Rimini: Rimini

Teresa ha gli occhi secchi guarda verso il mare per lei figlia di pirati penso che sia normale Teresa parla poco ha labbra screpolate mi indica un amore perso a Rimini d'estate. Lei dice bruciato in piazza dalla santa inquisizione forse perduto a Cuba nella rivoluzione o nel porto di New York nella caccia alle streghe oppure in nessun posto ma nessuno le crede. Coro: Rimini, Rimini E Colombo la chiama dalla sua portantina lei gli toglie le manette ai polsi gli rimbocca le lenzuola "Per un triste Re Cattolico - le dice - ho inventato un regno e lui lo ha macellato su una croce di legno. E due errori ho commesso due errori di saggezza abortire l'America e poi guardarla con dolcezza ma voi che siete uomini sotto il vento e le vele non regalate terre promesse a chi non le mantiene ". Coro: Rimini, Rimini Ora Teresa è all'Harrys' Bar guarda verso il mare per lei figlia di droghieri penso che sia normale porta una lametta al collo è vecchia di cent'anni di lei ho saputo poco ma sembra non inganni. "E un errore ho commesso - dice - un errore di saggezza abortire il figlio del bagnino e poi guardarlo con dolcezza ma voi che siete a Rimini tra i gelati e le bandiere non fate più scommesse sulla figlia del droghiere". Coro: Rimini, Rimini Rimini © 1978 Fabrizio De André/Massimo Bubola Rimini is a famous Italian seaside resort and tourist destination, and De André said it was the emblem of the album: a place where during summer one casts off one's everyday experience and for a period of time enters into a mirage of consumerism and of feeling well-off, a place where the lower middle class can emulate the upper middle class and feel like somebody. In the song "Rimini," an old woman (speaking to the singer at Harry's Bar in Venice) recounts a dream-like past where she was constrained as a young girl in Rimini to have an abortion against her will. She spins tales of how her lover might have died and of her meeting with Christopher Columbus. A parallel is drawn between the destruction and subjugation of the New World under a Catholic king and the persecution of the young Teresa for her love affair under the hard rules of propriety in Catholic Italian lower middle class society.

Teresa has dry eyes, she looks out to sea. For her, daughter of pirates, I think it’s normal. Teresa speaks little, has chapped lips, she indicates to me a lost love in Rimini, in the summer. She says he was burned in the plaza by the Holy Inquisition, maybe lost in Cuba in the revolution, or in the Port of New York in the witch hunt, or in no place at all, but no one believes her. Chorus: Rimini, Rimini And Columbus calls her from his stretcher. She removes the handcuffs from his wrists, folds back his sheets. “For a sad Catholic King,” he tells her, “I invented a kingdom, and he butchered it on a wooden cross. “And two errors I made, two errors of wisdom: aborting America and then looking at her kindly. But you who are men under the wind and the sails, don’t give away promised lands to those who won't maintain them.” Chorus: Rimini, Rimini Now Teresa is at Harry’s Bar, she looks out to the sea. For her, daughter of drygrocers, I think it’s normal. She carries a razorblade hung from her neck, she’s an old woman of a hundred years. I knew little about her, but it seems like she's not foolin'. “And I committed an error,” she says, “an error of wisdom: aborting the son of the lifeguard and then looking at him with tenderness. But you who are in Rimini amid gelatos and flags, don’t place more bets on the drygrocer's daughter.” Chorus: Rimini, Rimini English translation © 2014 Dennis Criteser Rimini grew out of De André's disappointments with the political events of the previous couple of years. In close collaboration with Massimo Bubola, a young 24-year-old who had just released his first album, De André explored several social and political themes, including abortion, homosexuality, and how the petite bourgeoisie attempted to move into the ranks of the powerful and rise above the political and social turmoil of the times. The music has more influence from American rock and pop music than previous albums, and includes his first forays into ethnic music, which will eventually come to full fruition in his masterpiece album Crêuza de mä. Rimini in summertime

