Volume I: Preghiera in gennaio - January Prayer

Lascia che sia fiorito Signore, il suo sentiero quando a te la sua anima e al mondo la sua pelle dovrà riconsegnare quando verrà al tuo cielo là dove in pieno giorno risplendono le stelle. Quando attraverserà l'ultimo vecchio ponte ai suicidi dirà baciandoli alla fronte venite in Paradiso là dove vado anch'io perché non c'è l'inferno nel mondo del buon Dio. Fate che giunga a Voi con le sue ossa stanche seguito da migliaia di quelle facce bianche fate che a voi ritorni fra i morti per oltraggio che al cielo ed alla terra mostrarono il coraggio. Signori benpensanti spero non vi dispiaccia se in cielo, in mezzo ai Santi Dio, fra le sue braccia soffocherà il singhiozzo di quelle labbra smorte che all'odio e all'ignoranza preferirono la morte. Dio di misericordia il tuo bel Paradiso l'hai fatto soprattutto per chi non ha sorriso per quelli che han vissuto con la coscienza pura l'inferno esiste solo per chi ne ha paura. Meglio di lui nessuno mai ti potrà indicare gli errori di noi tutti che puoi e vuoi salvare. Ascolta la sua voce che ormai canta nel vento Dio di misericordia vedrai, sarai contento. Dio di misericordia vedrai, sarai contento. Preghiera in gennaio © 1967 Fabrizio De André/Gian Piero Reverberi "Preghiera in gennaio" was written on the occasion of the suicide of Luigi Tenco, a friend and fellow singer/songwriter. Tenco took his life after his song "Ciao amore, ciao" was rejected at the 1967 Sanremo Music Festival, an annual competition for Italian songwriters. At the time, suicide being considered a sin by the Church, a traditional Catholic funeral mass and burial were prohibited. The song itself was influenced by "Prière pour aller au paradis avec les ânes," a poem by Francis Jammes with whom De Andrè probably became familiar by way of Georges Brassens. Luigi Tenco

May blossoms adorn his pathway, Lord, when to you his spirit and to the world his skin he'll have to hand back in, when he comes to your heaven, there where in broad daylight the stars shine bright. When he crosses the last old bridge, to the suicides he will say, kissing them on the forehead, "Come you all to Paradise, there where I too am going, because there's no Hell in the world of the good Lord." Make it so he joins You with his tired bones, followed by thousands of those white faces. Make it so he returns to You, in contempt among the dead who to heaven and to earth displayed their courage. All you right-thinking sirs, I hope it doesn't displease you if in heaven, in midst of the Saints, God, in his embrace, will hush the sob of those pale lips that, over hatred and ignorance, preferred death. God of mercy, your beautiful Paradise you have made, above all, for whoever didn’t smile, for those who lived with a clear conscience. Hell exists only for those who fear it. None better than he can ever show you the errors of us all, whom you can and do want to save. Listen to his voice that now sings in the wind. God of mercy, you will see, you will be pleased. God of mercy, you will see, you will be pleased. English translation © 2014 Dennis Criteser Volume I is De André’s first full studio album, released in 1967 on the Bluebell label. It was produced by Gian Piero Reverberi and Andrea Malcotti. Reverberi shares writing credits on the music of six of the songs.

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Volume I: Marcia nuziale - Wedding March

Matrimoni per amore, matrimoni per forza ne ho visti d'ogni tipo, di gente d'ogni sorta di poveri straccioni e di grandi signori di pretesi notai di falsi professori Ma pure se vivrò fino alla fine del tempo io sempre serberò il ricordo contento delle povere nozze di mio padre e mia madre decisi a regolare il loro amore sull'altare. Fu su un carro da buoi se si vuole esser franchi tirato dagli amici e spinto dai parenti che andarono a sposarsi dopo un fidanzamento durato tanti anni da chiamarlo ormai d'argento. Cerimonia originale, strano tipo di festa, la folla ci guardava gli occhi fuori dalla testa eravamo osservati dalla gente civile che mai aveva visto matrimoni in quello stile. Ed ecco soffia il vento e si porta lontano il cappello che mio padre tormentava in una mano ecco cade la pioggia da un cielo mal disposto deciso ad impedire le nozze ad ogni costo. Ed io non scorderò mai la sposa in pianto cullava come un bimbo i suoi fiori di campo ed io per consolarla, io con la gola tesa suonavo la mia armonica come un organo da chiesa. Mostrando i pugni nudi gli amici tutti quanti gridarono "per Giove, le nozze vanno avanti" per la gente bagnata, per gli dei dispettosi le nozze vanno avanti, viva viva gli sposi. Marcia nuziale © 1967 Fabrizio De André based on La marche nuptiale © 1957 Georges Brassens "Marcia nuziale" is De André's adaptation of "La marche nuptiale" by Georges Brassens, from his 1957 album Oncle Archibald. Georges Brassens was one of De André's earliest and strongest influences, offering inspiration both from his music and from his personal philosophical leanings - towards anarchism and against war and hypocrisy.

