(Note: This was an
unfinished piece which I started a year ago, haphazardly combining travel
writing, music criticism, and psychedelic reminiscences. Realizing that I would
never be able to put it into readable shape, I gave it a once over just so I could put it out simply for the benefit of American fans of Italian Prog Rock who will be traveling
abroad and people who did a lot of drugs at Allman Brothers concerts. Caveat
emptor and you're welcome. )
As
a rabid record collector traveling abroad, I had high expectations of what I
could find in Bologna, Italy. After all, there is a vibrant arts scene and, for
an ancient city, a surprisingly youthful energy, due in no small part to
student population from the University of Bologna. That institution being the
oldest functioning university in the world, one might say that it is the
original college town.
|
Bologna has other stuff too. |
Obviously,
I wasn’t planning the entire trip to the city around record shopping (at least,
that’s what I told my girlfriend), and I certainly ventured to absorb some of
the local flavor, get a feel for the architecture and culture of antiquity.
Doing so, I do have to say that there was something that felt odd about the
city. It some ways it felt like a city that had let itself go. In spite of the
lovely architecture, Bologna has a feeling of disrepair. In many places, the
crumbling walkways are haphazardly patched with blotches of cement, and the
city has long since stopped trying to remove the crudely executed graffiti from
its ancient buildings.
My
girlfriend, Federica, who was born and raised in a village a few hours away,
told me that the city was nicer when she was younger and that the graffiti
wasn’t as omnipresent. She expressed sadness and frustration at the current
state of the city, while arguing that if young people were going to deface the
oldest and most venerated structures with graffiti , they should at least be
good at it. (Living in New York we are accustomed to skilled and aesthetically ambitious
vandals.)
Also,
in places there were an alarming number of pigeons. I don’t know why.
In
any event, leaving the train station, we took an inexplicably roundabout route
to our first destination.
La
Piazzola di Bologna
Piazza
dell Otto Agosto
40126
Bologna BO
This
vast outdoor market has been a staple of the city for over half a millennium,
popping up on weekends since the mid-thirteenth century. My girlfriend assured
me that there we would find everything under the sun with hundreds of kiosks
with books, records, and other unique memorabilia. However, most of what we
found were cheap kitchen gadgets and ugly clothing. In the adjacent Montagnola
Park, there were a few tables with some used CDs, but nothing rare or
interesting. The only music memorabilia I came across were some mass-produced
t-shirts, wallets, and the kind of chintzy mirrors with printed pictures and
band logos like we used to win as prizes at carnival games back in the 80s. I
wondered if there were better finds in the summertime or, in fact, at any time
that wasn’t the end of December, but it wasn’t that there was a lack of
venders, juts a lack of anything that I would ever want. “It used to be better ten years ago,” my
girlfriend repeated, somewhat crestfallen.
Disco D'Oro
Via
Galliera, 23
40121
Bologna BO
This
was a respectable spot. The main room of the store was dedicated to new vinyl
and with copious amounts of it. Reissues, new albums, limited edition box sets.
The walls were completely lined with CDs, while under an archway a rack of T-shirts
hung just overhead. Painted on the archway were the words of Friedrich
Nietzsche (translated into Italian, of course) reading: “Senza musica la vita serrabe un errore.” (English: “Without music,
life would be a mistake”) A thought came to my mind that it was the kind of
place that one saw a lot more of before the Napster/Spotify revolution
happened. I later found out that because of the significantly greater cost of
Wi-Fi in Italy, music streaming had yet to catch on there in a big way, and
thus CDs are not perceived to be as passé there as they are
stateside.
There
was a back room dedicated to used vinyl, but I don’t remember it being terribly
well organized or curated. I may have seen a good title or two, but nothing I
felt compelled to buy and lug back to America.
All
said, it was the kind of record store that I would have loved back in 90s.
Looking online, I discovered that the place has been there since 1976, so
evidently it has been an asset to Italian music lovers for decades, and I hope it
remains so for decades to come.
