Pino Daniele
Terra Mia

In the 1970s, there was a resurgence of youth movements that had already begun in Italy in the previous decade. In music, these changes were accompanied by an increasing influence of the Anglo-Saxon style, with rock at the forefront. The debut of Pino Daniele with "Terra Mia" in 1977 was the explosion of a further innovation. It was a strange innovation, however, made with a return to the origins of Neapolitan melody mixed with pop, blues, and (certainly not to follow fashion), rock. Unfortunately, few witnessed the phenomenon at the time. In fact, the record only sold 3,000 copies, only to be rediscovered in the following years, those that accompanied Pino's national fame.

But let's delve into the work right away. The first notes are those of the unforgettable melody on the violin of "Napule è," supported by a background piano that manages to be of a remarkable impact, so much so that in the later stages it seems to increasingly take on the role of protagonist. The lyrics and voice of this piece have long been considered akin to the great Neapolitan classics. Pino's guitar here is limited to accompaniment, although, when it enters at the beginning of the second verse, it envelops the ears with warmth and touching clarity. In return, the maestro quickly moves the fingers of his right hand to make a mandola and a mandolin play in duet. Subsequently, the piece assumes a rock flavor that will accompany it to the end, with the main voice alternating with that of the choirs. "Na tazzulella 'e cafè" is the second track, the B-side of the single "Napule è." The upbeat accompaniment serves as a backdrop for a riff that rests on the fourth degree of the scale, giving the whole a color that is as Neapolitan as it gets. The solo, on the other hand, has a blues stamp, very blues. The third track opens the dance to folklore with male and female voices embellishing Pino's in a harmonic chaos from the Spanish quarters. The riff is once again up to the mandolin, as in the fourth piece "Suonno d'ajere," on which I will not say anything. I just invite you to listen and enjoy the sound of the muted bass in the chorus. One of the most successful blends of classic and modern in the album. With "Madonna mia," space is given to the blues even in the accompaniment, but it is certainly not the simple turn of the three chords of American blues. Listening to the sixth track "Saglie saglie" reveals the countless qualities of a beautiful voice. Long and very precise notes are mixed with faster phrasings along with a female voice. Then comes "Terra mia," another piece of history. The next "Che calore" is beautiful and playful with two key melodies, one more beautiful than the other, one on percussion, which also provides accompaniment, the other on brass. Follows "Chi po' dicere," short and intense: what a voice and a guitar can do… "Furtunato" evokes the summer heat and smells of air breathed in the alleys. "Cammina cammina," perhaps for its simplicity, on first listening, remains more impressed for the lyrics than for the music. However, it doesn’t have a chorus, and playing it again a second time, the melody inevitably gets stuck in your head. The intro of "O' padrone" is sunny, with an electric guitar that gives its almost dissonant blues touch to the Mediterranean atmosphere. The album ends with "Libertà," perhaps the poppiest track of all, with simple chords and a distorted guitar riff that is harmonized in certain parts. As simple as it is beautiful.

In short, a brilliant album that, like every work by Pino Daniele, would require an analysis different from a simple telegraphic list of the tracks present in it, which, however, all deserved to be at least mentioned. It will, therefore, be up to the listener to pay attention to every passage, to every nuance of music that is different, superior: made by a genius who, at only 22 years old, published a work still unique in its kind.