Edoardo Bennato appartiene a tutti noi .
For young people between the late seventies and early eighties of the passage lived between two eras. For many reasons, opposed. By its ironic desecration - who had also only Rino Gaetano - with its companion philosophy of emotions, Jackson composed the soundtrack of a generation that combines the carefree emerging only at the tips of reflection is called commitment. At the turn of an era by Saturday night fever, making a mockery of the power and fun rebelling with the Neapolitan singer knew strike with irony, was able to go hand in hand with fairy tales for those who had reinvented the edge of the additional ideologies. He smile and sing along, because it was beyond the "sad times" or bust "necessary." He was a friend who was in the world and invited us both to escape. Now that the climax of his great success has made thirty years - a step mica to laugh is gone and a half a generation - we want to remember as a fundamental part of our idea of \u200b\u200byouth. Jackson has represented the artist who imposed thanks to the originality of the compositions, a maverick who "was" and not "made us", to paraphrase a sentence - against other - Renzo Arbore, which was among the first to launch it on the radio during "high level". If we can not call ourselves fans of Rino Gaetano, we can not even tell us bennatiani .
Sifting through the biography of this sixty Peter Pan, we realize that the road that led him to fame at the beginning of the seventies was beaten by noble presence. Because even in a world - that of the light show and the song - when everything seemed random or artificial, two plus two always gave four and budgets were the mirror of his career dealt with as appropriate. Like all singers grew up in the fifties-sixties the influence of music overseas was crucial to the career of the young Neapolitan who was fascinated by the great Chuck Berry, Jimmy Smith and his body "Hammond," by Paul Anka, by the way the author of My Way, by Neil Sedaka and by whom - it was Renato Carosone or Peppino di Capri - looked to the new world with more than a simple interest. No one can deny the physical resemblance between Jackson and Bob Dylan caused by using the harmonic during performances of the songs .
Besides his mother (who supported him since childhood and to which the Neapolitan singer will dedicate one of his best songs and listen: Viva la mamma ) in his career as an artist come very soon as the big boys talent scout and record Micocci Vincent - the "Vincent" lyrics Milan and Vincenzo Alberto Fortis, Herbert Pagani, one of the authors favored by Dalida, with whom he worked the end of the Sixties, Toby Lightman, Bobby Solo, Alessio Colombini and Mogul that will put under contract for the label "Number One". Here Jackson recorded three 45 rpm, including the first fully his music and lyrics (Goodbye Copenhagen) and a cover of 70 1941 song by Harry Nilsson New York singer-songwriter who has collaborated with John Lennon and was author of the Point a delightful tale in music (transmitted by Rai in years shines common) with the narrative voice of Ringo Starr .
If his brother Eugene gives birth to the second 45 laps of his career ( Marylou - 1969), thanks also to Patrick Trampetti New Company Folksong, Jackson Public One day you think . Nasce così un brano che potremmo definire dolceamaro e “filosofico” (nulla di astruso ma tanto tanto di emozionante), che rimane fra le canzoni più note di sempre. Una di quelle melodie pronte a convincerci che i filosofi (in senso lato per carità), quelli che come diceva Manlio Sgalambro riescono ancora a comunicare qualcosa, oggi si chiamano Edoardo Bennato, Adriano Celentano, Fabrizio de Andrè e pochi altri. Un successo mai diventato singolo ma che Bennato inserisce nei primi due Ellepì, Non farti cadere le braccia (1973) e I buoni e i cattivi (1974) come manifesto di una nuova sensibilità melodica .
