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20 Aug 2016

Sukellusvene “Vesi- ja lintumusiikkia” 1982 Finland Private Fusion Prog




Sukellusvene “Vesi- ja lintumusiikkia”. 1982 very rare Finland Private Prog Rock. 

https://www.youtube.com/watch?v=q5_5Gp5hbRY 

Vesi- Ja Lintumusiikkia by Sukellusvene is a rare and awesome record from Finland, with a bunch of guys I’ve never heard of, but boy can they play! Here’s a review from the Outer Music Diary blog: “Simply: A very nice fusion album. Primary instruments are sax, synthesizer and guitar. Sounds much more like an album from 1973/74 than anything as late as 1979. More of a gritty edge, and one track sounds like a lost organ freaky fusion number that would’ve shown up on the German MPS label (and naturally my favorite track). Another anachronism is the use of the wah wah pedal as a rhythm component. Not a totally breathtaking release, but executed perfectly for the 70s jazz fusion sound. Overall the album recalls early Weather Report and Bill Connors-era Return to Forever. File next to the also-rare Jupu Group album. Band translates to “Submarine” and the album to “Water- And Bird Music”.

Mollrör “Med Muskelmun Och Mannarap” 1982 Swedish Prväte Prog










Mollrör “Med Muskelmun Och Mannarap” 1982 Swedish Prväte Prog 

https://www.youtube.com/watch?v=LVI68VuYfuA 

Super rare local LP! Hard to describe as it moves in lots of different directions, but the overall impression is that of strange, quirky psych w/ bluesy fuzz guitar, twisted vocals, tiny organ…one instrumental surf psych track, one stellar garage psych tune that could’ve been on Nuggets, a couple of moodier proggy tracks…one track reminds me of Samla Mammas Manna, yet another of Gudibrallan…you get the picture! 500 made at max; label is actually a ‘sub-division’ (yeah, right…) of Brute Force, which put out the much sought after Ma Connection album in 1980. Some of the tunes here were written as far back as the late 60’s, when the band were still in their teens. I had six or seven copies of this back in 1998, traded most to a big US dealer, but apart from those I’ve NEVER seen it for sale on any list! Way rare & really good album!

Ten Years After “Live In Kulttuuritalo, Helsinki, Finland” 1969 bootleg









Ten Years After “Live In Kulttuuritalo, Helsinki, Finland” 1969 bootleg

full 

https://vk.com/wall312142499_2591 

Alvin Lee – Guitar& Vocals
Leo Lyons – Bass
Chick Churchill – Keyboards
Ric Lee – Drums

01. Intro:Spoonful
02. I Maybe Wrong But I Won’T Be Wrong Always
03. Hobbit Inc.Drum Solo
04. Good Morning Little Schoolgirl
05. No Title
06. Scat Thing
07. I Can’T Keep From Crying Sometimes
Incl.Cat’s Squirrel & Sunshine Of Your Love

Pino Daniele “Nero A Metà “ 1980 one of the best Italian records ever.

Pino Daniele “Nero A Metà “ 1980 Italy .recommended…!! one of the best Italian records ever. 
Napolitano Pino Daniele 1955-2015 . 
full  in google+ with (HQ) sound & lyrics 

https://goo.gl/photos/yqEgYZ772dbjPHiz9



I was surprised to find that among the reviews dedicated to Pino Daniele shorthanded this album. A great record, in which they develop the brilliant insights of the first two but with a smaller presence of the Neapolitan folk music.

As in the two previous works, this album is perfect from the first to the last song. “I say ‘i’m’ CCA” opens the dance, with the classic Neapolitan-English language Pino Daniele (well, to be honest here makes it a much more economical use than its usual), and it’s really a wonderful welcome because the song is very beautiful. The solar melody creates a nice contrast with the slightly melancholic text.
Similar in atmospheres (regarding the melody) is “Music Music”, just a little 'more lively rhythmically. It’s a must report the sax of this song (if I remember correctly should be saxophonist James Senese, Enzo Avitabile had left after the first album, I hope I’m wrong). It is distinguished from the first track to a subtle irony that leaves the piece runs in a fit of bitterness.

The third song is “Quanno chiove”, sweet and relaxed piece, among the most famous of Daniel. In this song everything is “soft”, by instrument sounds (recorded really well in my opinion) to the chord progressions. There is not the slightest harmonic or melodic harshness, the pace is slow and sweet. Yet the melodic creativity of Pino Daniele prevents so much relaxation bore the listener. It totally changes register with “Puozze passà 'nu mess,” rock-blues piece peppered with nice phrasing easy listening blues but never dull! Beautiful melody of the singing but mostly fits perfectly the only electric guitar (nothing particularly original, but very pleasant).
You return to calm and meditative melodies with “I want more”, a song from the poignant drama that features one of the best texts of the disc. The full text is in English, though perfectly on par with the pieces in dialect.
Another great song on this great album is “Appocundria”, sad and passionate singing supported by a strongly Mediterranean guitar, the melancholy sound but warm. The song is also an opportunity for Daniel to show off his guitar skills, but the piece never becomes a sterile exercise in style, and the rest of the song may not in any way boring as it lasted just 1:38 minutes. Sounds stronger we find them in “To me I like it 'or blues”, it goes without saying that the blues influence is stronger here than ever before (no, it is not superfluous! Actually blues there is not so much as it would seem promise the title!). The rhythm of the song is really addictive, it’s hard not to go behind the drums and bass with the head (about the bass, there are “sparkling” funky moments that help to keep alive the vitality of the piece throughout its duration) .

