Faust'O
Poco Zucchero

“NOW THAT I’VE SEEN TWENTY YEARS PASS,
WRITTEN SONGS 
LOST MY NAME
MY EYES MY MOUTH
MY TRUE VOICE.”

If one decides to become a singer, there are three things to consider from the start. Will I be a METEOR? MISUNDERSTOOD? STAR? (media slave for at least 5 years). Already with his second work, Faust’o tries to break away from the verse and chorus logic and practically decides that with his ways and words, he will never be a star, much less a meteor.

This brief LP of only 8 (eight) songs, less than 40 minutes, features bitter and obsessively repeated lyrics, syncopated music and FMROCK pieces. Alberto Radius, guitarist and arranger, once again tries to give a light touch to the product but, in this case, Faust’o is not onboard and leaves only one track to the arrangements of the well-known ex-Formula Tre guitarist. Cosa Rimane and Oh! Oh! Oh! will be arranged together. Among other things, Oh! Oh! Oh! will be presented at Festival Bar while Vincent Price, in the end, will also be broadcast on the radio, but these are pieces built to be sold. Oh! Oh! Oh! is an almost electronic bossanova, where the eternal triangle unfolds between percussion (Tullio de Piscopo) and keyboards: me, you, another one, but maybe the other will be revealed the following year in the splendid Non Mi Pettino Mai (white cocaine is very cheap).

Kleenex, with its whispered voice constantly kept under the sound of the bass drum, is deliberately percussive and obsessive. The seemingly quirky text is a harsh indictment directed at all those who pretend and consider themselves eternal, but even here, the interpretations can be many: WHO? WHAT? WHEN? How disgusting is the “The tongue on the Tampax”, writing such phrases is being aware of never being on TV, but really, was Faust’o looking for this? I said it at the beginning, with this work, much to the dismay of Caterina Caselli (his producer), he excludes himself from any market logic. The plagiarism that few noticed in Il Lungo Addio (Hiroshima mon Amour by Ultravox) allows him to create a violent song, a love song in reverse (I read this somewhere), deliberately obsessive in its never deciding (I want to go, I want to tell you, I want to tell you) and never really being able to leave. I prefer how Faust’o sings it compared to Ultravox (a bit like Enola Gay by O.M.D. taken from that track).

Vincent Price with lyrics by O. Avogadro is the classic text built on the character intended to be imposed, full of monsters and mental distortions until finding the monster that is in all of us. In this regard, in Mostri, 18 years later, our Faust’o will do better, anyway this song is the third that Avogadro will write for Faust’o; godi and Innocenza were on the previous album. The B-side opens with a subliminal piece In Tua Assenza where repeatedly we are led into the empty room to smash the windows of Bowiean memory. We remain so stunned when Walter Calloni starts the drum part in Funerale a Praga, only to be submerged by a cello and a carpet of synthesizers that leave us breathless for seven minutes, waiting for the damned cart, a bit irritated and tired.

The Melancholic Actors of the homonymous track are ultimately all of us who never find space or a reason to continue our existence, and Faust’o keeps telling us this to our face on every groove of this record, which is aptly titled "POCO ZUCCHERO".

“now that I have seen 20 years burn, day by day almost immortal. I feel my body, the well-made mind, no boundaries, no illusions.” The inserts “Ora Che Ho Visto” extracted from the album "EXIT" by Fausto Rossi.