Dislocation

But when talking about Marvino Gaio, one speaks of genius, immediacy, talent, compositional skill, and unparalleled stage presence..... and those certain whispers that turned into ecstatic little shouts were something only he could do; I’ve heard it from the grapevine….

I speak as an old man, as I increasingly find myself doing. I was at the concert in Genoa, at the Palasport, on January 3rd, '70, with a group of friends, the very concert immortalized in Veltroni's film and in the CD that was recently released. In short, at sixteen, I knew all of De André's works; we had reached "Rimini," and there were discussions about him, his supposed bourgeoisification, his personal affairs (but the kidnapping was still seven good months away...) and about the artistic and poetic decline that, according to some, he was going through after "Rimini."

With these premises, we approached the Palasport, Pavilion C, an infamy just to think about it, a cold entrance, David Riondino opened the concert with three or four songs, I don't remember, just as he won't remember the can I threw at him.

And then De André, the usual one, the one we knew and as we expected, who apologizes in Genoese for his voice ("Sun in po' patìu...") and kicks off a concert that, at first, disappointed his fans due to the excessive presence of the Premiata, which sometimes overshadowed him with her power, but the fans of the Premiata also found them dull and uninspired. Then it all got much better; there were also the autonomists who made a lot of noise, a lot indeed. In short, a typical concert from the late seventies; back then, this was normal. It could have been much, much worse.

I enjoyed it immensely, and even more so I appreciated the cohesion of the songs (the setlist was absolutely not the one listed on the two live albums!) and this is to dispel any doubts about the nice observation made by the noble @[123asterisco] above. Indeed, listening to the albums, at times one gets the very clear and natural impression that the concert was a Greatest Hits and that the songs seemed almost "detached" from the reality from which they originated.

True was the first impression, less so, indeed nothing, the second, because the setlist was "scientifically" prepared to connect songs of vastly different origins and nature. Only the songs from "La buona novella" were performed one after the other, a brilliantly chosen move.

To respond to @[iside], even by asking the friends from the gang I saw it with back then, and with whom we reunited at the cinema for Veltroni's film, no one remembers "Verranno a chiederti del nostro amore" being performed in Genoa, and people who saw him in other places say the same.

Add to all this the fact that Mussida and friends overdubbed in the studio some parts that came out poorly in the recording (the legendary tammurriata with the rototom at the end of "Pescatore!!!" to mention one...) and you will have an even more complete picture of it all.

Ah, the vinyl of the second concert was also recorded much worse than that of the first, and this, it seems, was because it was edited in a rush, with the "leftovers" from the first selection, and thus not properly handled in mastering like the other and, above all, without studio overdubs.

And no one should be scandalized by the fact of the studio overdubs; it has always been a common practice, perhaps unhealthy, perhaps not, by record companies, then as now, sometimes with even delightful outcomes...

I love you all, just as if you were normal.

I, on the other hand, appreciate the less frivolous fun and the substance of speaking in even somewhat unmusical terms about musical works; I would go so far as to add more music criticism to your reviews. But I’ve already said that.
Age.

Why green and not more red? Well, we could venture into a somewhat unhealthy interpretation of the fact that many left-wing voters from West Germany transferred, weapons and ballots in hand, to the Green movement back then. But I like it when you write seriously; just write a bit more about music, you know, that thing with seven notes alternating ad libitum...

I find this review good and suitable as well, less haughty than the first one. Ah, the road cones are essentially made of polyethylene (PE) or even polyvinyl chloride (PVC), be more precise, the chemical colleagues, although long-time fans of Kraftwerk (one is still in mourning for Schneider's death...) were horrified and pulled out the crosses when you wrote "made of plastic," and they say that plastic, at most, can easily be placed in any orifice you like... their words.

I really like this, serious and not overly serious, quirky enough to be understood deeply. Of course, assuming that you’ve actually listened to this album, more than the following ones that I still need to read about, but I’ll take that as a given. Three points for the album and five for your supercazzola. Moving on to the next one.

@[iside] I'm sorry, but your interference in the C.U. group seems to me a completely arbitrary act on your part and also somewhat arrogant, a genuine abuse of power. My comment on the above review has much more to do with the work being reviewed than with the review itself. Prove me wrong and I will be happy to concede.

The Lyon Orthopedic Treatment (commonly known as Lionese)
A substitute for Abbott's plaster, it has been modified several times using leather and metal until the introduction of "Plexidur," which brought many advantages to the entire Orthopedic Technique.
In the case of the Lionese, a pre-treatment of the Patient through elongation and mobilization of the scoliotic curve for no less than fifteen to twenty days would be appropriate.
The Patient, lying in corrected lordosis, is tractions (craniopelvic) and dressed in a tubular sleeve, and, on the growths and protrusions, with German cotton. Plaster bandages are applied and the Patient is further tractioned.
After consolidation, the plaster is fenestrated at appropriate sites and kept on the Patient for four to six months, before being replaced by the Lionese Corset in Plexidur, also derived from a similar and newly plastered model properly filled, stripped of the primary plaster, and then adequately shaped in positive before laminating in Plexidur or, more rarely, in thermoplastic resin.

But how much I love reviews that start from one point and end up on the other side of the Universe, like a Stargate.... thank you, Leo.

I agree in claiming that "Giorgio By Moroder" is the best track on the album. This album, by the way, doesn’t stand out in the sky of unforgettable works of the century... And perhaps it never even aspired to...
I wonder why I have always liked the DP more as a concept, or even a conception, than as a tangible, actual reality. I mean, often a display of technical means and talent has corresponded to a reality that is not so much disappointing, but still leaves invariably a sense of incompleteness, of (perhaps deliberately) unfinished, at the conclusion of a close listening of the work.
But maybe it’s just my problem, huh?