Le Idee Di Oggi Per La Musica Di Domani
02. Un'altra come te
03. La sorte più bella del mondo
04. Una più felice di te
05. C'è qualcosa nella vita
08. Lui verrà
09. Le stagioni
11. I tuoi occhi sono tristi
12. Monna Cristina
13. Sotto i portici di marmo
- Maurizio Masla / vocals
- Franco Fabbri / guitar, vocals
- Luca Piscicelli / guitar, vocals
- Fausto Martinetti / keyboards
- Alberto Santagostino / bass
- Antonio Zanuso / drums
STORMY SIX from Milan, Italy was one of the original bands in the RIO movement and appeared in the famous on March 12th 1978 in the New London Theatre in London. However, as opposed to the other bands appearing with them, they did not start out their musical career as a RIO sounding band.
STORMY SIX began its life in the mid 60's as a folk group with psych influences and left wing tendencies, composing protest songs. This has been the case in their first 3 albums, "Le idee di oggi per la musica di domani" (1969), "L'unità" (1972) and "Guarda giù dalla pianura" (1974). In their 4th album, "Un biglietto del tram" from 1975 the complexity and experimentalism start to show. It was to be only in their 6th album, "L'apprendista" from 1977, that the RIO sound would reach its climax. The following "Macchina Maccheronica" (1980) is even a more complex and continues in the pathway of its predecessor. Both these albums are what won this band a place in the RIO genre. With the next final studio album, "Al Volo" from 1982 they introduced an electronic and poppish sound in their music.
Too early recording. The band's music is very influenced by the 60s country-rock as almost all the less commercial Italian music of that period. They sound like "I Giganti" or "I Nomadi". There are symptoms of the experimentalism to come, in some lyrics and in some musical moments like the flut eat the end of "La Storia Piu' Bella Del Mondo".
There's a bit of rock, also a little acid, on "Schallplattengesellschaftmbh" that's the best track of the album and the one surely of interest for proggers. We have to take into account that in 1969 in Italy a band had to obtain a contract with a major and follow the market's rules. This track is an excellent exception and tells us where the band actually wanted to go.
The rest is pop. Often good pop, but it has just a documentary value. Only "Ramo" has a psychedelic/indian mood given by the acoustic 12 strings guitar that sounds like a sitar (or is it a true sitar? It looks more like a 12-strings).
Another good track is the closer "Sotto I Ponti Di Marmo" that has also good lyrics.
Three good tracks oncluded in the middle of forgettable stuff are not enough for the third star, but I suggest this album anyway, because the three mentioned tracks are good and deserve a listen.