iside

@[withor] but do you know anything about esoteric/masonic theory regarding Edo's songs?

I am an #oldfart and I don't like to scroll repeatedly. #rude

Glorified too much after death. Here he had already lost much of the brilliance that characterized his early works (pre Gianna).

was it needed? (both the object in question and the issue)

In one word: Glacial.

1) Vincent Price:
masterful text by Oscar Avogadro and one of the most beautiful interpretations by Fausto. Yes, it is "a big surprise" by the Sparks (from the album Introducing...). but completely reinvented. The solo by Radius is inspired instead by "Goofing off" (also from Introducing, a rare album full of gems).

2) In tua assenza:
Having heard that I was writing little poems, Fausto asked me if he could read them for his second album. He chose this one, actually a free translation of "Breaking glass" by Bowie (from Low). The word 'luxury' was rightly changed by the poet Nanni Cagnone to 'memory,' which is less ethically loaded.

3) Lipstick:
Perhaps the most beautiful production by Roberto Colombo… :) never released.

4) Il lungo addio:
The work on the titles of the tracks was completely detached from the work on the lyrics; once the writing was finished, they searched for titles that were as elusive as possible regarding the content of the lyrics... concessions were made here and there on the more radio-friendly pieces...

5) Oh! Oh! Oh!:
You can hear one of the very first electronic drums here, brilliantly doubled by Tullio de Piscopo starting from 2'30", the same drum machine was used by Radius (the producer of the album) for "e la luna bussò" by L. Bertè.

6) Kleenex: 45 giri
The most beautiful production by Faust'o was precisely this single created by Paolo Tofani from Area (B-side of "Anche Zimmermann," much less successful: Fausto does not sing in the right key). Compare this "Kleenex" with the version curated by Radius in the album Poco zucchero. The sound here is on par with the best international productions of the time, with guitar included, truly beautiful.

7) Funerale a Praga:
Tense concluding track of Poco Zucchero, featuring the heartbreaking cello of Piero Milesi... The synth after the first minute is a Crumar, one of the few Italian synthesizers of the time, with a very raw and unmanageable sound. But effectively obsessive.
#chianuradocet

Besides Cassini's ass, is there any valid reason to watch this crap?

Clouds over thin paper:

Some magnetic tape rings I had brought to the studio were so short that they didn’t wrap around the head block... the Japanese voice loop here used is perhaps the shortest loop ever used, at least before the advent of samplers... #chianuradocet

everything is very nice, including the absence of spaces after punctuation.