Back To Beauty Vinili e Vintage
Via de’ Monari, 1e
40121
Bologna BO
|
Reality does not do this picture justice. |
A
hop, skip and a jump away, though not the easiest place to find, Back to Beauty
is located in one of those narrow side streets that is the size of an American
back alley. No new vinyl, which was fine for me; I didn’t embark on this quest
to get things easily found at any number of places in my home city, or on
(gasp) Amazon. Back To Beauty Vinili e Vintage, in contrast to our last stop,
had a small but incredibly well selected section of classic records. However,
most of these were by American and British acts, and on this trip I was mostly
looking for original albums by Italian progressive rock bands such as Premiata
Forneria Marconi, Area, and Arti & Mestieri. While there were a few records
by Le Orme, they were less celebrated releases, and I got the feeling that the
records were pretty overpriced anyway. Also, it should be noted that the Google
image for the shop is quite misleading. Taking advantage of mirrors and angles,
the photo of the shop found online makes the space look much bigger than it is.
In actual fact, Back to Beauty is less a record store than a bizarre nostalgia outlet. There are many odd trinkets and beauty
supplies, which should not have been surprising given the name of the shop, but
still seemed incredibly incongruous. The used vinyl section was actually only a
few square feet in a room full of strange knick-knacks. It felt like a place
that was trying to sell a hip lifestyle far above the products that it actually
retailed.
What’s
All This About Italian Prog Rock, You Ask?
Okay,
so I’ve been a prog rock geek since college. There’s something about being
eighteen years old, studying theatre, and discovering the joys of marijuana and
psychedelics that makes a young man indulge in feeding his
inner-pretentious-pseudo-intellectual-peacock-child. Of course, at first, I was
pretty rudimentary. I got started with the basics. Freshman and sophomore
years, I was into what I called “the big three” : ELP (Emerson, Lake, and
Palmer), Genesis, and Yes. Jethro Tull was right up there, too, and I did
obtain King Crimson’s first album at that time, but it would take another ten
years before I explored their catalog in earnest.
The
one thing that these bands had in common was the fact that they were all
English. Despite the fact that even then I knew that one of hallmarks of prog
rock was a connection to classical, i.e. European, tradition, I still
approached the genre as purely an Anglophile. By the end of my college
experience, in spite of working in a music store for a semester, my horizons
had not broadened significantly beyond the British bands to which I had been
exposed freshman year. Sure, I knew that there were a number of mainland European
progressive bands, and if drilled, I could probably have named one or two
German and Dutch bands, but I didn’t have any recordings by them and could
probably not have even named a song or album.
But
even as such, I knew that Italy was a haven for prog rock. It made sense. This
was the country that had produced Puccini and Paganini, composers and musicians
who were unapologetic with their ornate sensibilities and displays of
virtuosity. It stood to reason that prog rock, even that made by Englishmen, would make an impact there before it became
popular in the rest of Europe or America. In the beginning, even the English
didn’t get it. Mike Rutherford of Genesis ruminated on the fact that their
music went over huge in Italy at a time when it was greeted with indifferent confusion
in their own country: “In those days no one really liked us apart from the
Italians. So the more time we spent there, the better. The more we were cheered
up.”
It
wasn’t until I started seeing Federica, and meeting her friends, that I
actually got a foothold in with Italian prog. One night I got to talking to
Federica’s friend, Sebastiano, about music, and he told me that I had to check
out the bands Premiata Forneria Marconi, and Area.
|
Not easy to find in the USA |
In
the days before I grudgingly obtained a Spotify account, Premiata Forneria
Marconi proved to be the easiest to explore and obtain. Through my usual
channels, I had found unreleased in-studio radio broadcasts from the mid 70s
and was dazzled by their dynamics, weaving of styles, and musical dexterity.
Also, having been discovered by Greg Lake during an Italian tour and
subsequently signed to ELPs record label, Manticore, the band became the
biggest export of the Italian prog rock genre, recording a handful of English language
albums which brought them more international success than most of their fellow
countrymen. Checking out my usual shops in New York and Boston, it wasn’t
infrequent to find copies of these albums which were calculated to succeed in
the larger world markets. However, stateside, the earlier Italian albums proved
to be either elusive or prohibitively expensive.
And
this is why, prior to our day-trip to Bologna, I had done a little online
research of a few little spots to check out.
Back
to the Subject at Hand…
So
far, at this point, the Bolognese vinyl pilgrimage was a bust. Don’t get me
wrong. We were enjoying the day, grabbing lunch at a little trattoria, wandered
the streets taking pictures, dropping in for wine and negronis at little bars
on side streets whenever the mood hit us.
