Don Backy
L'Amore

Aldo Caponi (known as Don Backy) worked in a leather tannery when he was young, but he grew up in a musical environment where the kings of rockabilly were all the rage. His heroes were Elvis and Bill Haley, and his passion for music (and painting) pushed him to strum a guitar for the first time. It was precisely to Bill Haley that he dedicated his first covers towards the late '50s. He was later discovered by the Clan Celentano, which had already signed more than a few future music names, only to part ways after numerous controversies. It is said that it was indeed Adriano Celentano, prompted by his then-wife, who gave a positive evaluation of young Aldo, thanks to the western-themed song 'La Storia di Frankie Ballan'.

It was precisely with Adriano Celentano that Don Backy's first cinematic experiences began. In 1963, he took part in Totò's film 'Il Monaco di Monza', having a small role. He gained experience at the Cantagiro, with the song 'Amico', an Italianized cover of a Burt Bacharach song, and two years later, again with Celentano, he participated in the film 'Super rapina a Milano'. Many singles followed, culminating in the first album of 1965, the year of his first official album titled 'L'Amore'. At this point, it is important to draw a profile of the character we are dealing with. Through numerous television appearances, Don Backy is presented as a precise young man, rigorously in suit and tie, with a clean and mature face. Which would have done nothing but attract crowds of young people to him. In this album, all the influences of past Italian and non-Italian artists emerge, which made Don Backy an emerging young talent. We move from Elvis' rock 'n' roll to Bob Dylan's folk, in a mix of Italianized covers of foreign songs. The first track is the one that gives the album its name, 'L'Amore', a sweet declaration of joy towards life and the beloved girl. Among the most beautiful songs of the Tuscan artist, with a distinctly sincere and genuine text, with music to match. It is a Don Backy who still doesn't know what to do when he grows up, as evidenced by the numerous changes in style, such as the following 'Io che giro il mondo', ('I think I'm gonna like it there' by Elvis), a classic dance piece almost obligatory at the time. A shock to read the title of the grammatically incorrect 'Ho Rimasto', a hopefully intended error, but nevertheless, the result is a barely enjoyable track. 'Amico' reached the seventh place at Cantagiro, and probably that went quite well. A song dedicated to a friend, musically too '50s. But the quality rises immediately with 'Cara', another peak of Don Backy's musical career.

'Cara' is a sweet declaration of love toward a woman from the past, now lost in the wind. Aldo asks his beloved to toast to him while she will be with another, a toast that until a year before she would have made with him. Nostalgic and moving, with which he probably would have had more chances at Cantagiri, which perhaps required more 'charged' and less delicate tracks. Don Backy in this album maneuvers through numerous approaches to the song. Moving from lively to delicate, even to funny, thanks to songs like 'Voglio Dormire', a clear exaltation of sleep in which many, like me, can relate. Still many beat songs, interspersed with beautiful tracks, like 'In una stanza senza sole', with a bittersweet and nostalgic approach, and the most beautiful cover of the album, 'Mister Tamburino', written by Bob Dylan and made famous by the Byrds of David Crosby, with a text rather faithful to the original (Hey Mister Tamburine man, play a song for me/ I'm not sleepy and there is no place I'm going to)

Many absolutely forgettable tracks, but the only 'L'Amore', 'Cara', and 'Mister Tamburino' are undoubtedly worth the purchase price. The best was yet to come. Just two years later Don Backy churned out his most famous song, the renowned 'L'immensità', participating with this one at the Sanremo Festival of '67. And many more successful tracks, including 'Canzone' or 'Casa Bianca', covered by many, among whom I recall the Camaleonti's version which I talked about some time ago. What else can be said about Don Backy? Undoubtedly, the rupture of the relationship between him and Celentano stands out, who presented 'Canzone' at Sanremo singing it almost lackadaisically as a provocation, and the numerous in and outs in court of the two. In the future, he would write for many, among whom Mina stands out, and he would cultivate his passion for painting. Recently a supposed blasphemy by him caused a stir on the program 'L'Arena', but we risk going off topic. Without a doubt, one of those who falls into the category of 'I’ve heard his name but don't even know a song', well, what better occasion than this to rediscover him?