FunkFreak75 The second AREA album I'd ever heard (after Arbeit Macht Frei), there was so powerful of an impression made on me by this latter album that I failed to follow up by exploring other AREA albums for years. Luckily, I got unstuck and moved outward, into the band's other discography. Coming two years and one album after Arbeit (with Caution Radiation Area having been released in 1974), the growth in musicianship, studio mastery, and tightened song-writing skills is quite noticeable here. While Arbeit shocked with musical and lyrical force and brashness (it was the band's debut release), Crac! supplies proof that this band is not just a political force but that it must be looked at and respected from a musicianship perspective as well. It is an album of astounding musicianship--virtuoso performances that rival anything else the jazz or jazz fusion worlds has ever created. The amazing thing is that this album stands up perfectly even today--it sounds as if it could have been made today. I will go even farther as to say that this album exceeds my heretofore respect and reverence for all-things Mahavishnu as I think the sound engineering and overall production far surpass those of any of the Mahavishnu Orchestra albums. And the musicians and compositions are so tight! Thus, I find myself wanting to proclaim Crac! as perhaps the best jazz-rock fusion album of all-time! And drummer Giulio Capiozzo may be the best jazz-rock fusion drummer I've ever heard!

1. "L'elefante bianco" (4:33) Demetrio's powerful voice opens the album right in your face as he and piano declare their intentions. By the end of the first minute we've apparently heard enough from Demetrio for the song catapults into a kind of jazzy version of fast-paced folk theme. At 2:30 we return to piano and voice, but this time the band gradually joins in and builds up into a modern rock variation of that amphetamine-laced Middle Eastern-tinged folk (or is it classical?) theme. Excellent musicianship and a great opener. (9/10)

2. "La mela di Odessa" (6:27) opens with a kind of SUN RA-spacey free-form jazz sound and style, that moves quickly into a drum and percussion display before harpsichord, Arp synth and electric bass join in and move the song into structure and drive. Nice TONY WILLIAMS/MAHAVISHNU feel to this one until, after 3:10, things shift to funk land. The clavinet, synths and horns are prominent along with Demetrio's commanding Zappa-like vocal performance--all in spoken form. So tight! Drummer Giulio Capiozzo is extraordinary (as is Demetrio). (9.25/10)

3. "Megalopoli" (7:53) opens with some play on the Arp synthesizer before Demetrio joins in with multiple tracks of his voice free-styling. Electric piano and bass clarinet join in the atmospheric play before a drum roll takes us out and into a new funky jazz excursion with a great melodic base. Demetrio's wordless vocal scatting over the top is, at first, like a substitute for a lead guitar or sax, but then gives way to an extraordinary jam between drums, bass, electric piano, organ, and synth. The Mahavishnu Orchestra was never this tight or well recorded! Incredible drumming! Why is this guy never included in the talk of the greatest of the greats? (15/15)

4. "Nervi Scoperti" (6:35) Every time I hear this song I think I am listening to one of the all-time greatest prog fusion songs ever created and that, thus, it has to be a product of Corea/RTF, Miles, Mahavishnu, Cobham, Williams, Weather Report, or even a straight jazz genius. But it's not. It's AREA! Astounding, stupendous, incredible, jaw-dropping performances from everybody in the band. What a band! This one deserves extra-credit for being exactly what I said: one of the very best jazz fusion songs of all-time. (11/10)

5. "Gioia e rivoluzione" (4:40) opens like a JOHN COLTRANE, TEMPTATIONS or MAGMA song before switching radically to an acoustic guitar-based, countrified jam. The lyric of Demetrio's vocal throughout is obviously meant to be the center of attention. Otherwise, it is an okay pop song for delivery to the common folk. (8.5/10)

6. "Implosion" (5:00) a little more Zawinal/Weather Report-ish than the previous jazz fusion masterpiece. More melodic and showcasing of individuals (especially the extraordinary bass player, Ares Tavolazzi). (10/10)

7. "Area 5" (2:09) an ejaculatory expression of free-form improvisational jazz. (4/5)

An album of astounding musicianship--virtuoso performances that rival anything else the jazz or jazz fusion worlds has ever created. The amazing thing is that this album stands up perfectly even today--it sounds as if it could have been made today.

A/five stars; a true masterpiece of jazz-directed progressive rock music--mostly cutting edge jazz fusion. Amazing! Definitely one of my Top 10 Jazz-Rock Fusion Albums of the "Classic Era."

siLLy puPPy The bizarre musical outfit known as AREA who was one of the most unique entities to emerge from the avant-prog and jazz-fusion scene in Italy continued their string of challenging and eclectic releases with their fifth studio album 1978 GLI DEI SE NE VANNO, GLI ARRABBIATI RESTANO which translates into “The gods depart and the angry ones remain!” This album immediately sounds like AREA but it also feels different than the previous four and there are legit reasons. Firstly Paolo Tofani had left as guitarist and there is less guitar as a result. Bassist Ares Tavolazzi picks up any needed guitar parts on this which mostly shine through as acoustic. They are now a quartet and there also lacks the ensemble of guest musicians who helped out previously. Demetrio Stratos also contributes as a composer on GLI DEI... something he had not done before.

