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The Testament of Tito by De Andrè because in Retro we speak of God in the least religious and most natural way possible, exactly with the same naturalness with which Tito looks at the man on the cross at his side.
Battiato’s animal because in retro style when I talk to you about the microcosm that I carry within me it is the strings that really tell it, and accompany it, as the master taught me to do.
Great square of Dalla because if after the release of Retro I don’t find “people like me” at my concerts, that’s exactly where I want to die. In the big square.
Carella’s Paris because the very little electronics present in Retro is inspired by this masterpiece that is in a wonderful album.
Guccini’s poisoning because since I’ve been a music teacher every morning I sing between my teeth “My mother hadn’t been wrong to say that a graduate is more important than a singer”.
Well of De Gregori because to record the acoustic guitars of Retro, my guitarist friend Roberto Trenca and I tried to give body and voice to the instruments of songwriting, one above all the acoustic guitars, referring to the world built by Renzo Zenobi who played in ” Rimmel” but also to Roberto Ciotti, surely the RCA atmospheres of the 7’0s have always been a point of reference.
Don’t teach Gaber’s children because it’s a kind of mantra. I have always told myself that the only thing I want to ask myself is “What do you want to be” and never “What do you want to do”. This concept is one of the matches that ignited the fire that spawned Retro.
Way To Blue by Nick Drake because if Retro will finally trace my right path for me, I promise you that I will come back to tell you about it. “I’ll come and tell you when I find her.”
Source-tg24.sky.it