trickykid

Lately, De André considered this album his masterpiece, his most successful work. In fact, it contains all the fundamental elements of his poetic vision, not least the Christian aspect and that pietas that underlies many of Faber's songs. Here, the inspiration is at its peak, as the rewriting of the story of Jesus, based on the Apocryphal Gospels (which should be read, even to understand certain songs by Nick Cave! now published in a single volume by Ed. Einaudi), gives us the image of a Jesus "a man among men." Just like the one described decades later by Saramago in IL VANGELO SECONDO GESU'. It’s worth noting that a similar experiment had already been done cinematically by PASOLINI in his IL VANGELO SECONDO MATTEO in 1964. The musicians are stratospheric, as already pointed out, and they are:
* Franco Mussida: guitar
* Franz Di Cioccio: drums
* Giorgio Piazza: bass
* Flavio Premoli: organ
* Mauro Pagani: flute
all members of the band I Quelli, with the collaboration of
* Andrea Sacchi: guitar
Furthermore, Angelo Branduardi and Maurizio Fabrizio, then unknown, would also participate as session musicians.
In the last Tour, De André performed the repertoire of this album live, giving it a musical reading essentially identical to the recorded version.

I join ISIDE, who said everything that needs to be said about GIOVANNI LINDO, in a nutshell. The album is a total disappointment... just like those of P.G.R. Confirming that the collaboration with ZAMBONI was working wonderfully!

@ARNOLDLAYNE...of course you’re right...I beg your pardon: P.G.R.

@ARNOLDLAYNE...of course you’re right...I beg your pardon: P.G.R.

one of the finest records of ITALIAN ROCK, rock that doesn’t imitate, that doesn’t repeat clichés, but has a sound and a well-defined poetic: the unmatched style of C.S.I. a *** album, just like the subsequent live-unplugged IN QUIETE. The review is good, if it weren’t for this statement: "Millenaristic and alchemical, right from the title"... For those who don’t know, Codemondo is a small town in Emilia (paranoid?). The manipulation of the place name (k instead of c) gave birth to the title. The void left by C.S.I. in Italian music has not been filled by anyone else, not even by P.R.G. (yet another transformation of the acclaimed company. CCCP->CSI->PRG).

@Bjork--That's one of my favorite songs by C.S.I.: like writing a song using the MEREGHETTI CINEMA DICTIONARY opened at random.

one of the finest records of ITALIAN ROCK, rock that doesn’t imitate, that doesn’t repeat clichés, but has a sound and a well-defined poetic: the unmatched style of C.S.I. a *** album, just like the subsequent live-unplugged IN QUIETE. The review is good, if it weren’t for this statement: "Millenaristic and alchemical, right from the title"... For those who don’t know, Codemondo is a small town in Emilia (paranoid?). The manipulation of the place name (k instead of c) gave birth to the title. The void left by C.S.I. in Italian music has not been filled by anyone else, not even by P.R.G. (yet another transformation of the acclaimed company. CCCP->CSI->PRG).

I insist on considering the S.Y. as the "sound" of a "certain" N.Y., which has as its guardian deities the Velvet Underground and Television. Clearly, there were THOUSANDS of other groups active on the scene pursuing different and often distant sounds/genres, but certain "metropolitan" characteristics, in terms of aesthetics and musical conception, undeniably connect these three (fundamental) groups.

Well, RANALDO is the "intellectual" of SONIC YOUTH. I'm wildly copying & pasting from WIKIPEDIA: "Lee Ranaldo (born February 3, 1956, in Glen Cove, Long Island, New York) is an American guitarist and singer, a member of the band Sonic Youth and a solo artist, as well as a producer, poet, and editor.
During his time at Binghamton University, he played in the experimental punk group Fluks (a name derived from the Dada art movement Fluxus). His influences during that time included both late 1960s Californian psychedelic bands like Grateful Dead, Jefferson Airplane, and Hot Tuna, as well as new New York punk and wave bands like Ramones, Television, and Talking Heads.
After moving to Brooklyn in 1979, he played with Rhys Chatham and with Plus Instruments (with whom he later recorded an album in 1982). Through Chatham, he met avant-garde composer Glenn Branca and joined his ensemble. In the tumultuous New York no-wave scene of the early '80s, he met Thurston Moore and Kim Gordon, his future companions in Sonic Youth, which would become one of the reference bands of the entire American independent scene, and beyond.
In parallel with his substantial work with Sonic Youth, Ranaldo has developed a solo production starting from 1987, when he released his first album From Here to Infinity. The subsequent albums were: Envisioning and Scriptures of the Golden Eternity in 1995, Amarillo Ramp (For Robert Smithson) in 1997, Dirty Windows and Clouds in 1998, Music for Stage and Screen and Oasis of Whispers in 2005, and Four Guitars Live in 2006.
In the years following the rise of Sonic Youth (after the album Daydream Nation in 1987), alongside his music and writing career, Ranaldo took on producing as well. Among the groups he produced are: Babes in Toyland, You Am I, and Deity Guns.
As a writer, Ranaldo has published both music-related books and, above all, poetry. His latest poetry books are Lengths & Breath from 2004 and Road Movies from 2005 (a revised and expanded edition of the eponymous book published in 1994).
Ranaldo, along with Thurston Moore, was included in 2004 in the list of the greatest guitarists of all time by the American music magazine Rolling Stone."

Somewhere I must have a "cassette" with this Album... (but where have all the "cassettes" that represent my adolescence gone?!?). The record is a way to promote 3 Italian bands from the IL MACISTE circle (the legendary fanzine, who doesn’t remember it?), the best of which we all know and time will confirm (C.S.I.). I agree with those who claim that EPICA ETICA ETNICA PHATOS is already a C.S.I. album. The UTSMAMO were quite popular back then, even here in the deep south; they were often seen, as long as they were in an "alternative" context (it wasn't yet the era of "clubs" and "venues," but this music mainly played in social centers and at some live showcases of emerging music, fueled by a few forward-thinking municipalities). Their success was never fully understood; in my opinion, they appealed to some gray eminence who sponsored them. I liked the Disciplinatha more at the time; today, they seem utterly lacking to me. In the end, the best are always them: the C.S.I., the only ones who will endure over time. But this is as obvious as a house.