01 - Garibaldi 3:28 02 - Tre Fratelli Contadini Di Venosa 3:21 03 - Pontelandolfo 4:45 04 - Sciopero! 2:56 05 - Suite Per F & F 11:24 06 - La Manifestazione 5:18 07 - Fratello 1:36
Not many progressive music collectors are aware that Stormy Six released some very interesting and original works in that style, the group having long been associated with the left-wing political and protest songs of their first albums.
Stormy Six began as a beat band in the 60's in Milan, and they even supported the Rolling Stones during their first italian tour.
Their first album, named Le idee di oggi per la musica di domani by their record company, is a good example of the genre, with even some light psych influences like in the instrumental Schalplattengesellschaft mbh, bass player Claudio Rocchi being the most interested in psychedelia. He was in fact the first to leave the band to pursue a solo career.
Second album L'unità saw the group reduced to a quartet, with bassist Massimo Villa replacing Rocchi, and keyboardist Martinetti leaving during the recording sessions, though he appeared on some tracks only. The sound was now strongly inspired by the then popular West-Coast style, yet it contained some rock-inspired moments like in the long Suite per F & F with good instrumental parts by Ricky Belloni (then with Il Pacco and later in Nuova Idea) and sax player Claudio Fasoli from Perigeo.
In the third album, Guarda giù dalla pianura, dealing more strongly with protest songs, the Woody Guthrie influence was evident in the cover versions' choice, and the band was now a constant presence in left-wing movements concerts and festivals.
Gibraltar: Very much Hammond based music, with a big slab of Mellotrons, harpsichord and Moog synths. The bass guitar takes on the role of the electric guitar. Add to that a singing drummer and you´ve got Italian Standarte. Not so much a symphonic prog band as a true retro band. Incredibly "authentic" early 70´s sound that could fool anybody who didn´t know they were a 90´s band. And it´s not just the sound, it´s the way they play that all contributes to the genuine retro feel of the records.
All records consists of basically the same kind of music: hard rock, a little psychedelia, with a hint of kitschy rock opera/art rock approach to the songs. Long songs with many parts and subtitles, and on the first album you´ve even got spoken narration to link it all together. The lyrics leave a little to be desired; a lot of repetition and crummy english, but in a way you forgive them ´cause they´re so damn cool. Really groovy riffs and distorted organ solos, plus suprisingly catchy melodies.
Stimmung is half live, half studio. The live parts were partly recorded at the progressive rock festival in Stockholm 1997 (I was there, and I fell in love on first sight). All warmly recommended, and it doesn´t matter what record you buy; the songs differ a little, but the sound and the style stays the same. -- Daniel
Siddhartha, named after a novel by Hermann Hesse, were formed in 1973 in Korntal near Stuttgart. They performed an intelligent mixture of progressive and art rock influenced by psychedelia and folk. Although their 1975 album is called "Weltschmerz” all songs contain English lyrics except for "Weit weg”. It was released in a limited edition of 400 copies and is now one of the most soughtafter collectors’ items. A thirty minute demo tape by Siddhartha which was recorded after the release of their album has disappeared and has not yet been found.his series.
Schicke, Fьhrs and Frцhling made three excellent albums of instrumental, highly electronic progressive rock, that were all released in the late seventies on the eminent German label, Brain. Schicke left the group after that, and Fьhrs and Frцhling released a trio of albums of similar music. The Collected Works of SFF combines the original three SFF releases (on the Brain label) with two live bonus tracks. With an arsenal that included two mellotrons, two moogs, two string ensembles, acoustic and electic pianos and guitars and a variety of percussion, SFF's all instrumental music is at once symphonic and celestial, completely unique and nearly always compelling. Were comparisons to be made, I would have to say they are closer to the spacy symphonics of Novalis circa Sommerabend than to Eloy, another spacy sympho band. But that just doesn't cover it all. Some cuts, such as "Wizzard" (from Sunburst) is very fusionesque while "Artificial Energy" (from the same album) is an amalgam of Popul Vuh atmosphere with Frippish ambient guitar. Within and across albums, SFF explored different textures and styles that hybridize Berlin electronics with symphonic lushness that prohibits simple categorization and comparison. Across all albums, the songs range from about 3.5 minutes up to the 16 minute "Pictures" on their debut. Speaking of, "Pictures" is one of the best tracks in the set, with ample time for thematic development and changes, covering haunting mellotron choruses, floor-shaking moog ostinatos, atmospheric strings synths and blazing guitar. For a very striking comparison, listen to the beginning mellotron two minutes into "Pictures" and at one minute into Anglagard's "Jordrok." Coincidence? You decide. Ticket to Everywhere shows a slight weakening of content. Some of the rhythms and drumming (e.g., "Song from India") show hints of the dance craze of the late '70s. That's not to say this is a disco album. Far from it, in fact, but still the sound is a bit more accessible. But, songs like the eight minute "Slow Motion" are trademark SFF from start to finish. The bonus live tracks are an excellent addition. "Every Land Tells a Story" is a four minute track of dancing synths and piano with acoustic guitar that was not released on any of the three LPs. The second is a ten minute medley of "Explorer/Wizzard" from the second album and it's an excellent working with a great drum solo. Percussionist Eduard Schicke is a fine drummer who has a touch of fusionesque drumming in his playing. He balances between laid back with the groove and driving forward with constant licks on the snare and high-hat.
genre: rock country: us quality : lossless (flac, cue, log, scans) time: 51`31" size: 359 mb issue: Japan Mini LP 2006
01 - Singing Winds, Crying Beasts 4:53 02 - Black Magic Woman - Gypsy Queen 5:22 03 - Oye Como Va 4:22 04 - Incident at Neshabur 5:03 05 - Se a Cabo 2:55 06 - Mother's Daughter 4:31 07 - Samba Pa Ti 4:50 08 - Hope You're Feeling Better 4:17 09 - El Nicoya 1:40
10 - Se A Cabo (Live 18.April.1970 @ Royal Albert Hall) 3:48 11 - Toussaint L'Overture (Live 18.April.1970 @ Royal Albert Hall) 4:52 12 - Black Magic Woman - Gypsy Queen (Live 18.April.1970 @ Royal Albert Hall) 4:58
genre: pop
country: uk
quality : lossless (ape, cue, log, cover)
time: 33`16" size: 212 mb
Formed in 1973 in England, the Rubettes were originally organized as a session outfit by Wayne Bickerton of Polydor A&R. Inspired by the successes of Sha Na Na, Mud, and Showaddywaddy, they combined glam rock presentation (red and white suits with matching caps) with a rock & roll revival sound. Their first release, 1974's "Sugar Baby Love," was an instant smash, remaining at number one in England for five weeks while denting the U.S. charts at number 37 in August, and remains their best-known record. Subsequent releases would be less successful, but the band soldiered on and continued to tour on the nostalgia circuit well into the 2000s.
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