Marriages of love, marriages of necessity, I have seen every type and every sort of person: poor beggars and great nobles, posturing notaries, deceitful professors. But even if I live until the end of time, I will always cherish the happy memory of the poor wedding of my father and mother, determined to make their love official at the altar. It was on an ox cart, if one wishes to be frank, pulled by friends and pushed by relatives who were going to marry them, after an engagement of so many years you could call it by then one of silver. An original ceremony, a strange kind of party, the gathered watched us, eyes nearly out of their heads. We were observed by the townsfolk, who had never seen marriages in that style. And behold, the wind blows and carries off the hat my father was tormenting in one hand. And here falls the rain from an ill-tempered cloud determined to stop the wedding at any cost. And I'll never forget the weeping bride, she cradled her wildflowers like a child. And I, to console her, I with tense throat played my harmonica like a church organ. Shaking their bare fists, their friends all shouted “By Jove, the wedding will go forward!” For the people all drenched and for the vexatious gods, the wedding proceeds. Long live, long live the bride and the groom! English translation © 2014 Dennis Criteser Volume I is De André’s first full studio album, released in 1967 on the Bluebell label. It was produced by Gian Piero Reverberi and Andrea Malcotti. Reverberi shares writing credits on the music of six of the songs.

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Volume I: Spiritual

Dio del cielo se mi vorrai in mezzo agli altri uomini mi cercherai Dio del cielo se mi cercherai nei campi di granturco mi troverai. Dio del cielo se, mi vorrai amare scendi dalle stelle vienimi a cercare O Dio del cielo se, mi vorrai amare scendi dalle stelle vienimi a cercare. Le chiavi del cielo non ti voglio rubare ma un attimo di gioia me lo puoi regalare le chiavi del cielo non ti voglio rubare ma un attimo di gioia me lo puoi regalare. O Dio del cielo se, mi vorrai amare scendi dalle stelle vienimi a cercare O Dio del cielo se, mi vorrai amare scendi dalle stelle vienimi a cercare. Senza di te non so più dove andare come una mosca cieca che non sa più volare senza di te non so più dove andare come una mosca cieca che non sa più volare. O Dio del cielo se, mi vorrai amare scendi dalle stelle vienimi a salvare O Dio del cielo se, mi vorrai amare scendi dalle stelle vienimi a salvare. e se ci hai regalato il pianto ed il riso noi qui sulla terra non lo abbiamo diviso e se ci hai regalato il pianto ed il riso noi qui sulla terra non lo abbiamo diviso. O Dio del cielo se, mi vorrai amare scendi dalle stelle vienimi a cercare O Dio del cielo se, mi vorrai amare scendi dalle stelle vienimi a salvare. O Dio del cielo se mi cercherai in mezzo agli altri uomini mi troverai O Dio del cielo se mi cercherai nei campi di granturco mi troverai. Dio del cielo io ti aspetterò nel cielo e sulla terra io ti cercherò. Spiritual © 1967 Fabrizio De André/Gian Piero Reverberi "Spiritual" was not a song that De André was enthusiastic about. He felt his voice was not well-suited for this type of song. It's possible that the idea with Volume I was to include in the same album various styles of music, ranging from a troubadour ballad like "Carlo Martello" to a traditional Afro-American song like this one. De André would probably not have included the song on the album, except it was needed to bring the duration of the album up to the minimum required at the time.

