Ornella Vanoni
Io dentro, io fuori

2-in-1 dichotomy. Sincere desire for artistic renewal, or forced escape from the threatening quicksands of the past. Awkward attempt after previous works, or underestimated little gem. New enthusiastic fan ranks, or disappointed purists fringes.  Perhaps it doesn't matter.

During 1977, the Milanese singer releases two albums in succession, “Io dentro” and “Io fuori”, not dissimilar from each other as they were conceived by the minds of the well-known progressive rock band New Trolls, later involved in an intriguing tour with Vanoni herself. The authors give the songs that extra touch of complexity, crafting pleasant and masterfully curated songs, but too often lacking punch. The new arrangements amalgamate in an unusual and ambivalent way with the characteristic singing style of the performer. The result is not homogeneous and alternates interesting cues with not at all transcendent moments. The reception will be mixed, definitely influenced by the aforementioned tour and the use of some pieces in the film “Avere vent’anni” by Fernando De Leo.

Io dentro.

An intimate attitude is accompanied by conventional arrangements, fitting for the light “tradition.” The start seems valid, but one gets lost at the end of side B. From the well-known opener “Gli amori finiti” through the excellent “Va la mente va”, “Lo specchio” and “Se ci sarà domani”, in the end, it ends up in the realm of the irritating “Caro dolce bambino” and the substantially poor “Tutti vanno via” and “Angela e Angela”. In the middle, three good reinterpretations: “Quale allegria” by the bespectacled Bolognese cantautore, plus two compositions by Chico Barque, “Tatuaggio” and “Occhi negli occhi”.

Io fuori.

This time daring arrangements, partly influenced by the lively disco breeze of the moment, embrace a decidedly uninhibited vocal approach. The New Trolls lay it on thicker and alternate authentic period frescoes (“Noi”, “Ti voglio”) with repeated abuses of gratuitous frivolity (“Prendimi, toccami”,  “Mi piace far l’amore al pomeriggio”, ). Worth noting, finally, the intriguing “Hello” and the intimate flashes of “Domani no” and “Cosa sei per me”.

For better or worse, one of the cornerstones of her discography. Released jointly and in a disjointed manner, in the 1990s the two records were reissued in compact disc format, aptly titled “Io dentro, io fuori”.