Back to Album List         Back to Song List

Rimini: Volta la carta - Turn the Card Over

C'è una donna che semina il grano volta la carta si vede il villano il villano che zappa la terra volta la carta viene la guerra per la guerra non c'è più soldati a piedi scalzi son tutti scappati Angiolina cammina cammina sulle sue scarpette blu carabiniere l'ha innamorata volta la carta e lui non c'è più carabiniere l'ha innamorata volta la carta e lui non c'è più. C'è un bambino che sale un cancello ruba ciliege e piume d'uccello tira sassate non ha dolori volta la carta c'è il fante di cuori. Il fante di cuori che è un fuoco di paglia volta la carta il gallo si sveglia Angiolina alle sei di mattina s'intreccia i capelli con foglie d'ortica ha una collana di ossi di pesca la gira tre volte intorno alle dita ha una collana di ossi di pesca la conta tre volte mezzo alle dita. Mia madre ha un mulino e un figlio infedele gli inzucchera il naso di torta di mele Mia madre e il mulino son nati ridendo volta la carta c'è un pilota biondo Pilota biondo camicie di seta cappello di volpe sorriso da atleta Angiolina seduta in cucina che piange, che mangia insalata di more. Ragazzo straniero ha un disco d'orchestra che gira veloce che parla d'amore Ragazzo straniero ha un disco d'orchestra che gira che gira che parla d'amore. Madamadorè ha perso sei figlie tra i bar del porto e le sue meraviglie Madamadorè sa puzza di gatto volta la carta e paga il riscatto paga il riscatto con le borse degli occhi Piene di foto di sogni interrotti Angiolina ritaglia giornali si veste da sposa canta vittoria chiama i ricordi col loro nome, volta la carta e finisce in gloria chiama i ricordi col loro nome, volta la carta e finisce in gloria. Volta la carta © 1978 Fabrizio De André/Massimo Bubola "Volta la carta" is based on an old sing-song nursery rhyme, "La donnina che semina il grano," that strings together one image after another in couplets: La donnina che semina il grano Volta la carta e si vede il villano Il villano che zappa la terra Volta la carta e si vede la guerra La guerra con tanti soldati Volta la carta e si vede i malati I malati con tanto dolore Volta la carta e si vede il dottore etc. De Andrè and Bubola weave a story of a young girl who falls in love with an American pilot into strands of other references to pop songs (Angiolina, Madamadorè) and films ("a policeman fell in love with her" references Pane, amore e fantasia, for example).

There’s a woman who sews the wheat, turn the card over, you’ll see a peasant, a peasant who tills the soil, turn the card over, there comes a war, for the war there are no more soldiers, barefoot, they’ve all fled. Angiolina walks, she walks in her blue shoes. A policeman charmed her, turn the card over and he’s no longer there. A policeman did charm her, turn the card over and he's no longer there. There’s a boy who climbs over a gate, he pilfers cherries and bird feathers, he throws stones and has no sorrows, turn the card over, there's the Jack of Hearts, Jack of Hearts who's a flash in the pan, turn the card over, the rooster awakens. Angiolina at six in the morning weaves some nettle leaves into her hair. She has a necklace of peach stones that she turns three times 'round her fingers. She has a necklace of peach stones, she counts it three times between her fingers. My mother has a mill and an unfaithful son, she sweetens his nose with an apple pie. My mother and the mill were both born laughing, turn the card over there’s a blond pilot, a blond pilot, tops of silk, cap of fox fur, smile of an athlete. Angiolina seated in the kitchen, who cries, who eats a mulberry salad. A young foreign boy has a disc of an orchestra that spins fast, that speaks of love. A young foreign boy has a disc of an orchestra that spins and spins, that speaks of love. Madame Dorè lost six daughters midst the bars of the port and its allures. Madame Dorè knows the stink of a cat, turn the card over and she pays the ransom, she pays the ransom with the bags under her eyes, full of photos of dreams interrupted. Angiolina is cutting up magazines, dressed as a bride, of victory she sings. She calls forth her memories with their names, turn the card over and it ends in glory. She calls forth her memories with their names, turn the card over and it ends in glory. English translation © 2014 Dennis Criteser Rimini grew out of De André's disappointments with the political events of the previous couple of years. In close collaboration with Massimo Bubola, a young 24-year-old who had just released his first album, De André explored several social and political themes, including abortion, homosexuality, and how the petite bourgeoisie attempted to move into the ranks of the powerful and rise above the political and social turmoil of the times. The music has more influence from American rock and pop music than previous albums, and includes his first forays into ethnic music, which will eventually come to full fruition in his masterpiece album Crêuza de mä.

