Alla fermata del tram - At the Tram Stop

Ascolti, mia cara? Sembra che tutto proceda a dovere Che dietro a ogni autunno vada in orario l’inverno Che la neve chiuda ogni stagione di sole Che si calmi l’inferno Ma è solo perché camminano i tram Ascolti, mia cara? Il tuo nome è Speranza Un nome simbolico e folle Per questa vita che invece molte luci non ha Quando è probabile ad ogni momento Una tempesta di vento O che una mano di ferro ci tocchi la spalla Corriamo Buttiamo la palla lontano, viviamo Sembra che tutto proceda a dovere Che tutte le cose ricevano un nome E noi lungo il fiume Pensiamo di andare con mano intrecciata O sul mare Ascolti, mia cara? Per strada aspettiamo, guardiamo La vita che avanza a dovere E sembra ordinata Che non ci sia altro errore Che non esista il potere Ma è solo perché camminano i tram Alla fermata del tram © 1971 Lucio Dalla, Roberto Roversi "Alla fermata del tram" perhaps juxtaposes the rhythms of the industrial/mechanical world (symbolized by the tram) with the coming and going of the seasons in nature, as millions of people reset their internal compasses from the latter to the former as they adjusted to their new urban lives in the north.

Are you listening, my dear? It seems that everything proceeds properly, that behind every autumn is running on schedule the winter, that the snow closes every season of sun, that the inferno cools down. But it’s only because the trams are running. Are you listening, my dear? Your name is Hope, a name symbolic and crazy for this life, that instead doesn’t have many lights, when it’s likely at every moment a tempest of wind, or that an iron hand touches our shoulder. We run, we throw the ball far, we live. It seems that everything proceeds properly, that all things receive a name, and we alongside the river think of going with hands entwined, or on the sea. Are you listening, my dear? On the street we wait, we watch the life that advances properly and seems orderly, where there aren’t more errors, where power doesn’t exist. But it’s only because the trams are running. English translation © 2020 Dennis Criteser Il giorno aveva cinque teste was Dalla's fourth album and the first of a trio of albums in partnership with the poet Roberto Roversi. Before this album, Dalla's main partners as lyricists were Sergio Bardotti, Gianfranco Baldazzi, and Paola Pallottino. But Dalla was tired of writing songs he considered little more than simple ditties (his first love was jazz), and he wanted to develop a new approach with weightier lyrics. The new collaboration with Roversi allowed Dalla to explore new realms of composition, freer and more experimental. While sales were low, the album was well-received by critics and fellow musicians, and helped put Dalla on the map as an important emerging artist. The fruitful relationship with Roversi ended after their third album, over lyrics that the label wanted to tone down; Dalla was amenable, but Roversi was outraged and the album was released using a pseudonym for the poet.