“And I know 'you happy’ and depart ’” is the piece that I like the least, but it’s still a good song. One of my favorite songs is “Nun annoys me ’”, a fairly canonical blues on which, however Daniele spreads a beautiful vocal melody that, in practice, is the role that has usually lead guitar on a blues standard. Every so often the floor fraseggetti remind us that Pino Daniele arrangements are always top notch. The best thing of the song (in addition to the text, wonderful in its biting irony) are the two guitar solos, sensational! Nothing ultratecnico eh, but we are dealing with something extremely refined. The sound of the guitar then intrigues me too (it’s a simple wha filtered with a fuzz or something or even using a TALK-BOX? I’ll bet on the latter!). “Alleria” is another masterpiece, I will only say that the piano is extraordinary, but honestly I could not describe making justice, then I give up. A slight funky sound is back with “Head down.” But you! Also worth a mention “Under 'or shine”! Pino Daniele, where you let yourselves be enthralled by South American rhythms while singing

“And under 'or shine veins and leaves’ and ascends sulamente’ to desire and 'jastemma’ nun will parlamme cchiù nun parlamme it …”

And the disc closes with “Alleria” which I have already talked about (in fact, of which I have already spoken NOT!). If you do not have it go get, what are you waiting?….

“Nero a meta” but certainly not by chance, Pino Daniele 80 is the third album, after the crackling and aromatic debut of “My Land”, with the tasty “'Na tazzulella’ and café” (1977), and album confirms namesake of '79, that of “Je so 'crazy’. Pino is 25 years old, but already a good experience as an instrumentalist: playing since the age of twelve, and after having played in Batracomiomachia jazz-rock band has accompanied the Jenny Sorrenti guitar and was the bassist of the past Napoli Centrale, whose saxophonist James Siena will choose to accompany him on a solo career.

Experienced as we have seen only marginally the years of "Neapolitan Power” - with various Edward Jackson, Toni Esposito and the same Naples Central blood heirs of prog samples such as the Balletto di Bronzo, Osanna and brothers Sorrenti - Daniele paradoxically drew benefit: in his sound flowing lava of Vesuvius and the water of the Mississippi (half black), but compared to other experiences the Neapolitan tradition plays a more creative role. The result is a unique mix of momentum and class, thanks to the guitar talents of Pino, who bravely embraces both the acoustic as the electric, well-guided study by Marcello Todaro.
The first track is the famous “I say the 'I’m CCA”, with the clear mention of the harmonica by Bruno De Filippi, who will probably make a wrong calling the Toots Thielemans Italian, followed by programmatic “Music Music”, “for music music / how much I cried I do not know / but the music / music is all I have ”, and only listening to you understand how musical repetition. After the intimate “Quanno chiove”, Pino Daniele shows us his great talent as a guitarist (the “songwriter” ended up guiltily to overshadow) in Napoletanissima “Puozze passà 'nu trouble.”
The interlude in Italian of “I want more” is an opportunity for worldwide put a little 'dot the i, “You know that does not crawl to assert myself”, “I will be so always ready to say no”, then the back napolitudine fully into almost philological “Appocundria”, a very Neapolitan guitar and the congas Karl Potter. A nice contrast to the topical “To me I like it 'or blues,” which is not blues, but funky and not also forget the origins: “But little remains nce’ or sea / and 'in patience’ and suppurtà ’/’ to people ca walking / miezo 'via eg barks’ / i’ i come to you appriesso / flaws know cCA born ”.
“And I know 'you happy’ and depart ’” is the classic love song to Pino Daniele ( “And I know’ you happy 'and depart’ cu te flaws / faults faje Look at me 'no vedè’”), “Nun me scoccià ’ "the equally classical invective (the Neapolitan version of” I do not break “the Bank?), a standard bluesaccio with a final touch to the Prince De Curtis -” Nun me scoccià 'cchiù / dies you too much … “- and a solo d 'yesteryear complete with a wah-wah pedal. The jazzy "Alleria” (with the line dipietresco avant la lettre “he ascends’ to desire to alluccà / ca nun c'azzicche nothing you”) and the explanatory “Upside down” ( “The feeling is safe / what not goes away / throw it out each time / is your whole life and you know / to be a black in the middle ”) accompanying the epochal closed,“ Under 'or shine ”, a few verses but one memorable scat, worthy of the best Al Jarreau .
Given what is at Pino Pino and his musicians what they deserve, keyboardist Ernesto Vitolo bassist and co-producer Gigi De Rienzo, drummer Agostino Marangolo percussionist Rosario Iermano (he too nell'affollatissima control room), to the aforementioned Siena, Potter and De Filippi, it remains to say that the Anglo-Neapolitan blend original encounters, and how, public tastes: meet again “Black halfway” sixteenth biggest selling album of 1980, “Go bring all” the following year will earn a couple of positions, “Bella 'mbriana” '82 will stand in tenth place. It’s not an overwhelming success, and from which to be overwhelmed, but the flow constant and incessant water, not the gutter in which Pino pees on the cover, but a great river, a Mississippi blues…  
by rockol….~



