Santandrea Q disc

Santandrea Q disc

Fonit-Cetra - 1984

The Italian record market, between years seventy and eighty, tested the trade formula of the " Qdisc". To half way between the single, the old 45 RPM containing two songs, and the album, the 33 RPM vynil with, usually, 8 pieces, has the dimensions and the characteristics of support of the last one, and it is distinguished from the "Mixed Disc" for an issue of " RPM" (33 instead of 45) and kind (Italian and singer-writer music regarding the extended version of dance songs). The purpose of this edition form, that has had a discreet trade success for some lucky live experiences that introduced the first experiments of concert " combinated" between various artists (Cocciante - Gaetano - New Perigeo \ Castelnuovo - Ferradini - Kuzminac) was that to supply, to a price lower than the one of the 33 RPM, a more complete product than the 45 one, replacing, with something less binding than lp, the answer of the new public to new proposals.

Respecting the standard of the Qdisc four songs are what Santandrea proposes in the denut disc. The visiting card proposed to the public and the critic can be defined however sufficiently representative of the musical references and the good intentions of Rodolfo. In the songs we find in fact a use of the voice detail, that wants like international references Klaus Nomi and Nina Hagen, already direct or indirect inspirers of the first intense experience work of Giuni Russo (than of Nomi remembers also the look) and Ivan Cattaneo (that splendid one, of the origins, than it got ready as complete meal for the public and in the eighty´s had already undertaken the carried out to electronic which will take him to the decline of 60´s covers).

The personal innovation of Rodolfo respect to the models is, close to a personal use of voice, intentionally lyric, the singer-writer breath, that approaches in so far to the contemporary activities of Alberto Fortis. He wants to astonish, but the provocation is not useful, as it used to be in the period. Not a style exercise, or a calculated way in order to astonish, things that, commercially speaking, could also have rendered well.

What "swindles" Santandrea is the lack of a filter between product and inner world: not a personage, the alien mask of Nomi, the paramilitary Giuni, the murderous child of Cattaneo, but rather the person. So if Santandrea can be allowed to play between the words and the vocal acrobatics of " Marta" , Rodolfo exits in all its humanity within the backs of " Niente". This transparency of emotions is definitely the most appreciable information, that will be maintained as a constant form of the successive productions, but it has perhaps constituted the reason (is justified here the use of the verb " to swindle" of which over) of its difficulty to bend to the rules of the stall.

TEXT OF THE SONGS arrow click to see translations of texts of the songs

NOTES OF THE SONGS freccia click to see notes about the songs

A Strongly explicit text, above all considered the period in which it comes published.
"Amsterdam, the Chinese quarter flourishing illegal sale / of drug and diamonds there are so many of dreams / Amsterdam, adorned display windows to festivity by day and of night with little money / the old men, the women, the children re-found the love, Amsterdam". Sure It is not a formal provocation. On musical forehead, note the signal for the progressive scaling of the pentagram, leaving from the low tonalities of the beginning them to the most elevated of the center parts, and for the presence of a rap before litteram, towards the end of the song.

It proposes the Santandrea of the ambiguous, the one of the cultured rigmaroles, which seems a game on words, but behind which is wise the suspicion that something else is hidden: "Marta, sir, is died / you can close the door… says that the truncated head / is thrown in the sink / No, Marta is not died / she will return". The sound of the words is like a springboard of launch for a powerful and agile voice. He vocalizes like Fortis but with lyric formulation, amused use of vocalizes that embroider on the sound of the words.

Is remembered like the main piece of the work. Agreements online with the taste of the period, melancholic text: "Nothing to say / nor to refuse / nothing to do / and you this evening you don't make you be caressed / remove me the joy of love you again". The interpretation is an half way between lyric and light registry, without strength. The breath of the song is wide, supported from a sweet melody.

"On white marbles of Carrara / Apollo is still reflectings himself / and rarely he's visible trought the withered acanthus / … we are the decay of the culture". The song has the lightness of the medieval canon, but is full of classical cameos taken equal form the classic directory. It is easily indicated as collection of samples of the vocal potentialities of Rodolfo, only disturbed from the electrical battery blows, like some productions of Ruggeri, Diana East, as an example. This rhytmic callback sound today dated, but was typical habit of the period.

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