Conductor, Performer, Producer, Remastered By, Piano, Guitar, Synthesizer [Moog, VCS3, Synthi A], Harpsichord, Organ, Vibraphone, Liner Notes [Original, Reissue] – Roberto Cacciapaglia
Horns – Alfredo Arcobelli (tracks: 1 to 10), Giuseppe Ferreri (tracks: 1 to 10), Giuseppe Merli (tracks: 1 to 10)
Oboe – Mario Arcari (tracks: 1 to 10)
Piano – Luciano Bianco (tracks: 1 to 10)
Strings – Elsa Parravicini (tracks: 1 to 10), Franco Rossi (2) (tracks: 1 to 10), Gianni Berlendis (tracks: 1 to 10), Giuseppe Cantoni (tracks: 1 to 10), Marco Ravasio (tracks: 1 to 10)
Timpani [Kettledrums] – Walter Morelli (tracks: 1 to 10)
Trombone – Bruno Ferrari (2) (tracks: 1 to 10), Giuseppe Mauri (tracks: 1 to 10)
Vocals – Elfriede Demetz (tracks: 1 to 10), Francesco Maria Minghinelli (tracks: 1 to 10)
Recorded in Milan 1972 - Cologne 1974.
Tracks 1 to 10 were originally released in 1974.
Cosmic joker nel blu dipinto di blu. Or: mediterranEurock. It’s not by chance, indeed, that this time the Couriers’ spacecraft is a flying marranzano (the italian for jew’s harp) floating on the cover. After all, there aren’t much italian musicians who had the chance to work at first hand with german krautrock gurus – the only other names which come to my mind are Baffo Banfi from Biglietto per l’inferno, who had a couple of solo albums produced by Klaus Schulze between 1979 and 1981, and Gianna Nannini teaming up with Conny Plank from 1982 until the latter’s death in 1987 for a series of europewide successful records, with Jaki Liebezeit from Can as a session drummer.
In 1974, when Roberto Cacciapaglia entered the studio with Ohr Records founder and cosmic rock éminence grise Rolf Ulrich Kaiser, he was mostly known as the guy who sat behind the keyboards for Battiato’s second album Pollution. Actually, the music which resulted from these sessions – edited and released as Sonanze (“sonances”) the following year – was more or less related with Battiato’s early Seventies works, and somehow recalled the coeval explorations of major kosmische achievers such as Popol Vuh, Tangerine Dream or the same Schulze; neverthless, it retained something unique and inherently personal: a peculiar upward structure, an esthetical rectitude, an almost classical composure which placed it out of the space/acid rock canon, and was likely to be an heritage of Cacciapaglia’s academic training as a composer (he graduated at Milan’s “Giuseppe Verdi” conservatory before joining the phonology research team at RAI – the italian national broadcasting system – and working with the CNR – “national resarch centre” – in Pisa).
To strengthen this impression, we’re having a complete orchestra here gliding its way into the stratosphere by drones and blows, which refer to early XX century atonal tradition, while the manipulation of processed vocals (such as in the 2nd Movement) anticipated the monomanic, mesmerizing Tail of the Tiger by Roberto Laneri’s Prima Materia, providing some gusts of high solar wind. When it comes to post-impressionistic/minimal piano patterns, then, such as in the 3rd Movement, there you find yourself effortlessy climbing a spiral staircase to the stars.
After the exploit of Sonanze (oddly released in Italy through PDU, the label founded by Mina and Augusto Martelli), Roberto Cacciapaglia went on experimenting with contemporary classic music and electronics, studying ancient sacred music and the non-musical power of sound and performing with the most diverse artists and in all kind of environments.
He also worked in the pop music industry as a refined and innovative arranger and producer for the model/actress/singer Ann Steel (in the legendary Ann Steel Album, 1979), Gianna Nannini (G.N., 1981), Giuni Russo (Vox, 1983), Ivan Cattaneo (Bandiera Gialla – “yellow flag” – 1983), Alice (Gioielli rubati – “stolen jewels”, a collection of Franco Battiato’s covers – 1985), and is a successful author of music for commercials.