Fabrizio De André
Fabrizio De André in concerto vol.2

THE REVIEW

The entire material could have easily been collected into a single album or at most a double one. Instead, I find myself with only the second volume in my hands, with just 8 tracks and 38 minutes, fortunately of great music. I did listen to the first one. "Fabrizio De André In Concerto - Arrangiamenti PFM vol.2," the one with the green cover, was released alongside the first at the end of the seventies, as a lucid and brilliant testimony of the great live performances of our Genoese poet in Florence and Bologna, Faber, with one of the largest and most important groups of the Italian scene successful in Europe, Premiata Forneria Marconi, without the now-departed Mauro Pagani, who in '84 would collaborate with De André for the colorful Crueza de mä.

The Italian version, faster and more captivating than Dylan's original Romance in Durango (Desire), opens the album, "Avventura a Durango", already featured in "Rimini". It is followed by the amusing presentation of Franz di Cioccio of his accompanying band, complete with jokes. Then comes "Sally", a beautiful track, which thanks to PFM's music gains a romantic and timeless setting. Next is "Verranno a chiederti del nostro amore" (from the beautiful "Storia di un impiegato"), on the piano, as intense as ever, showing us how Italian music can create absolute gems that the entire world must envy us. Listen imagining being there, absorbed or alone in your bedroom, in the dark, imagining and imagining those words sung with class that are easily heard. Another masterpiece, "Rimini", dreamy as in the eponymous album: "Teresa has dry eyes, looks towards the sea, for her, daughter of pirates, I think that's normal Teresa speaks little, has chapped lips points to a lost love in Rimini in summer".

"Via del campo", the next, becomes even more beautiful than the rural 1967 version, enriched by medieval arrangements, like "Maria nella bottega del falegname" of clear rock and progressive imprint, with the chorus sung by Mussida and Co. The latter extends into the following "Il testamento di Tito" track from La buona novella, the last of the album, captivating, particular for the bass lines outlined by Patrick Djivas, between the 12-string guitar of Lucio "violino" Fabbri, the piano and keyboards of Flavio Premoli, very Genesis.

An excellent live album, with the most recent pieces of the time, and perhaps even the less known ones, jewels that gain new life with these new musical inventions. It is still a continuation of the first volume, in my opinion better because the grand capabilities of the group are more evident, the one with the beautiful and original version of "Bocca di rosa" or "il Pescatore". Overall, it can be considered an innovative and original Live of our musical panorama.