Vinicio Capossela
All'una e trentacinque circa

THE REVIEW

At 25, Vinicio Capossela makes his debut with this album that sparks interest from critics but certainly does not establish him with the general public. It is an interesting album but not excellent. There is a lot of talk about this character's Contian and Waitsian influences: I say that these influences will be felt in a secondary phase of Capossela's production.

From the very title, the suggestion exerted by Sergio Caputo is very strong, "present" also in other episodes of the album (besides the pleasant swing of the title track, let us also consider "Sabato al Corallo" with its refined piano phrasing, "Quando ti scrivo" with a nice Hammond, and the boozy "Pongo Sbronzo").
There is no shortage of delicate and quite well-arranged ballads: standing out among them is "Scivola vai via", but "I vecchi amori" does not disappoint, while "Stanco e perduto" is rather mawkish and predictable. But perhaps the best track is "Una giornata senza pretese", pure urban melancholy with an unforgettable chorus.
"Christmas song" and "Suite delle quattro ruuote" are neither good nor bad.

In short, a good work, not on par with other memorable debuts like those of Conte, De André, De Gregori, and Jannacci, but with easy listening. Some ideas will be more fully developed in "Modì", considered by some to be his best album, although the flaws that good Vinicio still carries today, above all a certain repetitiveness and a verbal baroque style that often gets out of hand, are already evident.