Gino D'Eliso
Santi & eroi

1979. While Franco Battiato inaugurates the trilogy Cinghiale-Patriots-Padrone, rich in oriental and Eastern European suggestions, Gino D'Eliso is on his third LP record, the fourth if you count the single with Vanessa Band. That is, Santi ed eroi.

Once again, a change of record label, from Numero Uno to RCA and this time to Philips. Demonstrating an author who is difficult not only to classify but also to accept, especially considering the national-popular and broad appeal perspective of the time.

The cover suggests a mix between Finardi and Graziani, for whom Gino played the piano in I lupi two years earlier. A tough rocker complete with the inevitable cigarette.

Speaking of Eugenio Finardi, the musicians on this album are almost all the same as those from Cramps, representing the crème de la crème of the Milanese scene of the period. Calloni, Donnarumma, Callero, Pascoli, and "violin" Fabbri, not to mention Claudio Dentes and Tony Soranno.

And just like Diesel, released in 1977, this album was played, according to the author, "in a jam session mode," in a festive atmosphere that is well heard in Eugenio's album in "Tutto subito," "Non diventare grande mai," and the title track.

All, however, filtered through the Triestine and Central European sensitivity, and indeed from here Gino D'Eliso becomes "the sovereign of Central European rock." He was for Central Europe what Battiato was for the Orient, a musical and conceptual contamination that makes both characters of admirable value, as well as immediately recognizable. Yes, because from here Gino manages to build a more defined musical identity, after the first two records that went in too many different directions.

Speaking of Ivan Graziani, the entire side A of the vinyl is heavily influenced by the echoes of the singer from Teramo. Electric guitars by the dozen for two great anthems, "Quelli più belli" and "L'età migliore," reaching with "Iole antica Iole" a striking resemblance that immediately makes you think of Agnese, Paolina, Cleo...

While side A oscillates between rock and singer-songwriter music, on the second side, the Balkan component of the artist emerges more.

The standout songs are the big single "Come sempre primavera," perhaps Gino's most famous song, "Santi ed eroi," where musically there is the influence of Eastern European music, and "Povera gente," which surprisingly ends with thanks recited by a voice imitating a child.

An irony also present in "Capitan Domenico," while the intimate vein lingers in "Casa mia (Cuca moja)."

Four years and a 45 rpm, "Bigliardi/Mitteleurock," will pass before seeing a new album. It will be Cattivi pensieri, the artistic peak and at the same time the end of his "best age," at least as far as wide-scale visibility is concerned.