We are thus beginning the climb to success. Our generation has a clear memory of the covers of the 33 rounds of Jackson, it is witnessing a success that can easily be called "integral". Music, words and graphics, everything is served to build the success of the concept album of Jackson (discs that have a single theme, a story with many chapters divided into multiple tracks), one of the most popular with those of De Andrè. Take for example the good and bad where Jackson celebrates, always with irony, his own ethical relativism. On the cover are two police from behind (one of them is the same as Jackson), handcuffed to each other, the metaphor is clear: impossible to distinguish between good and evil, not because those in power in any way the exercise will determine that only their values \u200b\u200bare "good" while others - all others - are "bad." Affects of this 33 rpm the beautiful In row for three , a manifesto of youthful rebellion that looks good at all by the best tracks of Giorgio Gaber and same-De Andrè Faber .
In 1975 and '76 respectively out that I am the Emperor and The Tower of Babel ELLEPI that define two masterpieces would not be hazardous. Masterpieces of musical technique (broad sense), where Jackson "thrilled" and revives the tradition of Italian singer-songwriter and marrying the rhythms overseas from rock to blues, to name a few: the guitars are Shel Shapiro and former leader of Rokes Roberto Ciotti Lucio Fabbri on violin, drums David Walter of "Libra." The first two discs will be preceded by another 45 immortal Luckily now there is no Nero , and some of surreal tales that will publish on our weekly "Hello 2001" . It is published in hard overtime periods "extraordinary." Irony and sarcasm, criticism of power (do not save even the pope) and autobiographical notes, is a mix that only occasionally strays that commitment in social grants to the taste of the singer anything fashionable. Singer / Songwriter playing back such a song that makes a mockery of the musicians 'committed' and the pedestal on which young people hoist their pets. In the second of two ELLEPI still stands the beautiful cover designed by the same author antiwar.
We are at the climax. In 1977 and 1980 out of Jackson's most famous album, dedicated to those two stories, "Pinocchio" (wireless puppet) and "Peter Pan" (I'm just songs), who best characterize the style Music and text. It is now clear that the surreal Neapolitan singer-songwriter - and apparently never sad irony - could result in the "story" real-inspired fairytale. Are summarized in the fantasy of fairy tales with humor light of the great themes of human history, the question of truth and lies and so-called possible worlds and / or parallel. All topics, needless to say, dear to Edward Jackson .
Between the two 33 laps, however (and incredibly just fifteen days before the release of a second), there is a twist. Jackson Public Ugh! Ugh! (1980), which remains the greatest tribute to his surreal. It is a ELLEPI apparently with little sense, weird as that strange, as almost anyone desecrating the result of moments of genuine creativity, self-deprecating, in some ways even outside of time, il cui scopo è dimostrare quanto le logiche del mercato (che vogliono un disco per volta per ogni autore), siano completamente false .
Ma, nel frattempo, è uscito Burattino senza fili (a nostra memoria pochi i successi accostabili al quinto ellepì del napoletano), che è una sorta di nobile baricentro fra il Bennato precedente e quello successivo. I temi sono sempre quelli: l’esistenza di verità diverse, i mille volti del potere (si ascolti per esempio: Dotti, medici e sapienti ), le maschere e le costrizioni della società ( È stata tua la colpa ). Le melodie in rima sono indimenticabili. Riconoscibile qualche nota di un pessimismo che sarà la colonna sonora dei momenti grigi della società dei Settanta. Un pessimismo reso però più dolce dalla spontanea gaiezza dei giovani che non volevano arrendersi a un futuro già scritto: un cocktail di allegra sincerità mai più riuscito .
E forse proprio a quei giovani – magari senza saperlo – Bennato oramai divenuto il nostro compagno di giochi, dedicherà il suo album principe, Sono solo canzonette , un album “libero”, eclectic (from rock to opera), to witness a sincere praise of the imagination in tandem with the condemnation of violence. Will this disk alternately topped the charts with sales Ugh! Ugh! and The Wall by Pink Floyd to close an entire season for the great Jackson (which may in part be able to repeat the following fairytale but with more "modern" has come a ship - 1983). The next chapter of the corridor - along the new frontiers of electronic music - in fact, is already creating new flavors. It began a new era of music and thirty years Jackson has already entered history .
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