6. Fabrizio De André (also known as L'indiano)
This is where Faber's 80s begin, a decade of great changes that our songwriter exploited both little and exceptionally well, having released only 2 albums in those 10 years. The first is this Fabrizio De André, known to all as L'indiano, released in 1981 in collaboration with Massimo Bubola, who had already worked on Rimini. The concept that permeates everything is perhaps one of the most interesting: the relationship between the Native Americans and the Sardinians, two persecuted peoples who have faced numerous difficulties throughout history. The opening track is entrusted to the bluesy Quello che non ho, where the materialism of daily life is no longer enough, where what we don't have doesn't interest us anymore. The A side then continues with a continuous interplay between America and Sardinia: we move from the mountains where a wild shepherd resides to the banks of the Sand Creek, just looted by colonizers, and finally let ourselves be carried away by the notes of the traditional Deus ti salvet Maria. On the other side, however, starting right at the beginning, there is a little miracle turned into a song: a love song, of suffering, of time passed, of difficulties and waiting. This is Hotel Supramonte, a recounting of the kidnapping that Faber and Dori Ghezzi experienced in '79, overcoming an event that was an emotional shock for both. And how Faber managed to embed that moment in such a sweet song is truly a rare gift. We stay a little longer in Sardinia to enjoy the story of Franziska, a girl with a bandit for a boyfriend who cannot be touched or looked at by anyone. This is followed by another love song, where banality has no place right from the title, Se ti tagliassero a pezzetti, a magical piece that is absolutely unmissable, and a quite bizarre closing track, a simil-reggae named Verdi pascoli, a decidedly cute experiment that wraps up the album nicely. Lyrically, Faber has nothing more to prove; he remains a unique voice in our singer-songwriter repertoire. What changes in this album is the music, which becomes richer, more varied, and less tied to singer-songwriter clichés. This is an excellent factor, effectively demonstrating that the musical insights from Rimini have been assimilated. But in the future, this factor will literally explode, yielding many fruits that we are still yet to fully reap.
Meticulous rating: 9.5
The gem among gems: Hotel Supramonte
This is where Faber's 80s begin, a decade of great changes that our songwriter exploited both little and exceptionally well, having released only 2 albums in those 10 years. The first is this Fabrizio De André, known to all as L'indiano, released in 1981 in collaboration with Massimo Bubola, who had already worked on Rimini. The concept that permeates everything is perhaps one of the most interesting: the relationship between the Native Americans and the Sardinians, two persecuted peoples who have faced numerous difficulties throughout history. The opening track is entrusted to the bluesy Quello che non ho, where the materialism of daily life is no longer enough, where what we don't have doesn't interest us anymore. The A side then continues with a continuous interplay between America and Sardinia: we move from the mountains where a wild shepherd resides to the banks of the Sand Creek, just looted by colonizers, and finally let ourselves be carried away by the notes of the traditional Deus ti salvet Maria. On the other side, however, starting right at the beginning, there is a little miracle turned into a song: a love song, of suffering, of time passed, of difficulties and waiting. This is Hotel Supramonte, a recounting of the kidnapping that Faber and Dori Ghezzi experienced in '79, overcoming an event that was an emotional shock for both. And how Faber managed to embed that moment in such a sweet song is truly a rare gift. We stay a little longer in Sardinia to enjoy the story of Franziska, a girl with a bandit for a boyfriend who cannot be touched or looked at by anyone. This is followed by another love song, where banality has no place right from the title, Se ti tagliassero a pezzetti, a magical piece that is absolutely unmissable, and a quite bizarre closing track, a simil-reggae named Verdi pascoli, a decidedly cute experiment that wraps up the album nicely. Lyrically, Faber has nothing more to prove; he remains a unique voice in our singer-songwriter repertoire. What changes in this album is the music, which becomes richer, more varied, and less tied to singer-songwriter clichés. This is an excellent factor, effectively demonstrating that the musical insights from Rimini have been assimilated. But in the future, this factor will literally explode, yielding many fruits that we are still yet to fully reap.
Meticulous rating: 9.5
The gem among gems: Hotel Supramonte
Martello
13 feb 21
DeRank ™: 38,55
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