[music:] Claudio Lolli, Disoccupate le strade dai sogni (1977)
The Italian book of the dead. Too much words for one man alone: breathless. Imagination in spite of hope, desire gone bad.
There’s a song in this record, called “Analfabetizzazione” (that is to say: the contrary of literacy), which reads: “Ed il lavoro l’ho chiamato piacere, perché la semantica è violenza oppure è un’opinione. Ma non è colpa mia, non saltatemi addosso, se la mia voglia di libertà oggi è anche bisogno di confusione. Ed il piacere l’ho chiamato dovere, perché la primavera mi scoppiava dentro come una carezza. Fondere, confondere, rifondere, infine rifondare l’alfabeto della vita sulle pietre di miele della bellezza” (“and the work, i called it pleasure, because semantics is violence, or it’s an opinion. but it’s not my fault, don’t you pitch into me, if my wish for freedom is now also a need for confusion. and the pleasure, i called it duty, because springtime was bursting into me like a caress. blending, blurring, refunding, finally re-establishing the alphabet of life on beauty’s honey stones”). In short, it’s all about fucking the meaning up. Work becomes pleasure, and pleasure turns into duty. What’s at stake is a complete revaluation of all dreams. Wait: that’s a downright treason. Despair is always subversive, and disappointment stinks like counter-revolution.
In 1977 Claudio Lolli was in an awkward position. Born in Bologna in 1950, he had established himself as one of the most radical among the politically engaged cantautori, yet all of his anti-establishment anthems – such as “Borghesia” (“bourgeoisie”) – had been released by a huge corporate record company like EMI, to which he was introduced by his fellow citizen Francesco Guccini (Lolli tauntingly recalled his early days with the major in “Autobiografia industriale”). Well, this is usually called a contradiction. So that when his record deal expired, he felt like jumbling it all up. The odd thing is that he had to switch to an alternative music label such as Ultima Spiaggia to record his requiem for the revolutionary movement: the new rallying cry was Disoccupate le strade dai sogni, “let’s clear the streets of dreams”. Too many comrades passed away, too many failures to come to terms with. There was anger to be wasted, there were mistakes to be repeated, and fallen to be honoured, such as Ulrike Meinhof (in “Incubo numero zero” – the album has the same title of the italian version of Meinhof’s biography by Prinz Alois) and Francesco Lorusso, a student killed by carabinieri during a demonstration in Bologna (in “I giornali di Marzo”, whose lyrics are a cut-up of those days’ newspapers).
And he twisted his own musical language to follow the lyrics’ edges (keeping on a path opened by Ho visto anche zingari felici – “i have happened to see happy gypsies too”, 1976) introducing jazz rock, progressive, impro elements which were typical of Ultima Spiaggia’s art-rock style, even inventing a funny dixie funeral march for social democracy which anticipated Vinicio Capossela, and eventually peaking his career and perhaps the entire singer/songwriters movement – even if the result was much closer to the R.I.O. scene or Dalla/Roversi’s work than to Guccini, Paolo Pietrangeli or Ivan Della Mea.
An enthusiastic melancholy and a subtle death drive had always been his key features, but negativeness reached a whole different level here. We are anywhere near Mauro Pelosi’s self-titled album, but the latter’s alarming vein of insanity turns into a ruthless lucidity. An autopsy carried out upon a still warm corpse.
Here is the tracklist:
01, Alba meccanica (“mechanical dawn”)
02, Incubo numero zero (“nightmare number zero”)
03, La socialdemocrazia (“the social democracy”)
04, Analfabetizzazione (“unalphabetization”, also released as a 7″ b/w “I giardini di marzo”)
05, Attenzione (“watch out”)
06, Canzone dell’amore o della precarietà (“song of love or of uncertainty”)
07, Canzone scritta sul muro (“song written on the wall”)
08, Autobiografia industriale (“industrial autobiography”)
09, Da zero e dintorni (“from zero and so on”)
10, I giornali di marzo (“the newspapers of march”)
Unfortunately, Disoccupate… did not manage to repeat his previous records’ success, and Ultima Spiaggia went bankrupt right before a live album project could be realized. Ironically, Lolli came back to EMI, releasing four other LPs with them until the early nineties.
He has worked as a teacher at secondary school and is still active as a musician and writer. His latest album is La scoperta dell’America (“the discovery of America”, 2006). You can learn more about Claudio Lolli at his Wikipedia page (in italian).