Lord of Heaven if you want me, amongst the other men you might search for me. Lord of Heaven if you search for me, in the fields of corn you might find me. Lord of Heaven if you want to love me, come down from starry skies, come search for me. O Lord of Heaven if you want to love me, come down from starry skies, come search for me. The keys to heaven I don’t want to steal from you, but a moment of joy you can give to me. The keys to heaven I don’t want to steal from you, but a moment of joy you can give to me. O Lord of Heaven if you want to love me, come down from starry skies, come search for me. O Lord of Heaven if you want to love me, come down from starry skies, come search for me. Without you I don’t know where to go any more, like a blind fly that no longer knows how to fly. Without you I don’t know where to go any more, like a blind fly that no longer knows how to fly. O Lord of Heaven if you want to love me, come down from starry skies, come save me. O Lord of Heaven if you want to love me, come down from starry skies, come save me. And if you bestowed on us tears and laughter, we here on earth have not shared it. And if you bestow on us tears and laughter, we here on earth have not shared it. O Lord of Heaven if you want to love me, come down from starry skies, come search for me. O Lord of Heaven if you want to love me, come down from starry skies, come save me. O Lord of Heaven if you search for me, you will find me amongst other men. O Lord of Heaven if you search for me, in the fields of corn you will find me. Lord of Heaven I will wait for you, in Heaven and on Earth I will search for you. English translation © 2014 Dennis Criteser Volume I is De André’s first full studio album, released in 1967 on the Bluebell label. It was produced by Gian Piero Reverberi and Andrea Malcotti. Reverberi shares writing credits on the music of six of the songs.

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Volume I: Si chiamava Gesù - His Name Was Jesus

Venuto da molto lontano a convertire bestie e gente non si può dire non sia servito a niente perché prese la terra per mano vestito di sabbia e di bianco alcuni lo dissero santo per altri ebbe meno virtù si faceva chiamare Gesù. Non intendo cantare la gloria né invocare la grazia e il perdono di chi penso non fu altri che un uomo come Dio passato alla storia ma inumano è pur sempre l'amore di chi rantola senza rancore perdonando con l'ultima voce chi lo uccide fra le braccia d'una croce. E per quelli che l'ebbero odiato nel Getsemani pianse l'addio come per chi l'adorò come Dio che gli disse sia sempre lodato, per chi gli portò in dono alla fine una lacrima o una treccia di spine, accettando ad estremo saluto la preghiera l'insulto e lo sputo. E morì come tutti si muore come tutti cambiando colore non si può dire che sia servito a molto perché il male dalla terra non fu tolto Ebbe forse un po' troppe virtù, ebbe un volto ed un nome: Gesù. Di Maria dicono fosse il figlio sulla croce sbiancò come un giglio. Si chiamava Gesù © 1967 Fabrizio De André/Vittorio Centanaro "Si chiamava Gesù" was another of De André's songs censored by Italian radio and television (RAI). Interestingly, the song was played on Vatican Radio; interesting because De André's anti-conformist concept of Christ was that he was not a deity, but rather a common man who, simply with the power of love, was able to rise above his own human-ness. To De André, Jesus as a common man was someone he could relate to and emulate, and whose teachings and example were thus far more powerful and immediate.

Coming from far, far away to convert beasts and humans, you can’t say it was for naught, because he took the earth by its hand. Dressed in sand and in white, some said he was a saint, for others he had less virtue - he went by the name of Jesus. I don’t intend to sing of the glory nor to invoke the grace and forgiveness of one who I think was not other than a man, like God passed into history. Yet inhuman, it is still forever, the love of one whose last gasps are without ill will, pardoning with his final voice those who kill him in the arms of a cross. And for those who had hated him, in Gethsemane he wept farewell, as for those who adored him as a God and who said to him, "Praise be to you always," and for whoever brought to him as a gift at the end a tear or a braid of thorns, accepting at the final farewell the prayer, the insult and the sputum. And he died like everyone dies, like everyone, changing color. You can’t say it did much good, because the evil from the land wasn't removed. He had perhaps a few too many virtues, he had a face and a name: Jesus. Of Maria they say he was the son, on the cross he turned white as a lily. English translation © 2014 Dennis Criteser Volume I is De André’s first full studio album, released in 1967 on the Bluebell label. It was produced by Gian Piero Reverberi and Andrea Malcotti. Reverberi shares writing credits on the music of six of the songs.

