Banco del Mutuo Soccorso are one of the towering giants of Italian progressive rock. Formed in Rome in 1969 around the twin keyboards of brothers Vittorio and Gianni Nocenzi, and fronted by the extraordinary, operatic voice of Francesco Di Giacomo, they created some of the most ambitious and beloved music of the golden age of Rock Progressivo Italiano. Here is our fellow fan’s ranking of their finest songs.

The short version

If you only hear a few, make them “R.I.P. (Requiescant in Pace)”, “Il Giardino del Mago”, “Non Mi Rompete” and “Canto Nomade per un Prigioniero Politico” — their thunderous signature epic, an eighteen-minute suite, their most beloved ballad, and a sweeping political masterwork. The full ranking is below.

Italian prog’s symphonic titans

Alongside PFM and Le Orme, Banco del Mutuo Soccorso form the “holy trinity” of Italian progressive rock. Formed in Rome in 1969 around the classically trained Nocenzi brothers — Vittorio and Gianni, both keyboard virtuosos — and powered by the majestic, operatic voice of Francesco Di Giacomo, they fused symphonic rock with Italian melody, classical grandeur and literary, often political lyrics. Their run of early-1970s albums — the money-box-sleeved debut, the evolution concept Darwin! and Io Sono Nato Libero — stands among the peaks of the genre, and like PFM they even recorded for Emerson, Lake & Palmer’s Manticore label. These fifteen songs are the best.

How we ranked them

This is one fan’s order, weighing melody, ambition, that glorious voice and lasting impact. The facts are accurate; the order is a starting point for the debate.

The essential six

At the very top sits “R.I.P. (Requiescant in Pace)” (1972), their thunderous debut statement and signature epic. With it: “Il Giardino del Mago” (1972), an eighteen-minute, four-part suite and a cornerstone of Italian prog; “Canto Nomade per un Prigioniero Politico” (1973), a sweeping, fifteen-minute political epic; “Non Mi Rompete” (1973), their most beloved song, a gorgeous and gentle ballad; “L’Evoluzione” (1972), the majestic opener of their evolution concept album; and “Il Ragno” (1976), a dramatic, much-loved later classic.

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Reliably great

The next tier is essential too. “Metamorfosi” (1972) is a complex, largely instrumental tour de force; “La Conquista della Posizione Eretta” (1972) is a propulsive, keyboard-driven highlight; “750.000 Anni Fa... L’Amore?” (1972) is a tender, evocative centrepiece; “La Città Sottile” (1973) is a delicate, atmospheric gem; and “...A Cena, per Esempio” (1976) is a theatrical, shape-shifting opener.

Deeper cuts

For the dedicated, these reward repeat listens. “Traccia” (1972) is a stately instrumental and enduring live favourite; “E Mi Viene da Pensare” (1976) is a reflective, melodic standout; “Terramadre” (1978) is a highlight of their ambitious orchestral album; and “Canto di Primavera” (1979) is the graceful title track of a gentler era.

Every song at a glance

All fifteen songs, in chronological order — each linked to the album it comes from, so you can hear it in context.

Where to start

Begin with their money-box-sleeved 1972 debut and the evolution concept album Darwin!, the twin peaks of their catalogue, then the political Io Sono Nato Libero and the dramatic Come in un’Ultima Cena. Their English-language Manticore album Banco and the orchestral Di Terra reward deeper exploration.

The players

Banco del Mutuo Soccorso were built around the twin keyboards of Vittorio and Gianni Nocenzi — the classically trained brothers whose interplay defined the band’s sound — and the towering, operatic voice of Francesco Di Giacomo, one of the most revered singers in Italian music. Guitarist Rodolfo Maltese joined in 1973 and became a mainstay, alongside bassist Renato D’Angelo and drummer Pierluigi Calderoni. The band suffered two grievous losses: Di Giacomo died in 2014, and Maltese in 2015. Vittorio Nocenzi carries the band on to this day, with singer Tony D’Alessio.

Why they still matter

Banco del Mutuo Soccorso proved that progressive rock could carry the weight of opera, literature and classical music while losing none of its power. One of the “holy trinity” of Rock Progressivo Italiano alongside PFM and Le Orme — and kindred spirits to darker RPI visionaries like Museo Rosenbach — they created a body of work of astonishing ambition and beauty. Decades on, and even after the loss of their beloved singer, the music of Banco remains a cornerstone of Italian prog.

Go deeper

Keep exploring: rank their records with our guide to the best Banco albums, or place them in the bigger picture with the best progressive rock songs of all time.

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