Fabrizio De André
In Concerto Volume II

THE REVIEW

Like all true sufferers of "deandrenite," the album was released and in that precise instant, it was already in my hands. I sensed that it represented the last opportunity to be moved by something new from the late De André and this saddened me greatly, while at the same time, instilling high expectations in me. Expectations that were disappointed right from the cover and its poorly combined red and black colors.

An album spat onto the music market through the negligence of I don't know whom, and I don't want to believe the De André Foundation is involved, as they should, I hope, have a completely different role. “In concerto volume II” aims to represent the continuation and the epilogue of the previous “In concerto,” also released posthumously but backed by the approval of De André himself, at least as far as the choice of tracks in the lineup is concerned; certainly not for the graphic design and the accompanying booklet, but that’s another story.

In this case, the album does not even console the listening: thunderous and rustling applause appears unexpectedly and with an artificial impact at the end of each song, almost to testify to the expertise used in the overdubbing technique. Moreover, the chosen tracks have an order that deviates from how De André would schedule his parade of masterpieces, and to emphasize this further manipulation, it was deemed appropriate to include two songs taken from the beautiful album “1991 concerti” which are “Don Raffaè” and “La domenica delle salme” and that have nothing to do with the tour that this work intends, or rather should intend, to document.

In short, an album composed without love, precisely to represent one who "put love above everything else..."

What can I say!? Out of anger, I smoked a handful of cigarettes... and then they say that music is good for your health...