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Volume I: La canzone di Barbara - Barbara's Song

Chi cerca una bocca infedele che sappia di fragola e miele in lei la troverà Barbara in lei la bacerà Barbara. Lei sa che ogni letto di sposa è fatto di ortica e mimosa per questo ad un'altra età Barbara l'amore vero rimanderà Barbara. E intanto lei gioca all'amore scherzando con gli occhi ed il cuore di chi forse la odierà Barbara ma poi la perdonerà Barbara. E il vento di sera la invita a sfogliare la sua margherita per ogni amore che se ne va lei lo sa un altro petalo fiorirà per Barbara. La canzone di Barbara © 1967 Fabrizio De André/Gian Piero Reberberi "La canzone di Barbara" was written perhaps with the thought of it being a follow-up to the very successful "La canzone di Marinella." But the song met with little success and was never included in De André's live performances. The song was dedicated to photographer Barbara Rombi Serra, who later took the cover photo for the second edition of La buona novella.

Whoever searches for unfaithful lips that taste like strawberry and honey, in her they will find them - Barbara. In her they will kiss them - Barbara. She knows that every marriage bed is made of nettle and mimosa. For this, until another age Barbara will delay true love, Barbara. And meanwhile she plays at love, joking with the eyes and the heart of whoever will perhaps hate her, Barbara, but then will pardon her, Barbara. And the evening breeze invites her to pick petals from a daisy for every love that is gone. She knows another petal will bloom for Barbara. English translation © 2014 Dennis Criteser Volume I is De André’s first full studio album, released in 1967 on the Bluebell label. It was produced by Gian Piero Reverberi and Andrea Malcotti. Reverberi shares writing credits on the music of six of the songs.

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Volume I: Via del Campo

Via del Campo c’è una graziosa gli occhi grandi color di foglia tutta notte sta sulla soglia vende a tutti la stessa rosa. Via del Campo c’è una bambina con le labbra color rugiada gli occhi grigi come la strada nascon fiori dove cammina. Via del Campo c’è una puttana gli occhi grandi color di foglia se di amarla ti vien la voglia basta prenderla per la mano e ti sembra di andar lontano lei ti guarda con un sorriso non credevi che il paradiso fosse solo lì al primo piano. Via del Campo ci va un illuso a pregarla di maritare a vederla salir le scale fino a quando il balcone è chiuso. Ama e ridi se amor risponde piangi forte se non ti sente dai diamanti non nasce niente dal letame nascono i fior... dai diamanti non nasce niente dal letame nascono i fior... Via del Campo © 1967 Fabrizio De André/Enzo Jannacci "Via del Campo" is perhaps one of De André's best loved songs. Via del Campo is one of the narrow alleys of the ancient center of Genoa, close to the port. With its mix of smugglers, thieves, prostitutes and many others living on the margins of society, in sharp contrast to the upper-middle class life De André was raised in, it represented to him a way of life more honest, real and intense. De André spent much time in this part of Genoa during his university years, and he lived there for a while. The song itself was inspired by a transvestite (commonly called "una graziosa") who plied his wares as a beautiful blonde named Josèphine. In 1972, photographer Lisetta Carmi published a book on the transvestites of Genova, I travestiti. The music for the song was first described as being from the 16th century. In fact the music, shown to De André by Enzo Jannacci, was a piece Jannacci had written and already used for one of his own songs, "La mia morosa la va alla fonte." As a joke, Jannacci had presented the song to De André as one with medieval origins.

Via del Campo, there’s a young lovely with great big leaf-colored eyes. All night long she stands in the doorway selling to everyone the very same rose. Via del Campo, there’s a young girl with lips the color of dew, her eyes grey like the street - flowers rise up where she walks. Via del Campo, there’s a whore with great big leaf-colored eyes. If the desire to love her comes to you, it’s enough to just take her by the hand. And it seems like you're going far away, she looks at you with a smile. You didn’t believe that paradise would be just up there on the second floor. Via del Campo, a fool goes there to beg her to marry, to see her go up the stairs until the balcony door is closed. Love and laugh if love responds, cry hard if it doesn’t hear you. From diamonds nothing is born, from manure, flowers arise . . . From diamonds nothing is born, from manure, flowers arise . . . English translation © 2014 Dennis Criteser Volume I is De André’s first full studio album, released in 1967 on the Bluebell label. It was produced by Gian Piero Reverberi and Andrea Malcotti. Reverberi shares writing credits on the music of six of the songs.