October 1979, the beloved and revolutionary Seventies are coming to an end. Italy is still a country struggling with a thousand and one problems, unable to face and solve its endless political and social contradictions. A wounded nation and destroyed by terrorist bombs and the fire of organized crime. However, in those months the musical soul of the beautiful country lives one of its most prosperous times. Rampant various Dalla, Conte, Bennato, Vecchioni, Guccini and De André. The unforgettable Stone Castle Studios in Carimate collect the flagship of the Italian songwriting. These are the years of songwriting revenge, the golden years in which poetry and music follow the same trail as one, merging into an artistic embrace ever so intense and bold. The censorship chains are now a distant memory and radio are full of successes. Italians eventually feel the need to scream to the world his disappointment, his anger. Carousels are not enough, and the tip of evasion towards well other solutions. There is a universe of sound out of the largely unexplored peninsula, and it is time to freely enrich their land of many different flavors.

In those months, Pino Daniele is a promising young Neapolitan singer, but above all a unique guitar of its kind, which is preparing to go into the Castle Studios mentioned above in order to create what will be one of the main posters of his career and of Italian music . In the previous three years, his talent has largely seduced an entire city, and in particular Claudio Poggi, record producer of Italian Emi, who after listening to the first demo decided to focus his eyes closed on that shy boy, but by the inspiration artistic elusive.
Pino is the St. Joseph neighborhood of Naples, and already has two albums, “My Land” (1977) and the eponymous “Pino Daniele” (1979); He is twenty-four years old, but is already a musician sailed and secure their means. Moreover, its artistic potential is the highest level at an early age. Pino just come of age made up what was to become the anthem of an entire city, the only testament of its charm and the consequent disenchantment, the homage to its beauty and its socket deeper consciousness: “Napule is.”

In this sense, to fully understand the artistic essence of Pino Daniele, its DNA, it must in fact go in the alleys of his town, learn their secrets and souls that characterize it. Vesuvius, not surprisingly symbol of the Neapolitan turmoil, that the magma humps generates inspiration and secretes the most hidden fears, is both an emblem of terror and life force symbol. We are in the full swing of a revolution of manners that in Naples has never had neither beginning nor end. class struggle, where the individual seeks itself through the self historical and bourgeois condition blazing; the clash between being and becoming, the upward momentum and forgetting the real dirt and passionate experiences of events. Art becomes a leader who simply intercepts impulses telling the new currents that unconsciously mix and shape the social activity.
The Viviani theater, Di Giacomo first and De Filippo later, were the first attempt of analysis of the transformation of the individual and its implications coarse and decaying; that revolution, which followed and preceded the turmoil, was picked up musically by the Neapolitan renaissance movement, better known as Napolitan Power. cultural artistic movement, was tied to the better known black power of which he was following, however, an interest, unlike the latter, to the territory and its ethnic mutations.

“Nero A Metà “, third album of Neapolitan singer-songwriter, is almost a figment of black revolution, of an intense intake of soul consciousness sallow and suffering the funny of its interpreters. E 'singular as one of the most successful attempts to world music and global music has been fully synthesis in a socially ghettoized territory, paralyzed between the sea and marble, including the domination and rebellion, between the lights and shadows. To seal, also this unlikely and blinding amalgam, is the field presence of musicians of the caliber of Gigi De Rienzo, Ernesto Vitolo, Augustine Marangolo, Aldo Mercurio, Mauro Spina, James Senese, Jermano Rosario, Tony Cercola auction aka Tony Esposito, Karl Potter, Bruno De Filippi and Enzo Avitabile. A veritable squadron of talent ready to follow the young singer-songwriter in its infinite and mutable sound contamination.
“I say the 'I’m CCA” which opens the disc, assimilates the revolutionary lesson Carosone, who in the past had experienced the result of the mixture of Neapolitan language and the American language Anglo-Saxon. Gestation and the subsequent birth today produces noticeable effects of combustion that the war had created in Naples. 'A Nutt’ Edwardian, now behind us long ago, now finds himself an adult generation that claims a social position and with it new and fresh musical identity; Musella to whose memory is dedicated to the disc, the war by the son becomes the father of a new Neapolitan, which is in the notes of the tenor saxophonist James Senese eternal engraved on the stone and in the Neapolitan breath.

