Nuova Idea are one of the most rewarding of the lesser-known bands of Italian progressive rock — a Genoa group, closely linked to New Trolls, who across three early-1970s albums fused heavy guitar-and-organ rock with symphonic ambition. Their final record, “Clowns” (1973), is a semi-forgotten gem of the genre.

The short version

Formed in Genoa at the turn of the 1970s out of a beat group, Nuova Idea made three albums of guitar-and-organ-driven prog — wild, heavy and inventive — before splitting in 1973. Their masterpiece, “Clowns”, crowns a short but vivid career, and several of their members went on to play with New Trolls. For lovers of the heavier, organ-led side of RPI, they are a real discovery.

Genoa, 1969: from beat to prog

Nuova Idea grew out of the Genoese beat group Plep, which by 1969 had evolved, with the arrival of singer and keyboardist Giorgio Usai, into J. Plep, and in 1970 became Nuova Idea. For contractual reasons they also released records under the names The Underground Set and The Psycheground Group — pressed across Europe and so convincingly that some critics took them for a British band. Settling on a guitar-and-organ-driven sound, they released three albums on the Ariston label between 1971 and 1973, weathering a series of guitarist changes along the way.

Guitar, organ and heavy prog

Nuova Idea played a vivid, heavy brand of Italian prog, built on the interplay of guitar and Giorgio Usai’s Hammond organ — a clear admirer of Deep Purple’s Jon Lord. Around this they wove richly structured, multi-part vocal harmonies and falsetto choruses, not unlike fellow Genoese band New Trolls, over instrumental backdrops that ranged from psychedelic to symphonic. Theirs was music of confidence and imagination, by turns sensitive and hard-rocking, and if their later, more abrasive lead vocals divide listeners to this day, the playing throughout is excellent.

If this is your scene, the books go deeper →

In the Beginning, Mr. E. Jones, Clowns

Nuova Idea’s debut, “In the Beginning” (1971), is a wild, colourful, slightly directionless burst of psychedelic prog, bursting with ideas as the band found their feet. With “Mr. E. Jones” (1972) they grew more focused and ambitious — a concept album following the routine life and daydreams of an office clerk, rich in choral parts and dramatic prog crescendos, and their most successful record at the time. But it is their third and final album, “Clowns” (1973), that is generally held to be their finest: a complex, majestic, full-on prog work loosely themed around a circus performer, with the harsh, distinctive voice of new guitarist Ricky Belloni set against lush, elaborate instrumentation. Its long centrepiece “Clown”, complete with trumpet solo and children’s choir, shows the band at their most ambitious — a semi-forgotten gem of Italian prog.

Album by album

Three albums of heavy, organ-led Italian prog. Tap any title for its guide.

The players and afterwards

At the core of Nuova Idea were keyboardist Giorgio Usai, guitarist Claudio Ghiglino, bassist Enrico Casagni and drummer Paolo Siani, with a revolving cast of lead guitarists — Marco Zoccheddu on the debut, who left to form Osage Tribe, then Antonello Gabelli, and finally Ricky Belloni. Limited success led the band to split in 1973, and several members went on to notable things: Belloni joined New Trolls, later followed by Usai, and both took part in a tour with Fabrizio De André, while drummer Paolo Siani played with Equipe 84 and Opus Avantra. Decades later, Siani revived the name for a series of charity recordings. But it is the three original albums on which their reputation rests.

Where to start

Begin with “Clowns” (1973), their masterpiece and the natural showcase for everything that made the band special — heavy, symphonic and richly arranged. From there, “Mr. E. Jones” (1972) offers their most accessible and well-loved concept work, while the debut “In the Beginning” (1971) captures their wilder, more psychedelic early days. All three reward fans of organ-led RPI.

Why they still matter

Nuova Idea matter as one of the strong, slightly overlooked bands of the early Italian scene — a group who, alongside the likes of New Trolls and Osanna, helped shape the heavier, organ-driven strand of RPI. In “Clowns” they left behind a genuine hidden gem, and through the musicians who passed on to New Trolls and beyond, their influence ran deeper than their modest commercial success suggests. For anyone digging beyond the famous names of Italian prog, Nuova Idea are well worth the trip.

Browse the bookshelf in the footer →