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Volume I: Caro amore - Sweet Love

Caro amore nei tramonti d'aprile caro amore quando il sole si uccide oltre le onde puoi sentir piangere e gridare anche il vento ed il mare. Caro amore così un uomo piange caro amore al sole, al vento e ai verdi anni che cantando se ne vanno dopo il mattino di maggio quando son venuti e quando scalzi e con gli occhi ridenti sulla sabbia scrivevamo contenti le più ingenue parole. Caro amore i fiori dell'altr'anno caro amore son sfioriti e mai più rifioriranno e nei giardini ad ogni inverno ben più tristi sono le foglie. Caro amore così un uomo vive caro amore e il sole e il vento e i verdi anni si rincorrono cantando verso il novembre a cui ci van portando e dove un giorno con un triste sorriso ci diremo tra le labbra ormai stanche "eri il mio caro amore" Text of Caro amore © 1967 Fabrizio De André "Caro amore" is based on a French song "Aranjuez mon amour" released in 1967 by Richard Anthony, itself based on a poem by Guy Bontempelli who was inspired by an episode in the Napoleonic War of 1806-1808 (specifically a scene that was painted by Goya in The Third of May 1808). The music is Joaquin Rodrigo's Concerto di Aranjuez. However, Rodrigo did not give De André permission to use the music, so "Caro amore" was replaced on the second pressing of Volume I in 1970 with "La stagione del tuo amore."

Dear love, in the sunsets of April, dear love, when the sun extinguishes itself beyond the waves, you can hear, weeping and crying out, even the wind and the sea. Dear love, a man cries this way, dear love, to the sun, to the wind, to his youthful years which, singing, depart after the morning in May when they came and when, barefoot and with laughing eyes, on the sand, contented, we wrote the most innocent words. Dear love, the flowers of the other year, dear love, are wilted and never again will bloom, and in the gardens every winter ever more sad are the leaves. Dear love, a man lives this way, dear love - the sun and the wind and the youthful years chase each other singing towards November to whom they go, carrying us along, and where one day with a sad smile we’ll tell each other between lips by then tired, “You were my dear love.” English translation © 2014 Dennis Criteser Volume I is De André’s first full studio album, released in 1967 on the Bluebell label. It was produced by Gian Piero Reverberi and Andrea Malcotti. Reverberi shares writing credits on the music of six of the songs.

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Volume I: La stagione del tuo amore - The Season of Your Love

La stagione del tuo amore non è più la primavera ma nei giorni del tuo autunno hai la dolcezza della sera Se un mattino fra i capelli troverai un po' di neve nel giardino del tuo amore verrò a raccogliere il bucaneve passa il tempo sopra il tempo ma non devi aver paura sembra correre come il vento però il tempo non ha premura Piangi e ridi come allora ridi e piangi e ridi ancora ogni gioia ogni dolore poi ritrovarli nella luce di un'ora Passa il tempo sopra il tempo ma non devi aver paura sembra correre come il vento però il tempo non ha premura Piangi e ridi come allora ridi e piangi e ridi ancora ogni gioia ogni dolore puoi ritrovarli nella luce di un'ora La stagione del tuo amore © 1967 Fabrizio De André/Gian Piero Reverberi "La stagione del tuo amore" did not appear on the first pressing of Volume I, as it was the replacement for "Caro amore" when permission for the use of the music was not obtained from Joaquìn Rodrigo.

The season of your love is no longer spring, but in the days of your autumn you have the sweetness of the evening. If one morning in your hair you find a bit of snow, in the garden of your love I’ll come to pick the snowflake. Time passes over time, but you need not fear. It seems to run like the wind, but time is in no hurry. Cry and laugh as you did then, laugh and cry and laugh again, every joy, every sorrow, then revisit them in the light of an hour. Time passes over time, but you need not fear. It seems to run like the wind, but time is in no hurry. Cry and laugh as you did then, laugh and cry and laugh still again, every joy, every sorrow, then revisit them in the light of an hour. English translation © 2014 Dennis Criteser Volume I is De André’s first full studio album, released in 1967 on the Bluebell label. It was produced by Gian Piero Reverberi and Andrea Malcotti. Reverberi shares writing credits on the music of six of the songs.