The musical catharsis of “Black in half” lives on the thin line between the congenital compassion and delirious hilarity; the texts they ride a dark suffering as in “I want more”, and then bring out the whim of collegiate “To me I like it 'or blues”. The artistic dichotomy highlights even more decisive in the alternation of gender, as the author himself will define jokingly “taramblu” balanced between the popular spirit of the tarantella, the South American rumba and the Delta blues. The funky rhythm draws his sword on several occasions, “Music”, “Upside Down”, the aforementioned “I say the 'I’m cca’” and “I like me or 'blues’, a soft sound alluring who delights without ever swoop in cloying mannerisms.
The musical customs clearance is consolidated through the notes of the rumba "Appocundria”, from the Latin flavor. The implementation, however, remains only an excuse to tell a state of mind, the prophetic words unite an entire people that expresses the melancholy like an epiphany aware ( “Appocundria me bursts / ogne minutes 'mpietto / Pecce passanno strong / haje sconcecato’ or lietto / Appocundria 'and who is satiated / ca and says it diuno / Appocundria’ and nisciuno … ”); domestic images and basic needs paint a canvas with dark colors that dance on a warm and reassuring music velvet.

On the same slender thread lies “Quanno chiove”, poignant song and at the same time release, through which the spirit of revenge and the desire to find their birth allegorical shift in purity and simplicity of the event climate reread now saving key. The soul Scugnizza and irreverence whole Neapolitan, masterfully expressed only a year before the famous “Je so 'crazy’, catch their breath in” Nun me scoccià “with Daniel in the role of the minstrel and provocateur. The fusion theme that introduces the sweet "And I know you happy 'and is” confirms the ability of our in weaving melodic canvas with multiform colors, variations from stretch surprisingly distinguishable, unique in their enveloping singularities.
The soft ballad “Alleria” draws another theme so dear to the Neapolitan people, the need for joy as an antidote to the existence practical and emotional distress; his voice and his floating through the air blast docile passages of piano and bass, sealing the mood essence Neapolitan prince.

The charisma and the talent of the individual tracks on the album will culminate in the concert of two hundred thousand in Piazza del Plebiscito, where it all ended, and will lead the artist to various collaborations with internationally renowned musicians such as Wayne Shorter, Alphonso Johnson, Steve Gadd and Richie Evans in the discs to follow. But the true sound global, ahead of its time, this work will make a sound unique et hibridum both for the art.... ~





















































In the list of the best hundred Italian albums written by Rollin Stone Italia, NERO A META 'by PINO DANIELE is at the 17th place. For me it is undoubtedly a top ten album, but on the other hand you can not really take a magazine that places PIGRO of GRAZIANI at the 61st place and HISTORY OF A MINUTE of the PFM at the 44th (both top ten if not top five ). 

I bought the album live, and it was a fortune to have been 19 years old while discs came out like this. I already loved LZ, ELP, SANTANA, FREE, black blues and I was also very close to the Italian songwriters. DE GREGORI, BENNATO, the first VASCO, PIERO MARRAS. DANIELE'S SO 'PAZZO was often broadcast on the radio and seeing that the song I liked a lot I began to interest him. I also loved TONY EXPOSE LA BANDA DEL SOLE (1978 album), another link that sent me to DANIELE.
In Italy he had never (or almost) heard anything like a songwriter, Jazz-Rock, popular tradition, blues, songwriting, all played by extraordinary musicians (as well as DANIELE, VITOLO, MARANGOLO, SENESE, DE RIENZO, MERCURY, SPINE, PHILIPPI, IERMANOTTI, CERCOLA). Certainly Pino was a bit affectionate with ginovannelite, but that sound made of Mediterranean jazz-rock-blues was forming around NAPOLI for quite a while, we could call it NAPOLI GROOVE, and PINO managed to crystallize it at the right time in a definitive way. 

The album is beautiful, the great songs, DANIELE who does not catch anything with his guitar but leaves a lot of room for the good musicians who play with him. Irresistible rhythms like I SAY I'm STONE and MUSIC MUSIC, pastel colored squares of a disarming beauty like ALLERIA and QUANNO CALLS, real blues hymns for young Tim then as ME ME ME EYES AND BLUES and NUN ME SHOOTS AND highway Ahead.
This album longed for an extended edition so that it could understand and inspire creation, development, and broadcast. Very cute the demo version of ALLERIA only guitar and voice, suffered VOGLIO DI PIU (demo) with a voice not perfect but full of pathos accompanied by the piano, and also the demo of NUN ME SCUCCI with a guitar just maybe more blues than the original.
Verse (very) alternative for PUOZZE PASSÁ NU GUAIO, an Italian reggae from the end of the seventies to the eighties, those reggae a little forced and square with little dynamics, but so much ... they were the years of REGGATTA DE BLANC, no one was immune. More canonical but succeeded the alternative version of E SO 'CUNTENTO' E STÁ. Interestingly, the alternate take of SOTTO 'O SUN, the South American spirit is always there but the jazz-rock groove is more decisive. 

Two unpublished, not even two minutes for TIRA 'A CARRETTA, a lesser time near the Neapolitan tradition, and just over 50 seconds for the HOTEL REGINA instrumental, an acoustic creative buzz forgot behind the house. 

