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When a friend of mine, very fan of Branduardi purchased it, he was very excited and he immediately put on the first of the three albums. I should have been present at one of the gigs when it was recorded. I hitch-hicked all the day from Tuscany to Rome to be in Villa Pamphili on time, but when I arrived the concert was canceled for heavy rain and I had to find a way to get back home When later that friends put the disc on, I didn't like it.
The instrumental intros to almost all the songs appeared just "tied on" to make them sound a bit more rock or pop.
The songs have been recorded during the whole tour, anyway, so that some are translated into English.
The intro to "L'uomo e la Nuvola" is long and very different from the song. This is what I mean for "tied on". It takes to minutes before it becomes barely recognizable. Not that it's bad, surely it's more prog than folk and I think I've been to harsh actually.
It's tied on but not so disconnected. A three minutes song here is about 12 minutes long 9 of intro. This is one of the reasons why this album is so long.
Unfortunately Angelo was entering in the 80s when he attempted some failing experiments with country-blues, guesting Jorma Kaukkonen on one of his worst albums. This is how a song shouldn't be massacred. The people claps at the first notes and the arrangement includes some Bouzuki. Only the pan flute preserves the original ambient.
Now the classic: "Alla Fiera Dell'Est". The most famous Branduardi's song, the one which made of him a pop star has some added instrumental parts. Those interludes are poorer than the original violin solo, or maybe I loved so much the orginal violin solo that I can't stand with this version.
After the claps comes a tarantella played by traditional instruments, then a repetitive violin starts an instrumental crescendo Maybe on stage it worked well but I really prefer the studio version. I remember him playing a long violin solo a couple of year before, really better than this.
This version is probably better than the studio one. What comes after is Branduardi's masterpiece.
As usual, he plays classical guitar and vocals alone with a second guitar in the back. The lyrics are a poetry of the Russian poet Esenin.
The one he wrote as farewell with his own blood before committing suicide. It's singular that after some Italian songs translated into English we have a traditional British translated into Italian. It looses all the emotional and dreamy flavor of the original.
Well played but I think the wrong arrangement for this song, and the first CD is gone. It's a good start for this second part f the concert which contains the songs which are most connected to the medieval music with an arrangement that's the most prog thing of the whole live.
A great performance, IMO.
Now a song that has a particular meaning for me and is massacred by a sort of Hawaiian arrangement, not only the slide guitar doesn't have anything to do with it.
I can't understand what the drummer is doing on this song.
The song is good even with this arrangement. The addition of a piano intro to "Donna Mia" is not bad.
Not all the arrangements of this album are bad. The piano on the original was more classically oriented.
A song killed by a completely inappropriate arrangement. Concertation owes much to the talents of Maurizio Fabrizio, and exploits unusual instruments for pop music: dulcimer, Pan flute, lute, clarinet, among others - mixed with more standard guitar-bass-and-drums. Subsequent albums are mark by an increasing desire towards experimentation and differentiation.
Branduardi has a more intimate tone, Cercando l'oro "Searching for Gold", , has very sophisticated and delicate arrangements starts with a String Quartet , Branduardi canta Yeats is a tribute to William Butler Yeats. Pane e rose "Bread and Roses", is a still inspired, but increasingly dark picture of life and death. Though similar in style to the early ones, s Branduardi's songs seemed to have lost the strong, rythmical energy that backed masterpieces like "Ballo in Fa Diesis Minore" or "Cogli la prima mela".
Il Ladro marks a very delicate point of Branduardi's life, edging on depression, echoed in a dark, almost cemeterial, style of singing.
The album Si puó fare brings back Branduardi to normality, but the artist is now struggling to evade the minstrel character which is now too strict for him.
In , during the celebrations for the restoration of the Duomo of Spilimbergo after the catastrophic earthquake, he records the extraordinary album Futuro Antico, in which he poses as an early Baroque musician, reusing, mixing, wording pre-existing material along with his own. He reworks earlier musical themes with writings of and about St. Francis to produce L'Infinitamente Piccolo; he writes a musical on the same topic Francesco. In a new album, Altro ed Altrove "Other and Elsewhere" , in a time period marked by a rise of racism and intolerance, brings together mainly love stories from several cultures.
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