Oscar Rocchi Piano and Orchestra with Ladies from 1978 with lossless

It's rare to see a review this lengthy, not to mention any review at all, on discogs.  But here we go, here it is in all its misspelt gloury:
(don't bother reading it all, just scroll down to see how long it is)

"  August 13, 2014   edited 3 months ago 
In the midst of Summer i would'nt miss to check this Library Lp, with a big L as first letter as this record is supa, for production details and sessions musicians high skills, above all the bass wich is abvsolutely gorgeous and put up front in the mix.  But we have here not just the disco flavoured italian 80's style, but "Ladies" is full of some very intimate dramatic melancoholic melodies wich easily would fit a film or even a sensitive listening pleasure at resting.Some of the tracks really got me inside a very "spleen" state of that kind of meditative sadness wich is greatly enhanced by every single perfect note in the music. 
So what about the musicians here?
I'm sure to rightly guess the main line up is the one wich Edizioni Minstrel has builded up his professional rooster and filled many other libraies records, better signaled under the name "Modern Sound Quartet" and their tight and steady distinctive sound.
First among all,and it is hard to not to notice, overcoming too the wounderful mellow work here by the S.Cecilia Strings Orchestra, is "The Bass" and the Bass Player.
Infact Gigi Cappellottos' suggestive playing (particularly in this Lp) is ABSOLUTELY off the ground, delivering a strong circular and pointillistic singing bass sound , one of the best Sound+Player i have evr come across in my 20 yers of music listening.So what !
Maybe is the dramatic ingredient of the tracks but here the bass melodies are purely physical pleasure.
This "all wide all round direction" bass playing is totally remarkable because as his playing style do appear in other Ed.Minstrel lps's like "Floreama", "Erbe Selvatiche", but even more in the libraries related to Fabio Fabor and Arena.
But again in this library he adds so much to the tracks like being "a solo" bass voicing and the overrall music is totally absorbed by this sensual/sensitive touch and deep skill who incredibly is a totally "must hear", where amazingly these wisphering lows are widely resembling a jumping circular shape wich add meat to every parallel melody and total harmony, with that superb "circular sound" every bassist would achieve to obtain from his ampli, a mid way between contrabass and electronic bass, with a bit hand played touch softness wich retain a manuality fused with movement wich in its steadiness marks every best music steps.
The wonderful production sound obtained at Barigozzi's Cinemusic makes this Library a true gem for 3 things: music craftmanship, musical drama ambient and overrall highly suggestive mood.
The bass layers do play a preminent /eminent first role into this music, seeming to be an alone identity wandering through the tracks' sound space, a softly balance the honey & spleeny taste of the marvellous strings ensemble provided by the only and best ever S.Cecilia from Roma.
Together they totally cover the sound spectrum to the extremes leaving the mid to the same soothing fast piano arpeggios and acoustic guitar, wich merit a chapter aside for his incredible magic intrusion.
For example in one track it just comes in with that crispy sound and the magic fully goes up!
I really do not know where the musicians mind was..... but they achieved some really high quality standard for a simple library music, it would have been an amazing Italian "strappalacrime" drama OST.
I think Oscar Rocchi here was really high into his idea of being inspired...the piano and all electronic keyboards to add a superlative fast array of shining notes..... .
But let's see the rest.
For the percussive side, the Surdi drumming is the equal other ingredient wich near touch the perfection of keyboard and piano by Rocchi: this has the best overral result, topped with some "ahead -on" electronic effects wich raises up all the emotional degree of music.
The drums is thin where needs and steady fast where it has to adds up, it do let thing sgoing on and then it makes the best coming up with his multiple "rullato" passages.Jazzy and precise and heavy where needed.
The piano is touching, really.... with a top fast fingering work and the flowing arpeggios it follows the emotional degree at very increasing rate with the role of topping everyhthing with strong remarkable emotions .
So this music here, building up with the above mentioned session palyers craftmanship, do suggest a pleasant relaxant mood for quietness but its best influences can be obtained when there is raining weather outside in Autumn evening, when the tracklisting order for each side can oppose a totally heart warming and lovingly performance for Summer drunky bright nights.
The fastest tracks ,"Sharon" "Jane" "Giada" "Cindy", are purposely put in the tracklisting for a balanced listening pleasure step after step, meanwhile other tracks are deeply evolving a same kind of song formula, where a central melody is easily treated with enough creativity to let the musicians evolve their approach retaining the main idea of the primary instrument here, the keyboard and piano enriched by the bass and strings.
One parallel group of evolving sound layers, is the one wich comprises the synthesizer, one acoustic guitar, and the string orchestra, they put every emotional bit to their maximum stretching possibilty, adding a special effects just there where it need, and in this record there's no one single moment wich is not filled with alternate moviments wich raise up a omni-comprhensive unity purpose of harmony represented by the use of each instrument.
For example when listening to the fresh season happiness of "Geraldine" the acoustic guitar is absolutely here to fill the rhythm and the same point is appropriate in the thoughtful deepness of "Ambra" and the epocal sense of drama in "Lisbeth" and the loving atmosphere of "Sarah".
The electric guitar instead with his fuzzy licky effected wackiness is primary in the spacey percussive "Sharon" to sustain the abstract speeding of piano arpeggios and bass and drum tight beat.
The acoustic guitar makes his entry in absoult color manner and bright timbre.
In "Jane" the perfect disco style fastness shows the never boring distinctive part of the bass, wich is alterning on high and low frets meanwhile the piano is snoozing out some long percussive array of keys, all fused in one efficient emotive sonic ambient.
So where it has gone the best modern easy listening of the eighties wich wouldn't appear in the pop radios?
It is here, always relaxant and pleasant, luscious and attractive as fascinant as young ladies are.
Depicted in the cover with a sensual "bleue", these international female names do reports a bunch of seductive ideas and do suggest Italian female names equally for the attentive listener.  It is obvious these femalia are the uttermost of the spicy, the wet, the hairy best of all the women in the disco-univers! si si, ragazzi!  Hard to skip in the mind that last track last resonating bass note...epic and crazy...absurd and figurative....cinematic and emotive.... .For such an achievement i bet the players where in a SUCH BLU MOOD !

