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Rating: I must say that I have never been particularly taken by the Nomadi, or at least not beyond the passion my parents had for them. A few years ago, I listened to "Contro," the last studio album recorded with the voice of the great Augusto (one of the best voices from the Italian—and perhaps European—scene of all time); later, I came across "La settima onda," the first after Augusto, and the stunning live "Ma che film la vita." I have always considered the Nomadi as yet another melodic group born in the '60s, which then dragged itself through the years with decent success. However, when I recently stumbled upon this vinyl dated 1981, curiosity got the better of me, and after a first listen, I was absolutely astonished.
My research on the most common sources did not yield the expected results, so I'm forced to review with the little information I have in my modest cultural background. By 1981, the Nomadi were already an established band, and after their beginnings (1966) marked by arrangements typical of the '60s—hence pompous to the point of exhaustion—and their partial evolution with covers of Moody Blues ("Nights in White Satin", Ho difeso il mio amore), and other songs like "The revolution kind" (Come potete giudicar), "Run to the sun" (Mai come lei nessuna), "Death of the clown" (Un figlio dei fiori non pensa al domani), collected in the album "Canzoni d'oltremanica e d'oltreoceano," they had the brilliant intuition to record an "Album Concerto" with Francesco Guccini in 1979. The choice proved to be spot-on, not only because of the allure of the Nomadi - Guccini pairing but also because of the extraordinary ability of the band in live performances. On stage, Daolio's powerful voice could indeed unleash to its maximum level, supported by the excellent work of the rhythm section (Paolo Lancellotti, drums, Umbi Maggi, bass), which provided a more rock sound than one might understand from the studio, and the trump card represented by the duo Beppe Carletti - Chris Dennis, keyboards and guitar - violin respectively.
On side A of the vinyl, therefore, appear five original compositions recorded in the studio: I tre miti, a typical opening track, Jenny, Sera bolognese, Utopia, and La mia città. The lyrics are generally very good, the music perhaps not always up to par, and one quickly arrives at side B. Four tracks of immense charisma, reaching their peak with the touching Il vecchio e il bambino (Guccini) and especially with the cover, taken from Elton John (appearing on his first album) of "Sixty years on", Ala bianca. Don't be misled by the gentle studio version: the best track on the record qualifies with a driving rock, constructed like a path on which Carletti's piano and Daolio's increasingly surprising voice travel in unison. For an example, allow yourself to be carried away by the improvised ending of the track, where Augusto guides the whole group according to his instinct. Non credevi mirrors certain easy rock of the '70s - '80s, but it has its own dignity, while a special mention goes to the idea of breaking the story of "Amici miei" into four parts, so as not to weigh down the final result.
The concert was recorded at the Festa dell'Unità in Milan, once again testifying to the group's deep roots.
Surely the album is not one that will make history, but in my opinion, it is one of those little treasures to be jealously guarded, because they are part of our history.
Tracklist Lyrics and Videos
04 Utopia (03:53)
Utopia aveva una sorella maggiore
che si chiamava Verità senza errore
lanciava spesso un aquilone nel vento
su cui era scritto libertà con l'accento.
Le due sorelle trascorrevano il tempo
senza fermarsi mai neppure un momento
avvinte sempre quel aquilone
senza sapere, sapere ragione.
Ma troppo deboli le braccia delle fate
e troppo fini quelle dita delicate
strappò la fune il forte vento quel giorno
e l'aquilone più non fece ritorno.
Quell'incidente cancello la magia
le due sorelle separaron la via,
Utopia andò per il mondo a cercare
e Verità già si pensava a sposare.
La Verità si sposava col Tempo
anche Utopia fu invitata all'evento,
"Non ti sposare resta libera che tedi
guarda che le parole son seni!"
"E parole sono seni hai ragione
ma per fiorire non è già la stagione".
"Il tuo non è un matrimonio d'affetto
ti peserà questa casa e quel letto."
Mentre Utopia andava via allegramente
perché vedeva il futuro presente
Verità a capo chino sussurrava
"Stai confondendo il desiderio e il destino".
E l'animo corse come fa un torrente
cambiando segno tra passato e presente,
Utopia ogni notte un uomo amava
ed all'alba lo abbandonava.
Per verità a quanto si dice
il matrimonio non fu mai felice
il Tempo non è un marito ideale
avaro vecchio ed anche brutale.
Ma infondo infondo qualcosa ne ha avuto
con tanti (mille)* amanti lo ha reso cornuto
ed alla fine dell'infedeltà
ha avuto l'eredità.
Mentre Utopia che non ha un padrone
ne ha centomila senza alcuna ragione
resta da sempre a vagare nel prato,
ma l'aquilone non l'ha più trovato.
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