There will be no amazing things in this bonus material, but at least in some episodes, the difference with the original is remarkable and there are inexhaustible executions that are perhaps not perfect but very useful to understand the course of the project. I would have liked that these more things ended up on a cd aside, but I understand that in that case the costs would be lightened 

More than good is the three-door digipack box and the internal booklet, all like some overtone or over-the-counter reprints. The remaster itself does not convince me too much, it seems quite pumped and so I take the music away, but I'm happy with this purchase (for FELAN and not Amazon), certainly is the fourth version I have on this album ( after LP, first cd and first remaster in cd), but the occasion was too good...~ 






“Nero A Metà “ , but certainly not by chance, Pino Daniele in the 80's is on the third album, after the screaming and aromatic debut of "My Earth", with the tasty "Na tazzulella" and café "(1977) and the confirmation of the album of the same name of '79, that of "Je is crazy". Pino is 25 years old, but already a good instrumentalist: he has been playing since the age of twelve, and after playing in the jazz-rock band Batracomiomachia he accompanied guitar Jenny Sorrenti and was the bassist of the last Napoli Centrale, whose saxophonist James Senese will choose to accompany him in solo career.
As we have seen only marginally the years of the "Neapolitan Power" - with the various Edward Bennato, Toni Esposito and the same Naples Central Blood heirs of champions prog, such as the Bronze Ballet, the Osanna and the Sorrents brothers -, Daniele paradoxically took them benefit: Vesuvio's lava and Mississippi's water (black half) flow into its sound, but compared to other experiences, the Parthenon tradition plays a more creative role. The result is an unmistakable mixture of impetus and class, thanks also to Pino's guitar skills, which acoustically captures the acoustics as well as the electric, well-directed in the studio by Marcello Todaro. 
The first track is the famous "I say I'm ccà", with great emphasis on Bruno De Filippi's harmonica, which would probably be wrong, calling it the Italian Toots Thielemans, followed by the programmatic "Musica musica", "per music music / how much I cried do not know / but music music is all I have ", and just listening to it you understand how much musical is the repetition. After the intimist "Quanno chiova", Pino Daniele shows us his great guitar skills (which "songwriter" went crazy to shadow) in the Neapolitan "Puozze passà" nu guaio ". 
The Italian interplay of "I Want More" is the opportunity to put a few dots on the universe: "You know I will not rush to assert myself", "I'll always be ready to say no", then the napolitude back full of title in almost philological "Appocundria", a very partisan guitar and the congas of Karl Potter. A good contrast to the topical "I like me" or blues, "which is not blues but funky and does not forget the origins," But it's still left 'or' sea 'to' pacienza 'and supporta' / 'to people some walk / miezo 'in the way of sbraità' / i 'I appretessa to you / pecchè i was born ccà ". 
"And so 'cuntento' and staa '" is the classic song of love for Pino Daniele ("I know' and I'll be for you, for me faje you look 'without seeing'"), "Nun me kick" "The equally classic invict (Neapolitan version of" Do not Break Me "of the Banco?), A standard bluescoat with a finishing touch to Prince De Curtis -" Nun me asks me / so much as you die ... "- and a solo 'other times with so much pedal wah-wah. The joke "Alleria" (with the verse in front of the litteram "And it does not want to touch you anything you do") and the explanation "Ahead down" ("The feeling is safe / that is not it goes / drops it out all the time / it's all your life and you know it's a black one in the middle ") accompany the epochal closed," Under or Sun ", a few verses but a memorable scat, worthy of the best Al Jarreau . 
Given to Pino what Pino and his musicians deserve, from keyboards Ernesto Vitolo to bassist and co-producer Gigi De Rienzo, from drummer Agostino Marangolo to percussionist Rosario Iermano (also in the crowded cabin), the aforementioned Senese, Potter and De Filippi, it remains to be said that the original Anglo-Neapolitan mix meets, and the public's tastes: we will find "Black in the middle" the 16th best selling album of 1980, "Vai mò" the following year will earn a a couple of positions, "Bella 'spends" in 82th will stand in tenth place. It is not a overwhelming and overwhelming success, but the steady and constant flow of water, not the rig in which Pino peeps on the cover, but a great river, a Mississippi blues....by Ivano Rebustini.......~ 

First band of Pino Daniele from left Toni Esposito,Tullio De Piscopo,James Senese,Pino,Joe Amoruso & Rino Zurzolo


 Pino Daniele and Eric Clapton. Sadly Pino died earlier this week







October 1979, the beloved and revolutionary Septuagint are about to come to an end. Italy is still a country with a thousand and many problems, unable to tackle and resolve its endless political and social contradictions. A nation wounded and destroyed by bombs of terrorism and the fire of organized crime. However, in those months, the musical soul of Belpaese lives one of its most lively moments. They sneak the various from Dalla , Count , Bennato , Vecchioni , Guccini and De André. The unforgettable Stone Castle Studios of Carimate collect the flagship of the Italian songwriter. They are the years of the songwriting rival, the golden years in which poetry and music follow the same wake in unison, merging into a never-ending artistic sphere ever so intense and sparse. The censorship chains are now a distant reminder and the radio is overwhelming. The Italians finally feel the need to scream the world into their disappointment, their anger. The carousels are no longer sufficient, and the tip evasion towards well other solutions. There is a sound universe out of the wide unexplored peninsula, and it is time to freely enrich the land of the most varied flavors. 