There
was, however, one more place I wanted to find, and it wasn’t so much that I
wanted to save the best for last, but mainly because it was the most remote of
any of my planned stops, and I knew that dragging my girlfriend two miles
outside the center of the city on foot would take some convincing and even a
bit of lying (“Baby, we’re almost there, I swear!”).
Discobolandia
Via
Filippo Beroaldo, 26/B
40127
Bologna BO
After
hoofing it for over a half an hour through residential areas and more graffiti
covered buildings, we arrived at Discobolandia. It was, to use the words of
Nick Horsnby from his book High Fidelity,
“for the serious record collector… carefully placed to attract the bare minimum
of window-shoppers ; there’s no reason to come here at all, unless you live
here…”
When
I entered the shop, it immediately felt different from the other places. It
wasn’t catering primarily to European DJs, it wasn’t there to sell repressings
of old records, even though it did have its share of new 180 gram vinyl.
Mostly, it was a shop for people who liked old rock records. Those places feel
different. They smell different. Maybe it was a little brighter and tidier than
many of the stores in Greenpoint and Williamsburg, but underneath the fresh
layers of paint on the walls and bins which sported a South Beach flavored
complimentary color scheme of orange and coral green, offset by black and white
linoleum tiled floors, I could feel that this was the kind of grungy record
store that I was looking for: By record freaks, for record freaks. In fact, it
would have felt like any of my NYC haunts if it were not for the effervescent
and refreshing enthusiasm of the proprietor, Emmanuele.
Don’t
get me wrong. I have had some great conversations with record store clerks and
owners in my adopted home city, and have made some great friends that way, but
here there tends to be a greater sense of competition. You have to prove your
meddle. You’ve got to hold your own in conversation, get their references, know
their obscure bands, and stump them with a few of your own, all the while
maintaining a distant cool.
Emmanuale,
on the other hand, just wanted to turn me onto stuff. True, it could be that he
may have been trying to sell me more records, but he seemed so genuine about
it.
As
I had walked into the shop, the song “Willin’” playing on the
stereo. That old Little Feat song has been covered so many times, by so many
artists, that it has basically become a standard. Still, this version made my
ears perk up. To be honest, I am very picky when it comes to recording covers.
I find that all too often people will try to stay too close to the original, or
obliterate the spirit of the song by ignoring its original intention. And at
first, I thought this version was too close to the spirit of the original, but
the voice grabbed me. It sounded familiar, but new. The arrangement was
crisper, cleaner than the original, though it still had a loose, down home
feel. But this was more soulful. It was that voice, beautiful, wise, and
sorrowful.
|
Scott Sharrard, days before. |
Had
I heard this album?, Emmanuele asked (with my girlfriend acting as an
interpreter) as he held up a copy of Gregg Allman’s posthumously released final
studio album, Southern Blood. I was
embarrassed to say I hadn’t. As a hardcore Peachhead, I wasn’t about to have my
first listen to the album be on Spotify or something like that, but in saving
money for this trip, I wasn’t able to drop 50 bucks on the album. And even
though it must have been available stateside first, Emmanuele heard it before
me. (I assure you, that has since been rectified.)
That,
of course, got me talking about how I had seen Gregg’s guitarist and musical director on that album,
Scott Sharrard, in New York just days prior. I showed Emmanuele pictures I took
at the show, but further conversation was difficult.
The
Allman Brothers Band and Unreliable Memories of March 20th, 2001
If
we spoke the same language, and I wasn’t relying on Federica to translate, I
would have carried on with stories of my springtime ritual of seeing the Allman
Brothers Band at the Beacon Theatre back home. I’d talk about the time I met my
best friend at the legendary Bottom Line music club downtown and dropped a
bunch of acid before we proceeded to walk the seventy blocks north to the
theatre.
I
might have mentioned how we were definitely tripping balls by the time we
passed by the random pet store somewhere near the United Nations (to this day,
I don’t remember how or why we ended up on the east side) and how we challenged
each other to see how far we could walk into the arcade of tiny, animated,
arfing, chirping, meowing animals on display without completely losing our
composure (for the record, I made it further back than my friend did).
How,
in a dive bar near the venue, I made the mistake of looking in the mirror in
the bathroom, and was greeted with a vision of my face warping, stretching, pulling,
drooping, pulsing. I knew then that the rest of the night would be a delicate balance
of maintaining composure and puncturing other dimensions.
