I Camaleonti
Io Per Lei

I Camaleonti are, in a few words, a pillar of the light music as we understand it today in our country. Among the first to experiment in Italy, they spanned decades, eventually becoming a cult band in Italy. From the late 60s to the early 70s, they were, perhaps alongside Romans and Bisonti, the fundamental innovators of the song, bridging beat and melody. The first lineup included Gerardo Manzoli, Riki Maiocchi (who left shortly after to pursue a solo career), Antonio Cripezzi on keyboards, and Mario Lavezzi (future founder of Flora Fauna & Cemento). They participated in various Italian song festivals, such as Sanremo or Un Disco per l'Estate, making the Camaleonti one of the most prominent groups of the time.

Their first recordings started in 1965. They were first noticed by Adriano Celentano and his manager, who offered them a record contract through which the group released several singles with a clear beat style, which was fashionable at the time. The attempt was to imitate the early Beatles or the Kinks, even through clothing that brings to mind the British musical trends of the era. The year 1968 was quite special. It's not up to me to remind you why, but the Camaleonti made it their golden year. However, we need to take a small step back. The first two records, 'The best records in the world' and 'Portami tante rose', are clear examples of beat music to my ears, barely listenable, which certainly led to a maturation that helped the four in their subsequent production. And indeed, as we said, it was in 1968 that the group released their first light music record entitled 'Io Per Lei', which quickly topped the charts. This was thanks to a series of excellent tracks that immediately became classics for the Milanese group, including the opener, 'L'ora dell'amore', the Italian version of Procol Harum's hit 'Homburg'. Procol Harum, which, according to the reviewer, can be defined as the real pioneers of the wave of groups in Italy. Returning to the track, a slow song supported by a piano, in classic Harum style, narrating the painful absence of a female figure through various images, such as the clock in the square and closed shutters. A song with light psychedelic connotations, too light to justify a Jefferson Airplane cover. In any case, a beautiful interpretation of an English song, perhaps one of the best Italian covers of the era (Io no che non lìho persa/ io aspetto che ritorni/ lo sento sei vicina/ è l'ora dell'amore). The beat was not completely abandoned, as evidenced by tracks like 'Vita Facile'. Nothing to do with the subsequent 'Casa Bianca', a beautiful ballad referring to the white-colored houses found in Puglia, in a whirlwind of nostalgia for one's childhood and the childhood home. A tribute to the desire to turn back time and years, to where one's youth was spent. Written by Don Backy and proposed at Sanremo 68' by Ornella Vanoni and Marisa Sannia, reaching even second place (behind 'Canzone per Te' by Sergio Endrigo), it is, therefore, a cover. Beautiful and atypical 'Torna Liebelei', a track initially indecipherable, almost with medieval connotations, that becomes a love song, light and delicate in the end. It is more than a worthy B-side of the single 'Applausi', released shortly before the album and then included in it.

And it is precisely 'Applausi' that is one of Camaleonti’s key tracks. A guitar that vaguely reminds us of Cream, an approach far from light, easily assimilated choruses, and a simple text that made this track one of the most acclaimed of the group. Unforgettable the chorus (Canta ancora, canta ancora/ Cantare ma perché, se l'amore non c'è), all seasoned with Livio's splendid wha-wha. Needless to say, the track quickly reached the top of the charts, becoming a cult song of the music scene of those years, playing on the radio with impressive frequency. The same discussion applies to the following 'Io Per Lei', which, despite naming the album, turns out to be the other side of the 'Applausi' coin. A delicate and catchy love ballad, with a simple and passionate text. Although it's the Italian version of 'To Give' by Frankie Valli (the one of 'Can't Take My Eyes Off You'), the track lives on its own, differing from the original in several points. Needless to say, this track also quickly shot to the top of the charts. Worth mentioning the beautiful 'Storia Normale', with lyrics by Califano, and 'Il Diario di Anna Frank', narrating her story. This song, like others by the group, provides a broader range of topics, lightly engaged as in this case or not, of light music, too often seen as a collection of sterile love songs. The song, though written by Mino Reitano, benefits from an excellent interpretation by the Camaleonti, who seem to live the suffering of the young girl, through a splendid manifesto against the war.

How many years do the Camaleonti have behind them... After 50 years, despite numerous changes in front, they are still active, touring Italy, mainly surviving on past musical production and great successes. With 'Perché ti amo', they won at Un disco per l'Estate, many other successful tracks, of which I will just mention 'Piccola Venere', 'Come Sei Bella' (which participated in Sanremo 79') or 'Cuore di Vetro'. More than a fundamental piece of light music, I would dare to say a brick, no kidding.

Eternitààà open your arms wide