In those months, Pino Daniele is a young and promising Neapolitan songwriter, but above all a unique guitarist who is about to enter the above-mentioned Castle Studios to give life to what will be one of the main posters of his career and Italian music . In the past three years, his talent has widely seduced an entire city, and in particular Claudio Poggi, the record producer of Emi Italiana, who after listening to the first demos decides to focus on the shy boy but from abroad elusive artistic. 
Pino comes from the San Giuseppe district of Naples and already has two records, "My Land" (1977) and the same name "Pino Daniele" (1979); he is twenty-four, but he is already a navigated musician and sure of his own means. Moreover, its artistic potential is at its highest level since its infancy. Just as Penny's age becomes the hymn of an entire city, the unique will of his charm and the resulting disenchantment, the tribute to his beauty and his deepest conscience: "Napule is". 

In this sense, to fully understand the artistic essence of Pino Daniele, his DNA, it is necessary precisely to enter the alleys of his city, to burst the secrets and the souls that characterize it. Vesuvius, not by chance a symbol of the Neapolitan ferment, which, by the magma hunches inspires and secures its most frightened fears, is symbolized by terror and symbol of vital force. We are in the full swing of a costume revolution that has never had a beginning or an end in Naples. Class struggle, where the individual seeks himself through the historical self and the bourgeois state of divination; the clash between being and becoming, the upward momentum and the oblivion of the real and passionate dirt of the events that have taken place. 
The theater of Viviani, Di Giacomo first and De Filippo subsequently, were the first attempt to analyze the transformation of the individual and his coarse and decadent implications; that revolution, which followed and preceded the ferment, was musically collected by the Renaissance Parthenopean movement , better known as Napolitan Power . Cultural artistic movement was tied to the best-known black power followed by footprints, but it was, unlike the latter, interested in the territory and its ethnic mutations. 

"Black in the middle", the third record of the singer songwriter, is almost a part of the black revolution, of an intense awareness of the olivere soul and goliardically suffering of its performers. It is singular as one of the most successful attempts of world music or global music to find full synthesis in a socially ghettoized territory, paralyzed between sea and marble, between domination and rebellion, between lights and shadows. To seal, in addition, this unlikely and blinding amalgam, is the field presence of musicians of Gigi De Rienzo caliber, Ernesto Vitolo, Agostino Marangolo, Aldo Mercurio, Mauro Spina, James Senese, Rosario Jermano, Tony Cercola auction aka Tony Esposito, Karl Potter, Bruno De Filippi and Enzo Avitabile. A true squad of talents ready to follow the young songwriter in his infinite and changing sound contaminations. 
"I say ccà," which opens the record, assimilates the revolutionary lesson of Carosone, who had already experienced in the past the result of the mixing between Neapolitan language and Anglo-Saxon mother tongue. The gestation and the subsequent birth now produce the obvious effects of the combustion that the war had generated in Naples. Eduardiana, who has now fallen for a while, finds today an adult generation claiming a social position and with it a fresh and fresh musical identity; Musella, whose memory is devoted to the disc, becomes the father of a new Neapolitan, the son of war, who finds in the notes of James Senese's sax tenor eternal etching on the stone and in the breathless parthenope. 

The black catharsis of "Black in the midst" lives on the thin line between congenital compassion and delusional hilarity; the texts ride a little bit of pain as in "I Want More", then exalt the gullible whim of "I like me" or blues. " Artistic dichotomy emerges even more firmly in gender alternation, as the same author will jokingly define "taramblu", hovering between the popular spirit of the tarantula, the South American rumba and the blues of the Delta. The funky rhythm swings the sword on several occasions, "Music Music", "Head Down", the aforementioned "I say I'm cca" and "I love me or blues," with a soft and seductive who enjoys without ever plunging into stupefying Mannerism. 
Musical customization consolidates through the notes of rumba "Appocundria", with Latin flavor. Execution, however, remains only a pretext for telling a mood, prophetic words share a whole nation expressing melancholy as a conscious epiphany ("Appocundria me bursts / every minute 'mimetic / peccë pass forte / haje sconcecato' or pleasure / appo-dundry 'and those who are sated / and says ca is one / appo-cundria and nisciuno ... "); domestic pictures and primary needs paint a dark-colored canvas dancing on a warm and reassuring musical velvet. 

On the same graceful thread lies "Quanno chiova", a song that is both momentous and liberating, through which the spirit of rivalry and the desire for rebirth find their allegorical translation in the purity and simplicity of the climate event rereading now in a saving sphere. The soul screams and the all-insolent irriverence, masterfully expressed only a year before in the famous "You're crazy", they breathe in "Nun me kick," with Daniel in the robes of the menestrello and the provocatore. The fusion theme that introduces the sweet "E so cuntento" and is "reconfirming our ability in melodic canvas tiles with multiform colors, surprisingly distinct variations, unrepeatable in their enveloping singularity. 
The small ballad "Alleria" recalls the other topic so dear to the Neapolitan people, the need for joy as an antidote to the anguish of practical and emotional existence; the voice and its explosion float in the air through gentle steps of piano and double bass, sealing the Prince of Elemental essence. 

