The story of this LP begins in the summer of 2021, during the Trieste Prog Festival. Talking about our mutual musical discoveries with my friend Mauro Degrassi, he told me he’d tracked down a pretty good tape of a Trieste rock band from 1973: Exit. On the way home after the concert, that name kept popping into my head, until, rummaging through a drawer of my memory, I remembered seeing them at a concert with other local bands when I was still in middle school. From that moment, I began my search for information about the group: I managed to find two songs posted on Facebook, on a site dedicated to Trieste bands of the 1960s beat, and I immediately realized Exit’s potential, with a sound similar to groups like Spettri, Rovescio della Medaglia, and Garybaldi. After contacting various music lovers of the time, I discovered that the band included some highly respected musicians. Guitarist Goran Tavčar had played in Kameleoni, a Yugoslavian group that had released several beat/psychedelic EPs; he later participated in Gino D’Eliso’s Il mare and played on Boomerang’s two LPs, as well as with several other Yugoslavian groups, establishing himself as one of the best guitarists of the period. Bassist Paolo Bassi had played in the Witz Orchestra and various other jazz groups; he now lives in the Canary Islands, where he has been performing at Club Méditerranée for years. Finally, Euro Cristiani, a great drummer, began his career in the 1960s by joining Patrick Samson’s group, replacing Nigel Pegrum (who would later join Gnidrolog and then the more successful Steeleye Span) for a world tour. He subsequently joined Numero Uno as a session musician, appearing on numerous recordings for the label. He accompanied Adriano Pappalardo and Umberto Tozzi live, played with Oscar Prudente and Ivano Fossati, and took part in the 1979 Festivalbar as a singer, releasing the 45 rpm single “L’amore è quando non c’è più.” In short, a group with a rich musical background, capable of ranging across diverse genres, left us these recordings, now finally recovered. After a painstaking work of cleaning and “reconstructing” the tapes by Mauro, fifty years later these tracks finally see the light of day on vinyl thanks to Black Widow Records.