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The year was 1987, and the prince of Italian song, two years after his last album "Scacchi e tarocchi", releases one of the most beautiful (and underrated) albums of his entire career: "Terra di nessuno". De Gregori is an author for many (but not for everyone) seemingly on a decline, yet this little record still seems to have some shadows of the giant De Gregori, much more so than its direct predecessor.
This is demonstrated by moments of high poetry that haven't been seen in a while, such as "I matti", a description of the existential condition of those on the margins of society, tormented by noise but at the same time tranquil ("I matti vanno contenti sull'orlo della normalità, come stelle cadenti nel mare della tranquillità"). Undoubtedly among the most touching songs in the Prince's entire production. Another poignant moment of the album is "Mimì sarà", inspired by (and dedicated to) Mia Martini. The piece reviews the artist's emotions, paying particular attention to all the dark moments she experienced; it is practically impossible not to be moved. Then we have every woman's dream, the man with "Spalle larghe". Every woman's dream is indeed to have two 'broad shoulders' to cry on, and the aforementioned man certainly has them, after carrying all those weights and disillusionments. "Pilota di guerra", on the other hand, is inspired by the works of the French writer Antoine de Saint-Exupéry and recounts firsthand the solitude of a man spreading death over cities. There is also a false title track, "Pane e castagne", about how certain people seem headed towards 'terra di nessuno', where they can only recognize each other through their eyes. With "Nero", more social issues are revisited: the 'nero' is an immigrant character in Latina (but it could be any other Italian city...), who encounters typical integration difficulties; yet despite this, Nero laughs and enjoys himself in front of everything. "Capatàz" instead is the piece most linked to the hope of a new political path: it is anticipated (and hoped) that the 'wind' will change. Then there's the sweet farewell of "Vecchia valigia", a piece about the passage of time, sung in the image of a journey. Musically, however, the rock trace of "Scacchi e tarocchi" takes shape in "Il canto delle sirene".
At the time (and still today) underrated, "Terra di nessuno" is probably the penultimate stir of the giant De Gregori, and manages to be more interesting than both the previous "Scacchi e tarocchi" and the following "Mira Mare 19.4.89". If you believe that De Gregori's last masterpiece was "Titanic", listen to this album: you will change your mind. Even if it does not entirely match the quality, it remains an album absolutely not to be underrated and not to be forgotten.
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