How
getting into the theatre felt like infiltration. To cover up my dilated pupils,
I wanted to keep my sunglasses on, but my friend told me that was a bad idea, and
that I would blow our cover. He was probably right, but it pained me. I felt
like I was stripping away my coolness. I
don’t often feel cool.
|
|
How
the walls of the ornate theatre moved and swirled. How the ceiling melted,
dripped, and cascaded down to the orchestra seats. How we peaked at the end of
the first set when the band segued from their ethereal, but fiery rendition of
“Dreams” into the minor key opening passage of “Revival.” How my brain felt
like it was in a vice, folding into itself, crushed under pressure, approaching
the point of snapping , like when you cross your eyes and you intuitively feel
like there’s a threshold, where if you go too far, your eyes will stay like
that forever. And so I rocked back and forth, clutching at the arm rests, grinding
my teeth, as the band accompanied the brooding guitar duet with images of
violence and war projected on the screens above them, illustrating the horrors
that man inflicts upon man, while a knot of sorrow, anger, and despair
congealed in my chest, everything hitting me too intensely, until… until…
Until
the music shifted, and the guitars burst
into a jaunty, harmonic decrescendo leading the band into a joyous major key
groove. The images of war were replaced
by the smiling visage of Duane, the Allmans’ brilliant fallen leader, projected
huge above the stage. Below, onstage, his baby brother Gregg sang in a
growling, knowing voice, “people can you feel it? Love is everywhere.”
The
ball of dark emotion shot out of my chest like a bolt of lightning. My soul
felt cleansed.
These
are things that are difficult to express through an interpreter.
Indexing
and Classifications
In
spite of the nature of my quest, my first stop at Discobolandia were the jazz and
fusion sections, searching for a copy of Venusian Summer by Lenny White,
but to no avail. I was somewhat surprised to have found that Discobolandia had
separate sections for jazz and fusion, and that the records were as appropriately
designated as could be hoped given the blurry line between. Though the sections
were modest, there contained some interesting treasures. I found a lovely copy
of an album by the Miroslav Vitouš Group, featuring John Surman, Kenny
Kirkland, and Jon Christiansen. I was particularly excited by this find, having
had obtained years earlier an unreleased live recording of this particular lineup
that was positively brilliant. I had high expectations of their studio album.
It’s
probably the same vanity that makes me pick up an obscure punk record to go
along with the Hall and Oates record I found to show the hipster at the counter
that I have informed and eclectic taste that makes me hit the jazz section
first. I’m aware of my foibles. Still, Europeans always viewed jazz as a true
art form, an attitude that American listeners only adopted later, and I knew
that there was potential gems to be found.
Obviously
I hit the prog section next. And there was a proper prog section, which I
always respect even if I don’t know if it is for the shopkeepers to count the
enthusiasts or to identify the undesirables.
|
The day's haul. |
To
my disappointment, there were far fewer albums by Italian prog bands than there
were Italian pressings of English bands. Not surprisingly, I suppose, there
were copious amounts of interesting Italian pressings of Genesis and King
Crimson records which I would have loved to have purchased if I had a pay grade
that complimented my fetishism and the room in my apartment to store copies of
albums I already had just because the covers were slightly different.
There
were a couple of good finds: Performance,
the live album by PFM, recorded in 1980 as the band was becoming a bit more
poppy (but still, even the worst PFM records have dazzling musicianship), Collage, the second album by Le Orme, a
bit before they hit their stride, but still a solid outing, and lastly an Italian
pressing of the King Crimson live album, Earthbound.
It was enough to justify the trip to me, if not to my girlfriend.
Their
classifications of American music (outside of jazz) were a whole other thing. They
had a definite love of American music, but there was a definite conflation when
it came to genres. Their “blues” section had Muddy Waters in the same bin with
Stephen Stills and John Mellencamp. It was tough not to laugh, until I stopped
and thought that I probably would have been at a loss to explain the concept of
heartland rock to Europeans who may not have a solid grasp of the geography of
the North American continent. I imagine the conversation going a little
something like this:
A
Short Play Based on a Hypothetical Conversation with an Italian about American
Popular Music Genres
ITALIAN
DUDE: John Mellencamp is not blues?
ME:
No, John Mellencamp is what we call “heartland rock.”
