Vinicio Capossela
Da Solo

When "Ovunque Proteggi" was released, I was stunned. Astounded. Totally enthusiastic, so much that I called it the most important Italian album since Faber's "Creuza De Mà".

But let's make a premise. Fundamental: what I think, for the little it matters, about the good Vinicio.

I've followed him since the first album. From that nice blues swing with a string of alcoholic references in the chorus, which seemed a bit easy and slick to me, but immensely better than everything else available at the time. Yes: the early Liga was not bad at all, but the so-called "new rock" of that era (meaning Litfiba, already almost old, Timoria, and all their clones/offspring) meant less than nothing to me and seemed fundamentally funny, to not say worse.

And then there was the wise production of Renzo Fantini, someone who made very few mistakes and co-signed Guccio and Conte's masterpieces. In short, not with all the certainty in the world, but I told myself: "let's trust it". And already in the first album, I found some good things that were promising. Then "Modì", and especially "Camera a Sud", ultimately made me fall in love.

Even though I never lost sight for a second the enormous debt our man owes to Tom Waits. A debt that I find both large and undeniable, initially acknowledged, so much that it sometimes seems embarrassing and on the border not of homage but of plagiarism. Whoever denies it, I fear, doesn't know Waits and some of his most profoundly innovative and significant works (especially "Frank's Wild Years" and "Bone Machine") in depth.

But the genius of Vinicio, of course, was not to clone or imitate, or if we want, love Waits too much, but to take Waits, Conte, the whole "tenchiana" school, the tarantella, a multitude of the South, and many Balkans, carousels, bands, and Fellini, and mix it all together. A monstrous work of pure genius second only to what Prince did overseas: clear sources, original result. So, in the end, the adjective "caposseliano" has as much reason to be as "contiano", "gucciniano", or "deandreiano".

And, as I was saying, with "Ovunque Proteggi" - a little Waits, a little South, a little musical, a little Fellini and a lot of psychiatric session - I found a unique and brilliant album. Exactly like "Bone Machine" was for Waits. And, as with the American singer-songwriter, from there, unfortunately, it could only go back.

This "Da Solo", I believe an extremely far project from the promised (immediately after "Ovunque") "Canzoni della Cupa" - already by the title more interesting... - is welcome to our still great songwriter, into the sad world of "craft".

He is a luxury craftsman, very talented, a splendid manipulator of words, with a sense of both the ditty and the ballad. But still a craftsman.

There isn't a track that says anything really new, but unlike the latest Fossati, there isn't even a track that says the "already said" at supreme levels...: maybe he will get there, for heaven's sake. Waits, after the extremization of "Bone", made his "Da Solo" with "Mule Variations", an album of absolute modesty, and then returned to say the "already said" at supreme levels with the contemporary double "Blood Money" and (especially) "Alice".

It's difficult to describe. It's about emotions, knowing how to still draw pure sensations with three chords, as Capossela managed to do with "Ovunque Proteggi", the song, a small timeless masterpiece, music, and immortal lyrics.

Here, our man takes his dog for a spin around the barnyard, as good as always, as capable as ever, as recognizable as ever, but without stirring anything particular, and taking an undeniable step back in curiosity and research. To rest, for the first time, on one's laurels.

The album quickly returns to the shelf, replaced by other listens.

Another time, Musical craftsman. Hoping you haven't become one of the many.