Elio e le Storie Tese
Tutti Gli Uomini Del Deficiente

I don't give up, I was born to fight, and until the end I will continue my crusade against the old-fashioned, the narrow-minded, the church, and worthless humanity in order to shed light on "Elio e le Storie Tese."

How many "uncomfortable" comments and how many "ignorant" responses in the previous reviews! Oh my... what is this adversity against Elio?
Tell me something, is it a crime to laugh? Why do people have to criticize singers who use music as a tool to make people laugh? Are those who use music for politics any better? Are those who use music for propaganda any better? "Fuck bloody hell whore" don't tell me it's because of the swear words because "asshole fuck pussy" can be heard everywhere, including on TV, almost even in cartoons! Atroci, Gemboy, Profilax, Skiantos, Shampoo, Squallor, Sanculamo... there are soooooo many absurd groups, but damn it, there are none like the Elìì. I'm not saying that Elio e le Storie Tese should be liked by everyone... by all means, there's no longer a dogma, but referring to those who say things like: "Mh... yes, but you know,.... apart from not knowing how to play, but then... they're to laugh at, I mean, they're not a group to be taken seriously" (only to find out later that the idiot who said this is into Hardcore from morning till night). Narrow-minded damned, before shoveling shit on everything, be objective, stick your earbuds into your demented ears and listen to the proposed music: HOW THE FUCK CAN YOU SAY THEY DON'T KNOW HOW TO PLAY????????????????????????

ROCK/rock'n roll/hard rock/heavy metal songs: THERE ARE
pop/rock pop/synth pop songs: there are
rap/funky/reggae/raggamuffin songs: there are
blues/jazz songs: there are
dance/techno songs: there are
lyrical/opera songs: there are

DEMON! There's everything, and so (in conclusion): can a group that doesn't know how to play manage to do all these genres? ANSWER: NO! Elio has a great voice, Faso is amazing, Tanica is a monster (of skill, apart from the face). And above all, the movie "Rocco Siffredi e le storie tese" I also liked very much!
ah... and then, ahem ahem.... DID YOU KNOW THAT ALL THEIR ALBUMS HAVE BECOME GOLD RECORDS IN ITALY? That you hate them just because they make you laugh doesn't interest me, because to me they don't just do that.

They make people laugh intelligently, (I can already hear the crowd saying: "what the fuck are you talking about?") first of all based on (and I will never tire of repeating it) an authentic and spectacular instrumental technique that few have in Italy, and then using the textual part which is not just a collection of "fuck and fuck off," but (and even here I will never tire of saying it) a collection of puns, musical citations of others, film quotes, reality quotes, strange metaphors, and many times a good dose of "nonsense" that doesn't hurt and makes everything veeeeeeery special! Cripes!

I met the Elìì with "Esco dal mio corpo....", then "Eath the Phikis", then "Elio samaga...", "Rum Casusu", "Peerla", "Craccracriccrecr", and finally "Cicciput", so I listened to (more or less everything) in random order. Who would have said that the only CD I was missing was such a peculiar CD?

The movie "Tutti gli uomini del deficiente" I didn't like very much, I mean it amused me, it was pleasant but in short: as a whole, nothing special...
and this (which is supposed to be a soundtrack) I could never find in the store, in fact twice when I scraped up the money I left the "Ricordi Media Store" once with "Rum Casusu" (original) [which damn it in 2002 10 years after its release still cost 25000 lire] and another time with a Wasp CD [which had nothing to do with it but was on sale].

Centuries passed and the Elìì were no longer the group I chewed the most, but I met a guy who said he had the entire complete discography of the group in question and so I took advantage of it to borrow it. But.. I already didn't listen to them for a while, plus this was only a soundtrack... I thought of listening to it once and returning it immediately. Instead, the CD is still in my room and will stay there forever (I'm sorry Gabriele, accept this condition).
It's nice, but the thing that made me smile the most is the following: It's named after the movie, there's some small reference to the Gialappa's BUT IT'S NOT THE COMPLETE SOUNDTRACK!! in the movie they must have used one or two songs at most (I can't remember well because it's been a few years).

