Umberto Tozzi
Gli Altri Siamo Noi

Thursday evening, May 31, I'm coming down from the main headquarters of the University of Genoa, where a dinner for the homeless organized by the Community of Sant'Egidio took place, in which various students from all faculties were involved.

As I'm going to throw away the trash, I hum aloud (not too loud, of course) "Gli altri siamo noi", realizing how this song has remained dormant for 15 years since I prepared it to sing (then didn't) for the end-of-year show in 3rd grade middle school.

Aaah...that Sanremo of 1991: never before were enough artists presenting to talk about the historical moment being lived on many levels: Raf with "Oggi un dio non ho" (see the next review), Renato Zero with "Spalle al muro" (kudos to its author, Mariella Nava!) (on the poor consideration that the elderly began to experience in society starting from that period), Marco Masini's "Disperato" (about drugs)...

I was only 8 years old yet I was moved by that Sanremo.

With "Gli altri siamo noi" Giancarlo Bigazzi crafted another great piece, which still holds its validity today even though not a few elements contained are anachronistic (South Africa*, for example) (while the fear of immigrants is still present).

The Community of Sant'Egidio had to be there to reactivate that memory thanks to the humanity of that evening and to figures that are likable and somehow inspiring to me.

If "Gli altri siamo noi" was a piece that came at the right moment in a period of great upheavals for the world (again, see the next review) the theme of immigration was anticipated by Pooh with "Senza frontiere" (from "Oasi"), when Italy was beginning to confront the first large arrivals of foreigners from disadvantaged areas of the world.

But for me, Tozzi’s song remains the best: see the following verses:

"I muri vanno giù

al passo di un'idea:

Allah come Gesù in chiesa o

dentro una moschea.

E gli altri siamo noi

ma qui sulla stessa via,

vigliaccamente noi lasciamo indietro

i pezzi di altri nomi... "

The other great track that makes this album fantastic is " Gesù che prendi il tram ": imagine the protagonist traveling through an industrial city (I could say with conviction, Turin) and seeing such sad situations. Another touching text:

"Gesù che prendi il tram

con la tua tuta blu,

e sbirci qua e là

Gazzette dello Sport.

Gesù che entri nel bar

insieme col mattino;

cornetto o cappuccino

tu lo sai che troppi figli hai.

Gesù che in fabbrica vai:

tuta blu compagno Gesù.

C'è un uomo in meno e una vedova in più:

quanto dai amico Gesù?

La pressa guarda le mani

con troppa avidità;

Gesù chi buca le mani

è sempre l'onestà.

Guarda l'aereo lassù come va,

lo spingi anche tu.

Figlio di figli di fattorie

nostalgie non devi aver più.

L'anima non stipendia

e troppi figli hai,

e troppi figli hai.

Gesù che prendi il tram

con la tua tuta blu;

tu dormiresti già

ma troppi figli hai.

Great album, yes, but there are two tracks that also deserve positive feedback though slightly less, which are "Ciao Lulù and "Gli innamorati" (a matter of taste, of course). "Un fiume dentro il mare" I don't mind, but compared to the two above it doesn't excite me (only the chorus is, to me, emotional, especially because it's "shouted" as is tradition for Tozzi).

The rest doesn't travel badly but for me doesn't deserve great attention, yet confirming this as a "great album."

I await your thoughts (if you know it or after a listen, of course).

*of apartheid