trickykid

Dear ISIDE (PART II), if you take away the LEFT audience, people like GUCCINI wouldn’t make it to their third album...

Dear ISIDE, let me explain my thoughts better. The themes and the type of song proposed by RINO (a cheeky protest song...) obviously draw from the pool of LEFTIST music lovers, whether you like it or not. People like CELENTANO or BATTISTI catered to the MAINSTREAM audience... it's conceptually a whole different thing. RINO was much more "niche" compared to BAGLIONI, as his themes were certainly not about 'AMMMORE'. Nor could he benefit from the RAITV or RADIO system (like the authors you mention... who could broadcast songs like NUNTEREGGAE+, AIDA, IL CIELO è SEMPRE + BLU on TV?). If you also take into account the years of RINO's trajectory, you realize that being practically excluded from the mass media circuit and the indifference of LEFTIST channels contributed to the failure of our HERO. RINO primarily sold SINGLES during his lifetime. His albums were for the "carbonari," for those not aligned with what was generally propounded. (Let me remind you that DE ANDRÉ broke through anonymity when MINA performed one of his songs on TV. Before that, his albums were known to just a handful of people. This was already happening by the end of the 60s. RINO found himself in a much tougher period, the second half of the 70s! And we know what that meant for ITALY.)

More than "uncomfortable" (which it undoubtedly was: just read some of his texts...FABRICANDO CASE, where he criticizes building abuses at a time when urban devastations and various uglinesses were happening everywhere - especially in the south...), I would define RINO as an authentically NON-CONFORMIST singer (and thus, also uncomfortable for this reason). I have always believed that this was the main reason for his lack of success during his lifetime: the fact that he was not politically (and boldly) aligned, meaning he was not supported by the various FESTE DELL'UNITA' and by the audience that - at the time - backed the so-called "committed" singer-songwriters. His AUTHENTIC IRREVERENCE towards the political parties (which were so important in the 70s for the dissemination of cultural products; think of festivals, people’s houses, etc.) and his JOVIAL yet terribly SERIOUS poetics (again, in addition to FABBRICANDO CASE, he refers to AGAPITO FERROVIERE, about the migration from south to north that caused the depopulation of Southern Italy, as well as the HITS that are now on everyone's lips: IL CIELO è SEMPRE +BLU, NUNTEREGGAE+, etc.) made him famous only for a few lucky SINGLES (GIANNA, above all), but ultimately marginalized from the SONG that matters. Rino is a singer-songwriter, someone who didn’t need to talk about grand systems with a doctoral tone, nor to use lofty citations or moralistic allegories - things that many celebrated singer-songwriters have done in Italy - to become part of the ranks of the poets of song.

A brief but effective comment...thank you!

If anyone has read FERRETTI's book "REDUCE," I am awaiting clarifications, comments, and reviews regarding it.

I'm back on the subject of COVERS. It's true that they totally suck, but the back of this record is essential: NILDE IOTTI in fur with her gaze turned to the sky... will she be thinking of her Palmiro?

The poetics of RINO is encapsulated in "CERCO," a semi-obscure song from the album NUNTERREGGAECCHIù. It confirms that RINO was not a "nice guy," a buffoon, but someone who had nothing to envy from the various so-called engaged singer-songwriters (whom he so despised). Alongside ESCLUSO IL CANE, it stands among the TOPICAL moments of RINO's songbook.

GRAND!!!! "FAITHFUL TO THE LINE (THE LINE DOESN'T EXIST)". And those who don't understand the greatness of the CCCP can go fuck themselves! CCCP-CSI *****, at least until the GOTHIC LINE. I’ve never heard of the PGR, nor LINDO FERRETTI solo.

sorry, but what do we care about a FICTION from RAI 1?

sorry, but what do we care about a FICTION from RAI 1?