dosankos

I take this opportunity to wish Enzo a happy birthday; today, June 3rd, 2025, he would have turned 90 years old. I also want to give some credit to "Foto ricordo," which you have unjustly underrated, and I apologize in advance for the wordiness, but it is necessary to go into details.
It's true, given that when we talk about "Ci vuole orecchio," we are faced with one of Enzo's most successful albums, and no one disputes that. But frankly, drastically lowering the bar of an excellent album like Foto ricordo by calling it modest or weak—excuse me, dear reviewer jannacciano doc (as you define yourself)—made me jump out of my chair.
But let's take a moment to deeply contextualize the two albums, which were released only 10 months apart (July 1979 and May 1980), and let's start with Paolo Conte, one of his oldest friends. In "Ci vuole orecchio" you say that Jannacci pays homage (your emphasis) to Conte with "Questa sporca vita" (a 1974 song from his debut album), while in "Foto ricordo" he borrows (the opposite attempt, a bit of belittling on your part) "Bartali" and "Sudamerica," songs released by Paolo less than a month earlier (June '79) and therefore practically unreleased, considering that Enzo had already finished recording "Foto ricordo" that June, awaiting distribution in early July. Remembering that the "phenomenon" Conte did not take hold immediately, yes, in my judgment "Bartali" and "Sudamerica" can be considered practically unreleased songs.
Let's move on to "Il dritto" and "Silvano," other songs not unreleased but rearranged and reinterpreted, the first published by Enzo in 1970 in the album "La mia gente" and the second in 1978 by "Cochi e Renato" on a 45 rpm record. So, in "Ci vuole orecchio," the purely unreleased tracks are 5 out of 8.
In "Foto ricordo," the only truly non-unreleased and borrowed song is "Mario" by Pino Donaggio, dated 1976, to which Enzo gives a wonderful version. But do we also want to include those by Conte even though they were practically released simultaneously? Okay, I'll grant you this benefit. Do we also want to exclude the three spoken pieces, "Il ficus" and "Il sintetizzatore," and the mini "Il labrador" in between? No, I won't grant you that because, despite lacking musical accompaniment, they have their own meaning, but I want to group them as if they were a single text because I see them as strongly connected. So, to summarize, the unreleased songs in "Foto ricordo" are 6, or rather 5 and a half, putting it close to the exclusivity of "Ci vuole orecchio," namely the "recitativo" (all put together), "Natalia," "Io e te," "La poiana," "Saltimbanchi," and "Ecco tutto qui," to which I give half credit because its music had already been used in one of his 1976 songs in the album "Vivere o ridere."
Then, if I understand correctly, for you "Foto ricordo" is a modest and weak album only because of the music and arrangements, which unlike "Ci vuole orecchio," are more impulsive, richer, more virtuosic, and yes, the other is more melodic, more intimate (even though the musicians who played for him were the same, one or two more, one or two less), and excuse the term, more suffering, more reflective, but also deeper, and it is more suffering, reflective, and deep precisely because of the themes it addresses that touch the heart and soul. And that is why we are talking about two of Enzo Jannacci’s greatest albums.

The attention to detail in the settings, the cars, the period clothing—everything was perfect—but once again, the opportunity to portray something close to the truth on film has been missed. I expected at least a chronological narrative, episode by episode, rather than personal interpretations, weaknesses, and the extreme humanization that is almost blasphemous and at times ridiculing of the various subjects, especially Andreotti (the vomiting scene really disturbed me), Cossiga (who seems like a psychopath), and Paul VI, who appear to have been crafted by Kubrick. There were numerous investigative leads from the last 10 to 15 years that could have added more "substance" to the film. In the reconstruction of via Fani, the blue Austin Mini was missing, parked in the florist's spot, "blocking" a right exit for the Alfetta of the escort and consequently for Moro's Fiat 130. Many rumors about Moretti’s connections with the secret services (even after Moro) could have spiced up the film, just as the detailed accounts of the parliamentary inquiry that closed in December 2017 find no trace here. Pieczenik was there for a reason he himself stated a few years ago, not for what is depicted in the film. Great credit goes to the actors, especially Buy, Gifuni, and Servillo, who keep the film afloat.

It took two trials for Bacalov to admit that he used it to create the soundtrack for "Il Postino" 20 years later. And another 20 years (after those two plagiarism trials) to recognize that Oscar for Maestro Endrigo. But in the meantime, the Maestro had truly reached eternity without knowing he had won it.

It's been three centuries since I last wrote on Debaser. I just stop by for the ratings. Unforgettable Sanremo performance with Paolino Rossi, and I would add that the title track, more than talking about politics, is a sarcastic accusation against Tangentopoli that erupted a couple of years earlier. I listened to it just a couple of weeks ago. Tracks that are always of excellent quality. Jannacci is always a guarantee. 5 to you.

Well, to be honest, "Don't put your fingers in your nose," suspended halfway between "...and go" and "The 13," is effectively a Banco album, even though we know it's officially attributed to Francescone.

I had the opportunity to review "Urgentissimo" a couple of years ago, and besides praising the progressive epic, I acknowledged the technical quality and professionalism with which Banco performed some of their works from the "Pop/Pop-Rock turn" after 1979. I don't fully agree with the review, and I reaffirm the 4 stars for the album.

This one had slipped my mind. One of the most successful albums along with the next three.

You have been a bit too harsh with the grade, but I commend you for the proposal. Endrigo starts to spread more works of art towards the end of the decade.

Certo! Invia il testo e procederò con la traduzione.

To the late Sergione who was also robbed of the Oscar, 5 for centuries of centuries and 5 to those who propose it.