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Volume I: Bocca di rosa - Rosemouth

La chiamavano bocca di rosa metteva l'amore metteva l'amore la chiamavano bocca di rosa metteva l'amore sopra ogni cosa. Appena scese alla stazione del paesino di Sant'Ilario tutti si accorsero con uno sguardo che non si trattava di un missionario. C'e' chi l'amore lo fa per noia chi se lo sceglie per professione bocca di rosa ne' l'uno ne' l'altro lei lo faceva per passione. Ma la passione spesso conduce a soddisfare le proprie voglie senza indagare se il concupito ha il cuore libero oppure ha moglie. E fu così che da un giorno all'altro bocca di rosa si tirò addosso l'ira funesta delle cagnette a cui aveva sottratto l'osso. Ma le comari d'un paesino non brillano certo d'iniziativa le contromisure fino al quel punto si limitavano all'invettiva. Si sa che la gente da' buoni consigli sentendosi come Gesù nel tempio si sa che la gente da' buoni consigli se non può dare cattivo esempio. Così una vecchia mai stata moglie senza mai figli, senza più voglie si prese la briga e di certo il gusto di dare a tutte il consiglio giusto. E rivolgendosi alle cornute le apostrofò con parole acute: "Il furto d'amore sarà punito -disse- dall'ordine costituito". E quelle andarono dal commissario e dissero senza parafrasare: "Quella schifosa ha già troppi clienti più di un consorzio alimentare". Ed arrivarono quattro gendarmi con i pennacchi con i pennacchi ed arrivarono quattro gendarmi con i pennacchi e con le armi. Il cuore tenero non e' una dote di cui siano colmi i carabinieri ma quella volta a prendere il treno l'accompagnarono malvolentieri. Alla stazione c'erano tutti dal commissario al sagrestano alla stazione c'erano tutti con gli occhi rossi e il cappello in mano. A salutare chi per un poco senza pretese, senza pretese a salutare chi per un poco portò l'amore nel paese. C'era un cartello giallo con una scritta nera, diceva: "Addio bocca di rosa con te se ne parte la primavera". Ma una notizia un po' originale non ha bisogno di alcun giornale come una freccia dall'arco scocca vola veloce di bocca in bocca. E alla stazione successiva molta più gente di quando partiva chi manda un bacio, chi getta un fiore, chi si prenota per due ore. Persino il parroco che non disprezza fra un miserere e un'estrema unzione il bene effimero della bellezza la vuole accanto in processione. E con la Vergine in prima fila e bocca di rosa poco lontano si porta a spasso per il paese l'amore sacro e l'amor profano. Bocca di Rosa © 1967 Fabrizio De André/Gian Piero Reverberi In addition to being one of the more famous of De André's songs, "Bocca di rosa" is the one he chose when asked in an interview which of his songs he most resembled. The term "bocca di rosa" is often used to mean prostitute; regarding this song, however, De André was outspoken that the woman of the song is not a prostitute.

They called her Rosemouth, she put love, she put love, they called her Rosemouth, she put love above everything else. As soon as she got off at the station in the small town of Saint Hilario, everyone noticed with one look that she was nothing to do with a missionary. There are those who make love out of boredom, those that choose it as a profession. Rosemouth was neither one nor the other, she did it for passion. But passion often leads to satisfying its own wants without investigating whether a partner in lust has a free heart, or else has a wife. And thus it was that from one day to the next Rosemouth brought down upon herself the black ire of the bitches from whom she had taken a bone. But nosy neighbors of a hamlet aren't shining examples of initiative. The countermeasures up until that point were limited to invective. We all know that people give good advice, feeling like Jesus in the temple. We all know that people give good advice if they can’t set a bad example. Thus an older woman, never a wife, ever childless, with no more longings, took the trouble, and certainly with relish, to give everyone some proper advice. And addressing the cuckolds she held forth to them with sharp words: "The theft of love will be punished," she said, "by the established order." And they went to the commissioner and they said, without paraphrasing: “That despicable woman already has too many customers, more than a food co-op.” And four gendarmes arrived with their plumes, with their plumes, and four gendarmes arrived with their plumes and with their weapons. A tender heart is not an endowment the carabinieri are overflowing with. But that time, to catch the train, they grudgingly accompanied her. At the station there was everyone from the commissioner to the sexton. At the station everyone was there with red eyes and hat in hand to greet one who just for a moment, without pretense, without pretense, to greet one who just for a moment brought love to the village. There was a yellow sign with a black inscription, it said: “Farewell Rosemouth, springtime is parting with you.” But news that’s a bit unusual doesn't need any newspapers. Like an arrow shot from a bow, it flies fast by word of mouth. And at the next station, many more people than when she departed - one who throws a kiss, one who tosses a flower, one who makes reservations for two hours. Even the parish priest, who doesn’t condemn - between a "have mercy" and an annointment of the sick - the ephemeral gift of beauty, wants her beside him in the procession. And with the Virgin in the first row and Rosemouth not far behind, he takes them out for a walk through the village, Sacred Love and Love Profane. English translation © 2014 Dennis Criteser Volume I is De André’s first full studio album, released in 1967 on the Bluebell label. It was produced by Gian Piero Reverberi and Andrea Malcotti. Reverberi shares writing credits on the music of six of the songs.

