Antonello Venditti The 70s has little to do with what we hear today. Here he lived in still other souls in a balance so precarious hold on just long enough for a few albums before breaking dramatically: a political ideology tempered by a certain Anglo-Saxon style of pop that drags him away from the shoals of militant song, a sentimental streak that could not be fully expressed in a period of exclusive attention to the "social", but it is precisely because this is not likely ever to fall in the cloying, a 'poetic intuition of a certain thickness and then "he would pass" as they pass childhood diseases ... The records of the first half of this decade have all these components and what emerges is the best songwriter of the vast production of Roman episodes more honest, less polluted by the search for a successful ranking at that time, was clearly not a priority. In particular, then this album of '73 can be considered in fact the first real album completely Venditti. In it, recorded in two days and two nights, the musician finally freed itself from association with De Gregori, can categorically renounce pompous and never appreciated the arrangements of "The Brown Bear", imposed by the record company that wanted to run it as the ' Elton John de Trastevere: Antonello here can do only what he wants. And so here is a disc contained in the intimate, spare capacity in the musical, direct and essential. Almost only voice and piano are sufficient for the rebellion at times to merciless "My father has a hole in his throat," the social commentary at times naïve "The train of seven" or "Rome burns", the subtle poetry as naive at times of "bridges And I know 'just' or 'Your hands on me," that true artistic manifesto that is "The things of life." A poster in part betrayed only a few years later looking for a stadium that was no consensus in terms of these promising beginnings. But you know how are things in life ... ... Last curiosity: had to be included in the album the song "Steal" at that time was also recorded by Mia Martini and never published until this year in an album of rarities the singer. However, the two test versions of the song during the recording sessions were excluded from the disc track list at the last minute. The reason probably has to do with the censorship imposed by many rays at that time. The song alludes to the indefatigable "bloody Sunday "Irish and uses a strong expression and ears rod era, provocative:" If the gun you'll be looking for, love him, you will see it lower. "
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