Demetrio Stratos

Visible in this March 28, 1974 photo of Stratos recording John Cage's "Sixty-Two Mesostics Re Merce Cunningham (Frammento)". According to Paolo Griguolo of Picchio dal Pozzo, the U87 is also the microphone Stratos used to record "Le sirene" and the tapes that would be interpolated into Pic_nic@Valdapozzo.

Area was an other reference band for PdP. They were forerunner for music contamination, electronic experimentation (Griguolo had contacts with Paolo Tofani, the guitar player). Top of the top the way of 'singing the voice' of Demetrio Stratos; when he left the band seemed an epoch was finished. In fact he was starting a new one, unforgettable, unfortunately too short for him

PdP managed a stage of Demetrio in Genoa at IPPAI Theatre (Institute for Youth's Protection and Assistence) low costs for the Cultural Devolution Board. In change he came in our 'popular music school' in Adriatico square performing for free.

«We maneged [sic] two days of performances: one a day. Claudio Moretti, the only friend we had who lived alone, hosted him for the night. Immediately we noticed his helpfulness: humble, gentle, nearly striking his imposing shape. A real Gentle Giant. Instead of asking about the coming events, he wanted to know about us: what we were doing, our projects, if we had material to listen to. The first day he found himself in front of twenty persons: some students, some other simply curious. He didn't explain much about the technics [sic] he was studing, he simply made them understandable to evrybody musically. His charisma, his sign language, his liturgic behaviour -he made some exercises facing a corner to exploit the natural resonance of the room- made the event also theatrically interesting. Everybody seemed to understand. I would say more: everybody seemed to incorage [sic] him to this way. The next day, for the second performancce, he needed a mic and a multitrack recorder. We brougt [sic] the best we had: a Neumann U87 and a TEAC A-3340 4-tracks ; he needed that stuff for ''Sirene'': in this performance he used to 'overrecord' his voice more times. At the end Demetrio was very satisfied. He confessed it had been the first time that he showed live his researches and that we could keep the tapes. These are the tapes we found twenty years later and are the material we worked on for Pic_nic@Valdapozzo. In these 48 hours we found the time as well to run to the Studio G and prepare a cassette (chrome for big events!) of our tunes. We gave it to him and crossed the fingers. Some days after Demetrio called and invited us by him in Milan: evedently [sic] the chrome had worked fine! He'll be our most authoritative fan for ever».

Visible in this March 28, 1974 photo of Stratos recording John Cage's "Sixty-Two Mesostics Re Merce Cunningham (Frammento)".

Visible in this photo of Stratos, as well as this one from the same session.

According to Paolo Griguolo of Picchio dal Pozzo, Stratos used the band's TEAC A-3340 to record "Le sirene" and the tapes that would be interpolated into Pic_nic@Valdapozzo.

Area was an other reference band for PdP. They were forerunner for music contamination, electronic experimentation (Griguolo had contacts with Paolo Tofani, the guitar player). Top of the top the way of 'singing the voice' of Demetrio Stratos; when he left the band seemed an epoch was finished. In fact he was starting a new one, unforgettable, unfortunately too short for him

PdP managed a stage of Demetrio in Genoa at IPPAI Theatre (Institute for Youth's Protection and Assistence) low costs for the Cultural Devolution Board. In change he came in our 'popular music school' in Adriatico square performing for free.

«We maneged [sic] two days of performances: one a day. Claudio Moretti, the only friend we had who lived alone, hosted him for the night. Immediately we noticed his helpfulness: humble, gentle, nearly striking his imposing shape. A real Gentle Giant. Instead of asking about the coming events, he wanted to know about us: what we were doing, our projects, if we had material to listen to.The first day he found himself in front of twenty persons: some students, some other simply curious. He didn't explain much about the technics [sic] he was studing, he simply made them understandable to evrybody musically. His charisma, his sign language, his liturgic behaviour -he made some exercises facing a corner to exploit the natural resonance of the room- made the event also theatrically interesting. Everybody seemed to understand. I would say more: everybody seemed to incorage [sic] him to this way. The next day, for the second performancce, he needed a mic and a multitrack recorder. We brougt the best we had: a Neumann U87 and a TEAC A-3340 4-tracks ; he needed that stuff for ''Sirene'': in this performance he used to 'overrecord' his voice more times. At the end Demetrio was very satisfied. He confessed it had been the first time that he showed live his researches and that we could keep the tapes. These are the tapes we found twenty years later and are the material we worked on for Pic_nic@Valdapozzo. In these 48 hours we found the time as well to run to the Studio G and prepare a cassette (chrome for big events!) of our tunes. We gave it to him and crossed the fingers. Some days after Demetrio called and invited us by him in Milan: evedently [sic] the chrome had worked fine! He'll be our most authoritative fan for ever».

Visible in this photo of Stratos, in addition to this one and this one.

Visible in this photo of Stratos and throughout this 1977 live performance with Area.

Visible in this photo of Stratos recording John Cage's "Sixty-Two Mesostics Re Merce Cunningham (Frammento)", as well as this one from the same session.

Visible in this photo of Stratos, as well as this one and the cover of Concerto all'Elfo.

Mentioned in the liner notes for 1978 Gli dei se ne vanno, gli arrabbiati restano! as having been used on "Return From Workuta". Its status as a MK1 is evinced by a lack of specification, simply being listed as an "Omni", in addition to the fact that the MK2 came out the same year as 1978 Gli dei se ne vanno, gli arrabbiati restano!.

Visible throughout this 1977 studio session starting at 0:20 and this live performance of "Giro, giro tondo" at 1:43.

Visible as an overhead mic in this photo of Stratos.

A Wurlitzer 200 is prominently visible in this photo from the 1975 Festival del proletariato giovanile, posted to Facebook by Area bandmate Patrizio Fariselli on July 1, 2019 with the following caption:

Parco Lambro

Millenovecentoenonsaprei

Foto di Fabio Maria Minotti

More photographs from the concert can be seen here, including other images of the Wurlitzer.