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Volume I: La morte - Death

La morte verrà all'improvviso avrà le tue labbra i tuoi occhi ti coprirà d'un velo bianco addormentandosi al tuo fianco Nell'ozio nel sonno in battaglia verrà senza darti avvisaglia la morte va a colpo sicuro non suona il corno né il tamburo Madonna che in limpida fonte ristori le membra stupende la morte non ti vedrà in faccia avrà il tuo seno e le tue braccia Prelati notabili e conti sull'uscio piangeste ben forte chi bene condusse sua vita male sopporterà sua morte Straccioni che senza vergogna portaste il cilicio o la gogna partirvene non fu fatica perché la morte vi fu amica Guerriero che in punta di lancia dal suolo d'Oriente alla Francia di stragi menasti in gran vanto e fra i nemici il lutto e il pianto Di fronte all'estrema nemica non vale coraggio o fatica non serve colpirla nel cuore perché la morte mai non muore non serve colpirla nel cuore perché la morte mai non muore Text of La morte © 1967 Fabrizio De André Music © 1960 Georges Brassens "La morte" uses the music of “Le verger du roi Louis,” released in 1960 by the French singer/songwriter Georges Brassens, setting to music a 19th century poem by Théodore de Banville. The poem alludes to the "gardens of King Louis" - the parts of his forest that were reserved for those who were hanged, in "clusters never visited." De André feared death, something he spoke about on several occasions, and death is a presence in many of his songs. The opening lines of De André's lyric are quite similar to the first lines of Cesare Pavesi's 1950 poem "Death Will Come and Have Your Eyes."

Death will come suddenly, it will have your lips and your eyes. It will cover you in a white veil, sleeping on your side. In idleness, in sleep, in battle it will come, giving you no warning. Death goes without fail, sounding neither horn nor drum. Fine lady who in clear springs refreshes her marvelous limbs, Death will not see you face-to-face, it will have your breast and your arms. Prelates, notables and counts, you cried at the door right hard. Whoever conducted his life well will bear poorly his death. Tramps who without shame wore the hair shirt or mounted the pillory - departing was not a struggle because Death was for you a friend. Warrior who with the point of a lance, from the soil of the Orient to France, you boasted grandly of massacres, and among the enemies, bereavement and weeping. In front of the ultimate enemy, neither courage nor struggle is worthwhile. It’s no use to strike it in the heart because Death never dies. It’s no use to strike it in the heart because Death never dies. English translation © 2014 Dennis Criteser Volume I is De André’s first full studio album, released in 1967 on the Bluebell label. It was produced by Gian Piero Reverberi and Andrea Malcotti. Reverberi shares writing credits on the music of six of the songs.

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Volume I: Carlo Martello ritorna dalla battaglia di Poitiers - Charles Martel Returns from the Battle of Poitiers

