Fabio Concato
Singoli

For the sake of economy and elegance, we compile in a single review the fifteen singles by Fabio Concato that are not included in the 12 studio albums.

In 1984, on the 45 rpm which has "Fiore di maggio" as the A-side, the b-side features "Cara Chiara," the outtake from the eponymous album released the same year. It’s a track where minor chords and brush drums immediately stand out. The lyrics talk about a woman who first feels persecuted and then manages to be well. Maybe not worthy of appearing on a 33 rpm, but it would have been a shame not to release it. Rating 3/5.

In 1988, also as a b-side on the 45 of "051/222525," the jazz club version of the same track played by Franco D'Andrea appears. There’s a lot of piano virtuosity, and the instrumental version doesn’t strictly follow the song's structure. Excellently played by Maestro D'Andrea, it deserves, like the original, 5/5.

In 1992, a particular collection titled Vita quotidiana is published. It includes the two outtakes from Giannutri, four tracks from Storie di sempre, and the five tracks we talk about now.

"La reazione" is an acknowledged outtake from Storie di sempre, dating back to 1977, where the protagonist is charmed by a woman but then discovers she squanders all the hard-earned wealth. The reaction, precisely, is to the situation that has been created. The style is the ironic one typical of Dean Martin and other tracks from Fabio's debut work. Rating 3/5.

"Ai fil romentik," written just as it’s pronounced, is a cover of a 1979 track by Ricky Gianco, used as the soundtrack for the film Liquirizia by Salvatore Samperi. Despite its ironic vein, it ends up being a weak track, rating 2/5.

Then, there are three recent collaborations compared to the publication of the anthology.

The first is "Le storie di una storia sola" with Toquinho from 1986, in which Fabio weaves a vocal tapestry of a text that describes many situations as "stories of a single story," which is the story of life. Rating 3.5/5.

The second is "Chiama piano," with Pierangelo Bertoli from 1990, which was quite popular on the radio at the time and still is. Pierangelo sings the first part, verse-chorus, Fabio the second, again verse-chorus, while the third part is shared halfway by the two singer-songwriters. When they sing "un attimo/ quell'attimo che è mio," the level rises significantly. Rating 3.5/5.

The third is "Radici di terra," from the previous year, with Franco Mussida and Angelo Branduardi, included in the first solo album by the PFM guitarist. In the lyrics, roots are the foundation of the most important things in life, and so are hands. The music is robust, for a piece rated 3.5/5.

In 1994, in Scomporre e ricomporre, there is the unreleased "Troppo vento" and the cover of "Perché no" by Lucio Battisti.

"Troppo vento" is a classic of Fabio Concato's repertoire! It contains the title "Musico ambulante" which he will use for the 2021 collection, and it’s a spirited piece, with female voices at the beginning and a great upbeat chorus! Rating 4/5.

"Perché no" is performed without infamy and without praise. It had already been recorded the previous year for "Innocenti evasioni." The original song undoubtedly deserves the maximum, this version 3.5/5.

In 2003, Fabio records his first live album Voilà, which includes the title track and the cover, adapted into Italian, of Chico Buarque de Hollanda's "Todo o sentimento," which becomes "Tutto il sentimento."

"Voilà" has the same meter, in the verses, as "O bella bionda," and returns to the kiss, a recurring theme in Concato's songbook. It’s a lively track, easy to listen to, but average. Rating 3/5.

"Tutto il sentimento" instead has a less lively rhythm, but the interpretation is more romantic and heartfelt. Worth noting is the excellent cascade of piano notes by Bruno Zucchelli, expressly mentioned by Concato at the end of the song. Rating 3.5/5.

In 2007, Concato participates for the second time in the Sanremo Festival with "Oltre il giardino," and a rearranged collection is released with the same title of the song, which also contains another unreleased track, "La ballata del mostro."

"Oltre il giardino," in line with the times of crisis, talks about the difficulty of losing one's job at 50. So becoming a gardener could be a way to reinvent oneself. The lyrics also refer to a "new economy" that forces workers to move and the difference between essential and superficial needs. Mario Monti would arrive five years later, but the premises were already in place... I personally interpret the song as the reinvention of the artist himself, who after 2003, at 50, found himself in a period of darkness. Sanremo will place it 17th out of 20, but Sanremo rankings often do not reflect the value of a song and its ability to endure over time. It's a great song, rating 4/5.

"La ballata del mostro" is another great piece, where there is always an allusion to the state, but this time from the perspective of the dignity reserved for prisoners. The "monster" is locked up, but his guilt will never be truly proven. He wants to talk about the comforts provided, and is sure everything will end in laughter. Very inspired, although unpleasant, is the image of sauce flavored by the farts. Rating 4/5.

Finally, in 2020 and 2021, Fabio releases, as single tracks with accompanying videos, "L'umarell" and "L'aggeggino."

"L'umarell" is the old man who gives unsolicited advice to workers at construction sites. The image is used to talk about the situation during Covid times. The song is sung in the Milanese dialect, and Ninin is mentioned, that is, his wife Elisabetta, to whom numerous songs have been dedicated, including "Ciao Ninin," which was brought to Sanremo in 2001. At the end, there is a dialogue with Enzino, aka Enzo Jannacci! Fabio returns to publishing with this track after 8 years, and the song earns him the Ambrogino d'oro! Rating 3.5/5.

"L'aggeggino" is dedicated to his granddaughter Nina, daughter of Carlotta. 37 years after "Fiore di maggio" it's Bollicina's turn, as Fabio calls her. The title refers to the child handled by the grandfather. In the end, he declares that the song was written together. The music, compared to "L'umarell," is more melodic and appealing, and the video is also really beautiful. In concert, it immediately made a good impression! Rating 3.5/5.

Considering all these tracks, and Fabio's overall career, the global rating is 3.5 stars.

THAT'S ALL!