Jumbo
Vietato Ai Minori Di 18 Anni?

A year after the album DNA was released in 1972, Jumbo's productive career comes to an end with their last studio work titled Vietato Ai Minori Di 18 Anni? (before the reunion in 2001 that gave birth to "Passing By").
Despite the departure of drummer Vito Balzano, replaced by Tullio Granatello, the essence does not change; however, you can notice a certain evolution in the compositional level, with more sophisticated and avant-garde musical moments, also thanks to the presence in the studio of maestro Franco Battiato.
Even the lyrics, a cross and delight for listeners, are filled with a renewed evocative vein while maintaining their harshness, touching on difficult and demanding topics such as sex, prostitution, alcoholism.

It starts with "Specchio" where Alvaro Fella sings short stories, each examining the ailments stemming from the protagonist's experiences (him?), which are humiliation, physical pain, and psychological pain. All sublimated by the words that conclude the song, never so direct and uninhibited (listen to understand). The instrumental part is good with the electric guitar in the foreground.
"Come Vorrei Essere Uguale A Te" presents a vision of the singer's own existence, compared to that of an actor on the stage of life. A piece whose singing exudes bitterness everywhere. Guitar always in the foreground and trumpets enhance the riffs.
"Il Ritorno Del Signor K" is essentially the sequel to the previous piece, also very melancholic. Musically rich in atmosphere with keyboards and guitars setting the stage for Fella's voice.
Next is "Via Larga", which opens with a ramshackle piece seasoned with flute and guitar, with the drums keeping pace with rolls. The choirs then lead us to the more committed part of the song where the story of a prostitute is told. Here the evocative capacity of the lyrics reaches its peak. The music is calm, in opposition to the raw and strong lyrics.
We completely change register with "Gil", where you can hear Battiato's voice among the initial recordings reminding someone to turn, probably referring to the song. An avant-garde piece rich in drums and synth played by the nosed songwriter, which musically deviates from the rest of the album, but whose lyrics remain in line with the atmospheres of the other tracks.
The initial bells of "Vangelo?" lead us to what is a fine provocation, with good instrumental pieces, both calm and fierce.
Then comes "40 Gradi" where the group tackles the problem of alcoholism seen from someone who is in it up to their neck, with associated physical and psychological discomfort. Very beautiful is the interlude before the final psychedelic digression.
The album closes with "No!", brief but angry against a society full of prohibitions, where the unease that runs through the entire work is sublimated in just under 2 intense minutes.

A difficult record that brazenly addresses topics considered taboo, which is why it was excluded from the market.

Despite this, the band was appreciated live and continued to play until 1976, participating in the Parco Lambro festival and recording a single the year before.

A group to listen to, at least once.