Re Carlo tornava dalla guerra lo accoglie la sua terra cingendolo d'allor al sol della calda primavera lampeggia l'armatura del sire vincitor il sangue del principe del Moro arrossano il cimiero d'identico color ma più che del corpo le ferite da Carlo son sentite le bramosie d'amor "se ansia di gloria e sete d'onore spegne la guerra al vincitore non ti concede un momento per fare all'amore chi poi impone alla sposa soave di castità la cintura ahimè è grave in battaglia può correre il rischio di perder la chiave" così si lamenta il Re cristiano s'inchina intorno il grano gli son corona i fior lo specchio di chiara fontanella riflette fiero in sella dei Mori il vincitor Quand'ecco nell'acqua si compone mirabile visione il simbolo d'amor nel folto di lunghe trecce bionde il seno si confonde ignudo in pieno sol "Mai non fu vista cosa più bella mai io non colsi siffatta pulzella" disse Re Carlo scendendo veloce di sella "De' cavaliere non v'accostate già d'altri è gaudio quel che cercate ad altra più facile fonte la sete calmate" Sorpreso da un dire sì deciso sentendosi deriso Re Carlo s'arrestò ma più dell'onor poté il digiuno fremente l'elmo bruno il sire si levò codesta era l'arma sua segreta da Carlo spesso usata in gran difficoltà alla donna apparve un gran nasone e un volto da caprone ma era sua maestà "Se voi non foste il mio sovrano" Carlo si sfila il pesante spadone "non celerei il disio di fuggirvi lontano, ma poiché siete il mio signore" Carlo si toglie l'intero gabbione "debbo concedermi spoglia ad ogni pudore" Cavaliere egli era assai valente ed anche in quel frangente d'onor si ricoprì e giunto alla fin della tenzone incerto sull'arcione tentò di risalir veloce lo arpiona la pulzella repente una parcella presenta al suo signor "Beh proprio perché voi siete il sire fan cinquemila lire è un prezzo di favor" "E' mai possibile o porco di un cane che le avventure in codesto reame debban risolversi tutte con grandi puttane, anche sul prezzo c'è poi da ridire ben mi ricordo che pria di partire v'eran tariffe inferiori alle tremila lire" Ciò detto agì da gran cialtrone con balzo da leone in sella si lanciò frustando il cavallo come un ciuco fra i glicini e il sambuco il Re si dileguò Re Carlo tornava dalla guerra lo accoglie la sua terra cingendolo d'allor al sol della calda primavera lampeggia l'armatura del sire vincitor Carlo Martello ritorna dalla battaglia di Poitiers © 1963 Fabrizio De André/Paolo Villagio This song was released in 1963 as the B side of a 45 with "Il fannullone" as the A-side. The text was written by a friend from childhood, Paolo Villagio, and the music is by De André. The Battle of Poitiers occurred in 732, a battle between the Franks and the Moors in what is now northern France. The song is in the style of popular French pastourelles sung by medieval troubadours about encounters between knights and country girls. In 1965 a complaint was brought against De André and his label Karim for obscene content in the lyrics. The case was settled in De André's favor in 1968. The Italian in this song is an old style, and Riccardo Venturi has done a nice translation into a similarly "olde" style of English.

King Charles was returning from the war. His land welcomes him, crowning him with a laurel. In the hot spring sun flashes the suit of armor of the victorious Sire. The blood of the prince and the Moor redden the crest, of identical color. But more than the wounds of the body, Charles felt the yearning for love. “If eagerness for glory and a thirst for honor extinguish war for the victor, it allows you not a moment to pursue love. "One, then, who imposes on the gentle wife the chastity belt - alas it is heavy - in battle can run the risk of losing the key.” Thus complains the Christian king. The grain bows down and flowers gather about. The mirror of the clear fountain reflects, proud in his saddle, the victor of the Moors. When here in the water is formed, marvelous vision, the symbol of love - in the fullness of the long blond braids the breast intermingles, naked in broad daylight. “Never was seen something more beautiful, never did I catch such a maid,” said King Charles, dismounting quickly from his saddle. “But oh, Knight, come no closer, that which you seek is already the joy of another. Quench your thirst from some easier spring.” Surprised by a response so sharp, feeling put down, King Charles stopped. But greater than honor was the power of abstinence. Trembling, his brown helm the King lifted off. This was the secret weapon by Charles often used in dire straights - to the woman appeared a big nose and the face of a goat, but it was her majesty. “If you were not my sovereign,” - Charles takes off his heavy sword - “I wouldn’t conceal the desire to run far away." "But since you are my Lord,” - Charles frees himself from the prison of his armor - “I must give myself over bare to every shame.” He was indeed a valiant knight, and even at that juncture was covered again with honor. And, conjoined at the end of the duel, uncertain, the saddle he tried to remount. Quickly the maiden harpooned him. Suddenly a bill she presents to her Lord. “Ah, just because you are my Lord, it’s five thousand lira, a special price.” “It’s ever possible, son of a bitch, that the adventures in this realm should all end up with big whores. "Even the price, then, can be criticized. I remember well that before I left there were lower prices of three thousand lira.” Thus spoken, he acted like a scoundrel - with the leap of a lion he mounted his steed. Whipping the horse as if it were a donkey, through the wisteria and elderberries the king disappeared. King Charles returned from the war. His land welcomes him, crowning him with a laurel. In the hot spring sun flashes the suit of armor of the victorious Sire. English translation © 2014 Dennis Criteser Volume I is De André’s first full studio album, released in 1967 on the Bluebell label. It was produced by Gian Piero Reverberi and Andrea Malcotti. Reverberi shares writing credits on the music of six of the songs.

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