Falloppio
Cristina canta Falloppio, Falloppio canta Cristina, Flavio canta da solo, Canta tu.

THE REVIEW

Cristina sings Falloppio, Falloppio sings Cristina, Flavio sings alone, Sing It Yourself.

Here is the album of dreams. Indeed, let no one wake up. Starting with Falloppio.

Cristina D'Avena, erotic idol of Falloppio's soul, and of all of us, animation of our body down to the cartilage and blood pump in the limbs and all parts of Falloppio, sings "Duna bianca", "La sciolta", "Subbuteo" and other hits of Our (tr)Ue man or Our Bosun, in the sense of tuna.

And Falloppio, twilight of the idols, genealogy of morals, birth of tragedy, human, all too human, gay scientist, superman (below and above), sings "Siamo fatti così", "Occhi di gatto", "Magica, magica Emi" and other hits of madonna Cristina.

Now, it matters little who sings, what they sing. Falloppio inserts a cassette into Sing It Yourself and sings himself, for everyone. All for one, one for all; so all do for one. Two, three songs, four and all in the whale's tail. Falloppio gives free rein to his solar lamp genie and illuminates us with D'Avena's house shelves; displays flower pots, flower vases, blood vessels, vas deferens, inside and outside planted fat plants just blossomed on Cristina's balconies, flourishing terraces, plump, swollen, well-planted, landing where he dances alone or with her or she dances alone or Falloppio spins and wraps himself up alone, feeble as that "Doraemon" idiot at the mercy of his bamboo copter, beardless Nobita notwithstanding.

Falloppio sings at the top of his lungs and, thanks to the breath-saving mint, loses breath, but Cristina can't resist his resilience, who, exhausted the cast-iron radiators of Falloppio's house and the heaters of Strega with Za's screwdriver, to the tune of "Fedetz" implores mercy. So Cristina brandishes a "Barbadura" on Flavio's face, which is a small loss for Barbamamma of Barbottina.

The 'give and take' between the two works, but even more so the 'caress and ask' of Flavio, who speaks to himself as if to Falloppio.

The album becomes like Chinese boxes that open to other boxes in an apotheosis of boxes that ends up wrapping Cristina, who is suitably divided by Falloppio's scissors that throw the stone(sax) and hide the hand in the most classic rustic joke. Then Falloppio plays unexpectedly the "probability" card and sings "Fumo sul water" to her. Cristina, hidden in the rock, thanks him with "Una spada per Lady Oscar," which she lets Flavio himself sing, like a primrose and more than a primrose. Falloppio then, since every thorn has its rose, among the flowers, makes an Oscar-worthy gesture, and between one cremino and another, intones "L'incantevole Creamy" with autotune and practically devours it himself. Finally, and "It's Quasi Magic Johnny (Ramone)," Falloppio takes care of his intimate hygiene by singing at the top of his lungs "Kiss Me Licia Persona." Everyone laughs along with Flavio and endures the subliminal advertising like blood in what he did first, early morning, in two stages, first thing, in four-four time. Using ten rolls of convenience for two bits of blackbird: "Polyanna" and "Ciao, siamo gli Snorky. Farewell!".