The comfort and the pleasure of mechanical, guaranteed and constant behavior, therefore reliable and “professional”, lead us outside the areas of creative and recreational humanity. Human activities are carried out in a hazard which only guarantees the presence of life (dare I say it) authenticity. Even if the misunderstandings and the distortions are many, two are fundamental human impulses: discipline and indiscipline. I wish to clarify that the only discipline I know is self-discipline and this only exists when one has mantained a practicable indiscipline.
At the end of the seventies of the slid century, mysterious and completely incomprehensible decade also for those who have inhabited it as adults, these two impulses were represented, sonorously, by two pillars: on a side the robotico sperimentalismo, represented by Neu, Cluster, above all by Kraftwerk in Koln. On the other the formidable and most powerful soul community, represented by James Brown, Sly Stone, Jimi Hendryx in America and by King Sunny Adè and Fela Anikulapo Kuti in Africa.
In the sincretico imaginary world of David Byrne and Brian Eno this indefinibile work came true, and it seemed to me had to be unavoidable, in such times, for those who believed indeed in a future for western music, together with the other bastion that the duo recorded alone in the immediately successive period. Out came a new, recognizable sound for the Black ones just like for the British ones, and they all danced. In that dark London winter in which I came to find myself the shock was huge, the great formation with two electric basses performed at the Hammersmith Odeon and nothing was the same anymore.