Neither I have found elsewhere in some other libraries sucha quality put into production studio sound plus at the same time combined with the sensitive "aural aspect" of music that is able to deliver so strong dramatic emotions, in a really imaginative way, totally suppressing the background purpose of music
So, believe me, this remains a "Unique, Totally Worth Library", with many future listening for little chosen emotional moments (mostly when it rains down, it works so fine!), when we want strongly enhance our mood in our memory for "historic" moments of our lives.

So when Libraries Lps sometimes do overcome the pure "back track" purpose, here it is a surprising "something" for your $oul, wich will enhance and soothe your spleen, and the film is YOUrs.

Ecco...grab a listen...the season is cold and soul have to be warm to express...  And I will send you twenty euros if you actually read through all of the above! "


Can you believe it????   I should probably not be too far off the mark in guessing the influence of some neurotransmitter-like chemical reaction had taken place in the moments just preceding.  What about reality, which, as is well known, must always interfere towards the finish line of these ecstatic pronouncements like the bottom of the wall which just refuses to budge upon the accidental embrace of your toe?  Well, this music is the much-maligned muzak style of orchestral easy listening with keyboards playing melodies which was such a hated part of the shopping experience back in the day.  The fact that this has been replaced by the same stupid Beatles and pop hits from the seventies like Dancing Queen by Abba or Fernando or Candle in the Wind (personal most hated song) is not a step in the right direction, in my opinion.  At any rate it really brings back memories for myself, particularly since rather than instrumental orchestral cover songs of well-known melodies like Yesterday by McCartney, you get well-composed music altogether.  Note the presence of compositional collaborators: Grande and Raspani, in addition to Rocchi.



And some of these ladies sound like they were pretty easy pickin' esp. back then in the seventies before HIV completely changed the genital landscape, track A4's Ingrid for ex. I can imagine lying back on a bearskin rug (anybody still have those?) with a long cigarette holder and a pubic area hairier than a baby hedgehog-- good luck finding her clitoris in there, whilst her powerful flowery perfume assails your coke-burned nose, and her pants that flare out to two-feet bell bottoms at one foot just lifts up from the wind of her thighs moving and the smoke from the incense stick but you know what, baby, she sure knows how to moan and yell when it's time to cash in those food stamps at the train station when the locomotive comes right on time-- over and over and over again-- it's German not Italian, so there's never a delay, baby.  So please, let me introduce you to Ingrid, and her two sexy sisters, and don't worry: she don't believe in monogamy, except if you're ugly, or non-caucasian:





B5's Giada is a real disco queen, as you'd expect from her name and the square footage of boob hanging out, B1's Sarah is the pensive, intellectual type, probably wears glasses, definitely uses an all-natural cumin-based deodorant unfortunately, B3's Sharon is a little bit slutty, a little bit secretarial, after a nice interesting progressive intro, you are struck with electricity at the thought of marrying her, but after the inevitable sex, suddenly you realize there is less depth to her than you thought plus her habitual halitosis-- just can't understand where that comes from-- really gets on your nerves and now she keeps calling you day after day thinking you're in love with her, she just won't go away, she's one of those girls you were really just hot for before you laid her, so why did she give in so quickly, didn't she realize she shouldn't have?  Oh well, gonna be real awkward now at the office when you see her-- I guess that's your punishment...





B1's Sarah sounds just like the 6th interval melody of Love Story, too bad the ending of the song is not quite as good as the movie with the chick dying, while A5's Giselle sounds like her favourite movie was Marlon Brando in "Last Tango in Paris" --especially the part where he used a stick of butter to lubricate her then fried a sunny-side up egg on her ass.  Meantime A3's Cindy sounds like she watched too many reruns of TV's  Love Boat with Capt. Stubing hitting on coked-out-social-director Julie McCoy, who was said to have slept with so many men on the course of the cruiseship's travels that if every grain of sand on every beach was named after one of them, there would still be men's names left unused; it was said, she was so vaginally well-known that all anatomy textbooks were based on her and the usual reaction of medical students looking into Grey's Anatomy book is to say, oh, wait, that's Julie!

And I think B6's Lisbeth is the kind of chick you could really fall for: delicate, smooth skinned, ethereally sophisticated and educated with a thin nose and hopefully as much into music as she is into sucking dick:






So I guess I agree with the Italian reviewer above-- these women are just sooo easy!  no, just kidding, I mean, this record is very good and very enjoyable and for me, it really brings back memories... uh, musically I mean.