The feel of this album is totally different. Many of the songs seem to be more accessible. There are plenty of avant-jazz passages and frenzied instrumental “noodling” to be found but the tracks are primarily composed of catchier melodies more akin to “Crac” than the other albums but even more so by incorporating funky disco and poppy fol and even some Mothers inspired doowop. The tempo is slower on this one with fewer blitzkrieg fusion attacks but not totally devoid of them either.

AREA is one of my faves because I really love their uniqueness and fearless approach but I have to admit that on this album it starts to feel like they are beginning to recycle many of their ideas and that they are one album away from becoming a total parody of themselves. Thankfully that doesn't happen here as there are plenty of fresh influences to keep this album interesting from beginning to start. Although I don't understand Italian fluently I don't mind the spoken parts as the vocal style is so emotive as to convey the mood of what's being said.

Sadly this would be the last album with Demetrio Stratos before he died from complications caused by a severe case of aplastic anemia at the age of 34. It is so sad that such a talent was taken from the world but at the very least the band was wise enough not to try to replace the irreplaceable and decided to call it quits keeping the legacy from falling into mediocrity like many innovative bands from the 70s did. This album, while not their best, is still an excellent addition to any avant-prog lover's collection but I do recommend skipping the horrible all instrumental album “Tic & Tac” that several members released under the AREA name a few years later.

siLLy puPPy Although many artists in the 70s were recording albums in English, most of the Italian groups including AREA continued to use their native language. One of the plights of this decision is for non-Italian speakers to be utterly clueless what the album is about. Not speaking much of the lingo I formed my opinion solely on the music. What a surprise to learn that this is actually a concept album about an imaginary bank in which history is stored and loses data from the 15th century causing people to forget how to govern the world. The outcome of which leads to society learning how to divide power amongst the different demographics. Hmmm. More socialist proganda? Maybe....

Did that change my perception of this album? Well, YES! and it made me appreciate that AREA was an even more complex band that I thought and made me realize how much we can miss when taking an album out of the context of its place and time. What once seemed like random and chaotic tracks now seem like they were placed there for a reason.

About this album! AREA continue their strange mish-mash of rock, jazz, Balkan and Mediterranean music that separated them from other prog acts of the day. MALEDETTI incorporated all of the elements that made up their sound and went the experimental route once again. After a spoken word opener (in Italian) that explains the evaporation of information we get a rather straight forward jazz-fusion track “Diforisma Urbano,” followed by “Gerontocrazia” which incorporates a txalaparta (a Basque xylophone type instrument) to the mix. This is a track that Mr Stratos really steps up to the plate and delivers a stunning vocal performance. “Scum” is a track that is clearly inspired by the jazz classics but takes it into a frenetic and ecstatic state of virtuosity. “Il massacro di Brandeburgo numero tre in sol maggiore” is the most unexpected track in all of AREA's disocraphy. It is an excerpt of J.S. Bach's Brandenburg Concerto. WTF?!! After that unexpected tidbit we continue with “Giro, Giro, Tondo.” This is yet another ecstatic jazz-fusion fest which everyone shines especially keyboardist Patrizio Fariselli. The last track “Caos (parte seconda)” is probably the track that leaves most casual listeners alienated and running for the hills. This is one of the strangest tracks on the album. It is indeed a piece of musical insanity but there is a bass piano piece that is the underpinning of the whole thing (kinda reminds me of The Pink Panther theme). Very wild and has something to do about the whole structured system falling apart.

In conclusion, this album started out as a 4 star album but after many listens and then another few after the discovery that it is a concept album I have to say this has weaseled itself into my heart as the 4th masterpiece in a row. The details are dizzifying. Just read the amount of guest musicians and instruments involved in the whole thing. AREA continue to make me believe they were one of the best musical entities of the ages. I wish I knew Italian better so I could understand their lyrics. This album requires multiple listens and dedication to appreciate it. Sorry, no easy listening with this one.

siLLy puPPy After the bleak (but brilliant) CAUTION RADIATION album, AREA return to an even more accessible sound started on their debut album. Well, accessible AREA style. Still not the easiest of listening but at least they have a template of musical scales that you can get into including the signature Macedonian scales and even some progressive funk on “L'elefante Bianco.”

This album is more about crafting cohesive songs and less about lurking into the free-jazz-fusion experimentation although some of the experiments from CAUTION are incorporated. This album is another winner for me. It's as tight as ever and Demetrio Stratos' vocal skills are still incredible (which we get more of this time.)

This is the album that made them popular in Italy and this is also the album that extended their music into France. This was also the first part of their existence where they benefited from a stable lineup (considered the classic period) that allowed them to tour. This is by far their easiest album to like on the first spin so if you are totally new to this band, CRAC! may be a better entry to this band's discography than even the impressive debut album.

poslednijat_colobar A stunning masterpiece on the verge of progressive rock and jazz rock!

This is the amazing debut album from mighty italians Area from the 70s' prog world. The inimitable manner the album is constructed amazes. Arbeit Macht Frei is full of energy and emotional intensity from the very first note to the last one. Being extremely intensive, profound, innovative and distinctive, it's real cornerstone of jazz oriented rock music as whole, and as prog masterpiece on the other side. All over the album there are not taking a rest for the musicians. Great musicianship as well. True masterpiece of jazz rock and progressive rock history. A must!