The charisma and the talent of the single tracks of the album will culminate in the concert of two hundred thousand Piazza del Plebiscito, where everything is over, and will lead the artist to various collaborations with renowned international musicians such as Wayne Shorter , Alphonso Johnson, Steve Gadd Richie Evans in the disks to follow. But the true global sound , ahead of time, will make this work sound a unicum and hybridumboth for the artist and for his later epigones. 
Pino left before the last appearance in Piazza del Plebiscito, the one who had seen parades of sovereigns and viceroys who were blessed and cursed at the same time. The people demanded that his beloved son would return home for a last greetings to once again experience a magical suspension between poetry and dismay, between the mute remains and the noises of a past life. 
"Masaniello is turnat, " he cheered and healed his people and then became King.  
The King died. Long live the king!...by Raffaele Patti, Giuliano Delli Paoli....~ 





DISCOGRAFIA 

Album in studio 

1977 – Terra mia (EMI Italiana, 3C 064 18277) 
1979 – Pino Daniele (EMI Italiana, 3C 064 18391)
1980 – Nero a metà (EMI Italiana, 3C 064 18468)
1981 – Vai mò (EMI Italiana, 3C 064 18550)
1982 – Bella ‘mbriana (EMI Italiana, 3C 064 18590)
1984 – Musicante (EMI Italiana, 64 2401501)
1985 – Ferryboat (Sciò Records-EMI Italiana, 64 2402641)
1987 – Bonne soirée (EMI Italiana, 64 2407701)
1988 – Schizzechea with love (EMI Italiana, 64 7909721)
1989 – Mascalzone latino (EMI Italiana, 66 7934691)
1991 – Un uomo in blues (CGD, 9031 73310 1)
1991 – Sotto ‘o sole (CGD 9031 76095 1)
1993 – Che Dio ti benedica (CGD 4509 92258 2)
1995 – Non calpestare i fiori nel deserto (CGD 4509 99791 2)
1997 – Dimmi cosa succede sulla terra (CGD 0630 17593 2)
1999 – Come un gelato all’equatore (CGD 3984 26955)
2001 – Medina (RCA 74321835222)
2004 – Passi d’autore (RCA 82876585272)
2005 – Iguana cafè – Latin blues e melodie (RCA 82876728052)
2007 – Il mio nome è Pino Daniele e vivo qui (RCA 88697059532)
2009 – Electric Jam (RCA 88697486612)
2010 – Boogie Boogie Man (RCA 88697811352)
2012 – La grande madre (Blue Drag 8055960280001)
Album dal vivo

1984 – Sció live (live, album doppio) (EMI Italiana, 64 2402723)
1994 – E sona mo’ (live) (CGD 4509 94253 2)
2001 – Pino Daniele Live @ RTSI (registrazione del 1983)
2002 – Concerto Medina Tour 2001 (live con due inediti) (RCA 743219129222)
2002 – In tour (live con Francesco De Gregori, Fiorella Mannoia e Ron, album doppio) (Blue Drag Records/BMG Ricordi 5099751027225)
2013 – Tutta n’ata storia – Vai mo’ – Live in Napoli (live con due inediti del concerto dell/8/7/2008, include DVD) (Blue Drag Records 88765440542)
Raccolte

1998 – Yes I Know My Way (antologia con 3 inediti) (Warner Music Italia)
2008 – Ricomincio da 30 (antologia con 23 brani in versione originale, 18 nuove versioni e 4 inediti, album triplo) (Sony Music Italia)
45 giri

1976 – Ca calore/Fortunato (EMI Italiana, 3C 006 18189)
1977 – ‘Na tazzulella ‘e cafè/Napule è (EMI Italiana, 3C 006 18202)
1979 – Je so’ pazzo/Putesse essere allero (EMI Italiana, 3C 006 18417)
1980 – Nun me scoccià/I say i sto ccà (EMI Italiana, 3C 006 18430)
1982 – Tutta nata storia/Io vivo come te (EMI Italiana, 33C 000-79217, promo)
1984 – Keep On Movin’/Keep On Movin’(instrumental) (Bagaria 14 2003016)
1984 – Yes I Know My Way (Special Remix)) (Polydor, 821 251-7, promo Francia e Spagna)
1985 – Ferryboat/Amico mio (EMI Italiana -14 2013016)
1987 – Watch Out/Watch Out (EMI Italiana 14-2020356)
1987 – Bonne Soirèè/Bonne Soirèè (Radio version) (EMI Italiana 1793306, promo)
1988 – Tell Me Now/Tell Me Now (Instrumental)/Al capone (EMI Italiana 060-20 3281 6, promo)
1988 – Tell me now/Jesce juorno (EMI Italiana)
1989 – Anna verrà/Carte e cartuscelle (EMI Italiana)
1991 – ‘O scarrafone/’O scarrafone (Scaramix edit version) (CGD, 9031 73363-7)
1993 – Che Dio ti benedica/Questa primavera (CGD, 06000077-7)
CD singoli

