Released right before the group called it quits, Abbiamo Tutti I Suoi Problemi is a must-have for fans of complex avant-prog rock and Rock in Opposition, and it can also seduce open-minded fans of Italian progressive rock. The young musicians of Picchio dal Pozzo here manage to carve out a unique sound, resolutely attuned to the most progressive elements in Italian and British progressive rock, yet entirely personal and never matched afterward. Abbiamo Tutti I Suoi Problemi shares strong similarities with Unrest-era Henry ...
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Released right before the group called it quits, Abbiamo Tutti I Suoi Problemi is a must-have for fans of complex avant-prog rock and Rock in Opposition, and it can also seduce open-minded fans of Italian progressive rock. The young musicians of Picchio dal Pozzo here manage to carve out a unique sound, resolutely attuned to the most progressive elements in Italian and British progressive rock, yet entirely personal and never matched afterward. Abbiamo Tutti I Suoi Problemi shares strong similarities with Unrest-era Henry Cow in the complex metrics, use of wind instruments, and overall chamber ensemble feel of pieces like "I Problemi di Ferdinando P." and "Mettiamo il Caso Che." Other reference points include Gentle Giant for the contrapuntal writing, Grand Wazoo-era Frank Zappa for the melody and guitar work in "Moderno Ballibile," Premiata Forneria Marconi for Aldo De Scalzi's vocals, and Area for simply playing this kind of music in Italy. However, this checklist is limited to comparisons, not necessarily influences, as the five musicians have clearly integrated the latter into their own songwriting. "Abbiamo Tutti i Suoi Problemi" consists of five main pieces, all mind-bogglingly complex and surprisingly rewarding after several listens, interspersed with three vignettes titled "La Sgargianza," focusing on the group's playful approach of the Italian language. The 16-minute "Mettiamo il Caso Che" is the group's magnum opus, filled with musical plot twists and clever arrangements, but there are no throwaway tracks here. These musicians had been working together for a while now and this album captures them at their creative peak. The studio sessions collected on Cuneiform's archival release Camere Zimmer Rooms are bland in comparison. The album first came out on the Italian label L'Orchestra Cooperativa in 1980. ReR Megacorp reissued it in 2006. Bob Drake did a fine remastering job, but the packaging is somewhat disappointing: one can always live without bonus tracks, but the lack of photographs and liner notes hurts. ~ François Couture, Rovi
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