Adriano Celentano

Enzo Jannacci

Fabrizio De Andrè

Summer of Love with Fabrizio De Andre, Adriano Celentano & Enzo Jannacci (Explicit)

Carlo Martello (Ritorna dalla battaglia di poitiers - versione originale 1963)

Carlo Martello Ritorna Dalla Battaglia Di Poitiers

Nuvole Barocche

Il Testamento

Ballata Dell'Eroe (Prima Versione)

Il Fannullone

Domenico Modugno

I grandi classici della canzone italiana Vol.2

La Ballata Dell'Eroe

Prima di Faber

Tu che m'ascolti insegnami

Fabrizio De André - Il Capolavoro - I Singoli

Gli originali

Anime salve - Il concerto 1997

Le Nuvole - Il concerto 1991

M'innamoravo di tutto - Il concerto 1998

In Teatro - Il concerto 1992/1993

La Bussola e Storia di un impiegato - Il concerto 1975/1976

L'indiano - Il concerto 1981/1982

Fabrizio De Andrè e PFM - Il concerto1978/1979

Creuza de ma - Il concerto1984

Fabrizio de Andre' e PFM in concerto

In Direzione Ostinata E Contraria Vol 2

La Canzone Di Marinella

In Direzione Ostinata e Contraria

Anime Salve

Peccati Di Gioventu

Da Genova...

Canzoni

1991 Concerti

Le Nuvole

Fabrizio De André (Indiano)

Arrangiamenti P F M

Rimini

Non Al Denaro, Non All'Amore, Ne Al Cielo

Tutti Morimmo A Stento

Volume 1

Volume 3

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 Yet another of the brilliant concept albums Fabrizio De Andr? released in the early '70s, Non Al Denaro, Non All'amore N? Al Cielo("Nor Gold, Nor Love, Nor Heaven") is based on Edgar Lee Masters' famous collection of poems Spoon River Anthology. This was the first time De Andr? adapted or translated material from a culture other than Italian or French, and he went about it in a much looser way. Masters' book consisted of fictional epitaphs delivered by the dead themselves, succinctly summarizing their hollow lives, effectively creating an unscathing collective fresco of the American small town and small-minded society. Together with poet Giuseppe Bentivoglio, De Andr? selected only nine of a total of 244 poems by Masters, discarded the original free form for rhyme and, fundamentally, most often chose to thoroughly rewrite the texts instead of relying on literal translation. De Andr?'s main concern was how to turn a quintessential (and by then, outdated) American setting into a universal small town. All the specific references to American history and society that abound in Masters' work (particularly those dealing with the consequences of the Civil War) are gone, replaced by a close focus on those themes and characters that would have felt perfectly at home in any of De Andr?'s own songs: a cast of outsiders and born losers trapped in a provincial bourgeoisie environment that stifles its dreamers through pettiness, hypocrisy, and envy.... Read More...

  Though overambitious and sometimes overbearing, Tutti Morimmo a Stento is not without brilliant passages that hint at the possibilities of the orchestral suite format that De Andr? would so successfully explore in the future. Indeed, the middle segment of the album is quite wonderful, with "Inverno," a lyrical air not unworthy of the best Italian opera tradition (arguably Reverberi's finest moment), and the satirical childlike roundabout "Girotondo" that introduces a much welcome change of pace and tone. Those two tracks, and the chilling "Ballata Degli Impiccati," are as impressive as anything De Andr? has recorded. As these make up more than a third of the record, it would be a great disservice to consider Tutti Morimmo a Stento a weak album, but it certainly pales a bit in comparison with later masterpieces such as La Buona Novella or Non al Denaro non all'Amore N? al Cielo, and it often sounds like a dry run for those works. Granted, this is a common problem with artists of such high standards and consistency as De Andr?: used to uniform excellence, one may feel a bit let down with merely partial brilliance. At any rate, on the evidence of his second LP, no one could doubt De Andr?'s multiple talents, as well as his ambition to transcend the singer/songwriter mould 

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