1995 – Io per lei/’O cammello ‘nnammurato
1995 – Se mi vuoi – con Irene Grandi
1997 – Tele + (EP promozionale)
1997 – Che male c’è/Dubbi non ho
1997 – Dubbi non ho (promo cartonato)
1997 – Stare bene a metà (promo cartonato)
1998 – Amore senza fine/Senza Peccato
1998 – Senza Peccato (Remix)/Senza Peccato (Album Version)
1999 – Neve al sole/Cosa penserai di me
2001 – Sara/Mareluna/Tempo Di Cambiare
2001 – Senza ‘e te/Lettera dal cuore
Altri singoli

1980 – Quanno chiove
2004 – Pigro/Dammi Una Seconda Vita/Tango della buena suerte
2005 – It’s now or never
2005 – Occhi che sanno parlare
2005 – Narcisista in azione
2005 – Maria
2007 – Back Home
2007 – Vento di passione
2007 – Rhum and coca
2008 – Anema e core
2009 – Il sole dentro me
2009 – Dimentica
2010 – Boogie Boogie Man
2011 – It’s a Beautiful Day
2012 – Melodramma
2012 – Niente è come prima
2012 – Due Scarpe
2013 – Non si torna indietro
Raccolte senza inediti

1986 – Musica musica (EMI Italiana)
1990 – Tra musica e magia (EMI Italiana)
1995 – Passa ‘o tiempo e che fa – I primi anni (EMI Italiana)
1997 – Voglio ‘o mare
2000 – Studio Collection, Le origini (EMI Italiana)
2000 – Napule è (CGD East West)
2002 – Amore senza fine (Warner Music Italia)
2004 – The Platinum Collection (EMI Italiana)
2005 – Studio Collection (EMI Italiana)
2006 – Pino Daniele D.O.C.
2006 – Tutto Daniele – Che male c’è (Waner Music Italia)
2008 – The Platinum Collection: The Early Years (EMI Italiana)
2008 – I grandi successi- Pino Daniele (Warner Music Italia)
Produzioni per altri artisti

1983 – Common Ground (Richie Havens)
1990 – Io dal mare da Oltre (Claudio Baglioni)
1991 – In questa città (Loredana Bertè)
1991 – Pinocchio (Heather Parisi)
1993 – Gli amori della vita mia (Joe Barbieri)
1997 – Mangio troppa cioccolata (Giorgia)
1998 – Virus (Joe Barbieri)
2009 – SILVIAPRILE (Silvia Aprile)
Colonne sonore

(1978) La mazzetta, regia di Sergio Corbucci
(1981) Ricomincio da tre, regia di Massimo Troisi
(1983) Mi manda Picone, regia di Nanni Loy
(1985) Blues metropolitano, regia di Salvatore Piscicelli
(1987) Le vie del Signore sono finite, regia di Massimo Troisi
(1988) Se lo scopre Gargiulo, regia di Elio Porta
(1991) Pensavo fosse amore… invece era un calesse, regia di Massimo Troisi
(1999) Amore a prima vista, regia di Vincenzo Salemme
(2003) Opopomoz, regia di Enzo D’Alò
(2003) Fame chimica, regia di Antonio Bocola e Paolo Vari
(2006) La mano de Dios, regia di Marco Risi
(2008) La seconda volta non si scorda mai, regia di Alessandro Siani
(2009) Negli occhi, regia di Daniele Anzellotti & Francesco Del Grosso, co-prodotto da Giovanna Mezzogiorno
(2010) Passione, regia di John Turturro 


Tracklist 
A1 I Say I'Sto Ccà 4:08 
A2 Musica Musica 2:48 
A3 Quanno Chiove 4:35 
A4 Puozze Passà 'Nu Guaio 3:06 
A5 Voglio Di Più 4:03 
A6 Appocundria 1:36 
B1 A Me Me Piace 'O Blues 3:00 
B2 E So' Cuntento 'E Stà' 4:29 
B3 Nun Me Scoccià' 3:33 
B4 Alleria 3:11 
B5 A Testa In Giù 3:43 
B6 Sotto 'O Sole 2:59 


BIBLIOGRAFIA

Stefano Bonagura, Pino Daniele, *Lato Side, Roma 1982.
Maurizio Macale, Pino Daniele. Un uomo in blues. Da Napule è a Medina, *Bastogi Editrice Italiana 2001
Marco Ranaldi, Pino Daniele. Cantore mediterraneo senza confini, Ed. Frilli 2002
Autori Vari (a cura di Enrico Deregibus), Dizionario completo della canzone italiana, Giunti editore (2006)
Marcella Russano, Nero a metà. Dalle origini a “grande madre”, tutta la poesia di Pino Daniele, Ed. Arcana 201 

johnkatsmc5, welcome music..

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