Antonello Venditti, Gato Barbieri - Modena (Live)
When I get that well-known hypochondria but the bottle isn’t empty yet, when someone decides that it doesn’t seem appropriate to continue living in this wo(r)ld, this song kicks in.
Thinking that this piece is contained in "Buona domenica" only heightens the discomfort felt when things come to an end. To think that it was written by the same person who sang about wounded stags, of Mary Magdalenes, of Seveso and of Lilly is nothing short of disorienting.
Yes, because here it seems to be talking, apparently, about the end of the Italian Communist Party. But it's not just this end – already foreshadowed by Moro's murder – that scares, but rather its inevitability.
How Venditti managed to write this absolute masterpiece after the horrible "Sotto il segno dei pesci" (essentially the end of "cantautorato" as such) is incomprehensible to me.
Yet in this pearl for the pigs remains, indelible, the baritone sax of Gato Barbieri, with its piercing high notes, screaming the rage of those who know it’s going to end badly but don’t give a damn.
Something that screams until it breaks: something that hopes even if hope belongs to a past future. Something terribly human lost who knows where. Yuk!
When I get that well-known hypochondria but the bottle isn’t empty yet, when someone decides that it doesn’t seem appropriate to continue living in this wo(r)ld, this song kicks in.
Thinking that this piece is contained in "Buona domenica" only heightens the discomfort felt when things come to an end. To think that it was written by the same person who sang about wounded stags, of Mary Magdalenes, of Seveso and of Lilly is nothing short of disorienting.
Yes, because here it seems to be talking, apparently, about the end of the Italian Communist Party. But it's not just this end – already foreshadowed by Moro's murder – that scares, but rather its inevitability.
How Venditti managed to write this absolute masterpiece after the horrible "Sotto il segno dei pesci" (essentially the end of "cantautorato" as such) is incomprehensible to me.
Yet in this pearl for the pigs remains, indelible, the baritone sax of Gato Barbieri, with its piercing high notes, screaming the rage of those who know it’s going to end badly but don’t give a damn.
Something that screams until it breaks: something that hopes even if hope belongs to a past future. Something terribly human lost who knows where. Yuk!
macmaranza
15 feb 24
DeRank ™: 15,46
Loading comments slowly