But let's analyze the following album of the year 1999 (same year of release as "Craccracriccrecr").

Perhaps it's precisely because Elio e le Storie Tese conceived two albums in a year that this one had much less success than the other, but on the other hand, the other is better. This one is not bad, it's hilarious, very enjoyable, but it's also strange, particularly different from the others proposed by the band.

"ARE YOU READY? TO FLY THROUGH QUANTUM CLOUDS AND RIDE PSYCHEDELIC STORMS OF EQUATIONS? PLAY WITH CLUSTERS OF BEATS?"

Yes! indeed the main theme of the album is this: a borderline between "disco 70" / "Experimental Sounds" / "Beat Rock'n Roll/, a bit like an Austin Powers completely on acid. (Coca-Cola + aspirin = perfect mix)

In fact, the first song is called "Psichedelia" and is obviously psychedelic, and this condition of "Pleasant mental confusion full of ecstasy" is perfectly represented both sonically and textually [And how beautiful the colors, power of the flowers, so nice. And chemical emotions, missed erections, so nice all the same.], the song is wonderful and fascinating, towards the end it's also interpreted by L. Dalla and is completely instrumental and thoroughly enjoyed. Next is "Ballate Bastardi", a Hardcore hammering, (a parody, of course) that fires a thum thum thum thum that perhaps (being also somehow connected to the previous track) wants to convey the following message: "You have to be a bit stoned to listen to this kind of shit". However, hardcore was perhaps the only genre Elio hadn't tackled and when the song ends (with a film quote) it starts "Yes I Love You": a real blast because on the relentless harsh and nasty Rock/metal base, they sing about "Picking little flowers" in the meadows, remarkable Elio's shrill voice as a Rocker (and remarkable the guitar solos). But the true talent of Elio's voice is heard in the next track: "Tell me you love me" (Zappa Cover); bloody hell: you are left speechless hearing this voice you've known so far a bit monophonic writhing in certain high-pitched screams of pure hard rock (in English). After a little interlude named "Il Sogno Del Coiffeur" (a variety show music with a film preview) reaches our ears "L'indianata", a masterpiece of jazz/country song that works the same mechanism as "Alfieri", that is, a verse each, but the peculiarity is the improvised text that changes in every live performance; if you only heard the version of this CD try to download the live version and you'll see that there is always a perfect and funny improvisation. And after the brief "Tonza patonza" where Faso (based on "Tonza patonza") creates a wind percussion base that in the movie serves as a background to Massironi's striptease, we arrive at "Risate a Denti stretti" (it makes me laugh just thinking about it) where on a pre-designed house base, the robotic voice (the one in "Eath The Phikis" says: "Didn't make me laugh"- the same used in recorded telephone services) tells jokes in time. (ah ah ah-what fun!!!). Then the very lively instrumental "Ranella Impazzita" with a Jazz-piano bar rhythm and "Furgoni Fratricide" where there is an instrumental revisitation of "Psichedelia" mixed with Beethoven's Ninth Symphony. "Hommage A Violette Nozières" is a beautiful cover of Area featuring "Mauro Pagani" on violin and Cesareo on the bouzouki (a kind of arabic mandolin of fascinating shape and style); while "Ci sentiamo in settimana" is a very relaxing piece of classical guitar. A sudden shock of pain within the bones of the joints attacks with "Acido Lattico" a song that musically represents the feeling, then "Passami la Palla" a funky piece sung by Faso. Another brief instrumental interlude named "Tegole Fratricide" precedes "Supermaison", the absurd/romantic ballad of the man with the slippers. "Mamma non mamma" sees La Gialappa's and the band anticipating "Presidance" where a dance music sketches a cheerful political activity, sung by Elio and Raffaella Carrà. The album concludes with a short homage to Feiez "Pignoramento" and "Maritto Ogami" also instrumental in afro/tribal style.

In short, an album that in the entire discography has been often and willingly underestimated but that I strongly recommend to anyone who still hasn't had the chance to get it