ITALIAN
DUDE: And that is…
ME:
So heartland rock is music of the heart of America, the center of it. States
where agriculture is the main thing. It is the music of earthy, working class
people. Rural, farmers, small towns, you know…
ITALIAN
DUDE: So John Mellencamp is heartland rock.
ME:
Yeah, John Mellencamp… Bob Segar.
ITALIAN
DUDE: Bob Segar was a farmer?
ME:
No, dude, he’s a musician.
ITALIAN
DUDE: No shit, but his fans…
ME:
He was more from Detroit. Car industry, factory workers.
ITALIAN
DUDE: No farms.
ME:
No farms. Still blue collar, though.
ITALIAN
DUDE: Blue collar?
ME:
Nevermind. Working class.
ITALIAN
DUDE: Okay. And you said it’s called the heartland because it’s in the center
of the country.
ME:
Yeah.
ITALIAN
DUDE: Isn’t Bruce Springsteen considered heartland rock?
ME:
Oh absolutely. For many he epitomizes the genre.
ITALIAN
DUDE: Where is he from again?
ME:
Just check the name of his first album. Asbury Park, New Jersey.
ITALIAN
DUDE: And Asbury Park is in the heartland?
ME:
Jersey shore.
ITALIAN
DUDE: Jersey shore? Like that MTV show?
ME:
You saw that over there?
ITALIAN
DUDE: Sadly.
ME:
Sorry about that.
ITALIAN
DUDE: You should be.
ME:
Please don’t judge America based on that.
ITALIAN
DUDE: As long as you don’t judge Italy from the Italian-Americans on that show.
ME:
Deal.
ITALIAN
DUDE: But anyway, Asbury Park is like that?
ME:
I guess. Beach side town. Amusement parks.
ITALIAN
DUDE: So the heartland is on the beach?
ME:
Well, not technically…
ITALIAN
DUDE: So where is the Jersey Shore exactly?
ME:
About an hour or so south of New York City.
ITALIAN
DUDE: So the heartland is the center of the country, a rural place which is
also a coastal locale within commuting distance from the country’s largest metropolis.
ME:
Uh, I don’t know? Sort of? It sounds weird when you say it.
ITALIAN
DUDE: But it’s the music of working class people.
ME:
Right. Right. Yes, Exactly. People who do dirty jobs for far too little money.
ITALIAN
DUDE: People who do dirty jobs for far too little money. So heartland rock in
the music of slaves.
ME:
No. That’s the blues.
And
that was before we got into folk rock.
To
be fair, I would wager that Americans would do far worse trying to define the subtleties
of Italian genres. I’m certainly glad that I’ve never been asked.
Last
Minute Impulse Buying
My
glance through the classic rock sections (organized by decade) was pretty
cursory. I could have stayed for another hour, but I was beginning to feel
acutely aware of my girlfriend’s restlessness, and I couldn’t help but feel
guilty. After all, I had dragged her two miles out of the center of town to a
place that I knew she could hardly care less about.
|
This album is the fuckin' shit. |
Emmanuele
tried to sell me on a couple more things before I left, reissues of records by
The Trip and Alphataurus, two Italian bands who never really got any exposure
outside of their native country. Again, I wasn’t about to buy reissues,
particularly of bands that I had never heard. This turned out to be
a mistake, as original copies of albums by these bands are so exceptionally
rare and prohibitive expensive that they
are probably only owned by rich douchebags who don’t even enjoy them. In the
case of Alphataurus, when I finally had their reissued vinyl shipped from
overseas, I ended up paying twice what I would have paid if I had just bought
it in Bologna.
The
soundtracks section was located by the register, a last minute impulse buy
being Tony Banks’ soundtrack to the movie The
Wicked Lady. Not recommended. Leaving only about ninety Euros lighter, I
think I showed great restraint. Also, the walk back to the center of Bologna felt
much shorter than when heading into the outskirts. We were able to find a nice
little bar where we had a few negronis and I reviewed my purchases, telling
Federica numerous pointless little facts about each one while she pretended to
be interested.
How
we almost got arrested at the train station, got on the wrong train twice and
our roundabout route home left us stuck in a couple of quaint Italian villages,
freezing our asses off in the middle of the night is really another story for
another time.
Basically,
though, if you find yourself in Bologna on a record buying pilgrimage, skip
everything and go straight to Discobolandia.
And
tell Emanuelle that Roger says “ciao.”