Back to Album List         Back to Song List

Rimini: Coda di lupo - Tail-of-the-Wolf

Quando ero piccolo m'innamoravo di tutto correvo dietro ai cani e da marzo a febbraio mio nonno vegliava sulla corrente di cavalli e di buoi sui fatti miei e sui fatti tuoi e al dio degli inglesi non credere mai. E quando avevo duecento lune e forse qualcuna è di troppo rubai il primo cavallo e mi fecero uomo cambiai il mio nome in "Coda di lupo" cambiai il mio pony con un cavallo muto e al loro dio perdente non credere mai E fu nella notte della lunga stella con la coda che trovammo mio nonno crocifisso sulla chiesa crocifisso con forchette che si usano a cena era sporco e pulito di sangue e di crema e al loro dio goloso non credere mai. E forse avevo diciott'anni e non puzzavo più di serpente possedevo una spranga un cappello e una fionda e una notte di gala con un sasso a punta uccisi uno smoking e glielo rubai e al dio della scala non credere mai. Poi tornammo in Brianza per l'apertura della caccia al bisonte ci fecero l'esame dell'alito e delle urine ci spiegò il meccanismo un poeta andaluso - Per la caccia al bisonte - disse - Il numero è chiuso. E a un Dio a lieto fine non credere mai. Ed ero già vecchio quando vicino a Roma a Little Big Horn capelli corti generale ci parlò all'università dei fratelli tute blu che seppellirono le asce ma non fumammo con lui non era venuto in pace e a un dio fatti il culo non credere mai. E adesso che ho bruciato venti figli sul mio letto di sposo che ho scaricato la mia rabbia in un teatro di posa che ho imparato a pescare con le bombe a mano che mi hanno scolpito in lacrime sull'arco di Traiano con un cucchiaio di vetro scavo nella mia storia ma colpisco un po' a casaccio perché non ho più memoria e a un dio, e a un dio, e a un dio, e a un dio e a un dio senza fiato non credere mai. Coda di lupo © 1978 Fabrizio De André/Massimo Bubola "Coda di lupo" must be understood in the context of the failure and dissolution of various protest movements in 1976 and 1977, including the Metropolitan Indians, anarchists who wore face paint, dressed like hippies, listened to rock music and enjoyed acid and weed, and who protested bourgeois values through urban guerilla activism, occupying universities, factories, etc.

When I was little I used to fall in love with everything. I used to run after the dogs, and from March to February my grandpa kept a watch over the movement of horses and of oxen, over my business and over your business. And in the god of the English don't ever believe. And when I was 200 moons old - and maybe that's a few too many - I robbed my first horse and they made me a man. I changed my name to “Tail-of-the-Wolf.” I exchanged my pony for a silent horse. And in their losing god don't ever believe. And it was in the night of the long star with the tail that we found my grandpa crucified on the cross, crucified with forks that are used at meals. He was dirty and cleaned of blood and cream. And in their greedy god don't ever believe. And maybe I was 18 and no longer stank like a snake, I owned a rod, a hat and a sling, and one gala night with a pointed rock I killed a tuxedo and robbed it from him. And in the god of La Scala don't ever believe. Then we returned to Brianza for the opening of the buffalo hunt. They made us take a breath and urine test. He explained to us the workings, an Andalusian poet. “For the buffalo hunt,” he said, “the number is closed.” And in a god of happy endings don't ever believe. And I was already old when near Rome, at Little Big Horn, General Short-Hair spoke to us at the university about the blue-suited brothers who buried the hatchets. But we didn’t smoke with him, he didn’t come in peace. And in a work-your-ass-off god don't ever believe. And now that I burned twenty sons on my grooms bed, that I unloaded my rage on a sound stage, that I learned to fish with hand grenades, that they sculpted me in tears on Trajan’s Arch, with a glass spoon I dig around in my history. But I’m striking a bit at random because I have no memory anymore. And in a god, and in a god, and in a god, and in a god, and in an out-of-breath god, don’t ever believe. English translation © 2014 Dennis Criteser Rimini grew out of De André's disappointments with the political events of the previous couple of years. In close collaboration with Massimo Bubola, a young 24-year-old who had just released his first album, De André explored several social and political themes, including abortion, homosexuality, and how the petite bourgeoisie attempted to move into the ranks of the powerful and rise above the political and social turmoil of the times. The music has more influence from American rock and pop music than previous albums, and includes his first forays into ethnic music, which will eventually come to full fruition in his masterpiece album Crêuza de mä.

Back to Album List         Back to Song List

Rimini: Andrea

Andrea s'è perso s'è perso e non sa tornare Andrea s'è perso s'è perso e non sa tornare Andrea aveva un amore Riccioli neri Andrea aveva un dolore Riccioli neri. C'era scritto sul foglio ch'era morto sulla bandiera C'era scritto e la firma era d'oro era firma di re Ucciso sui monti di Trento dalla mitraglia. Ucciso sui monti di Trento dalla mitraglia. Occhi di bosco contadino del regno profilo francese Occhi di bosco soldato del regno profilo francese E Andrea l'ha perso ha perso l'amore la perla più rara E Andrea ha in bocca ha in bocca un dolore la perla più scura. Andrea cogliava raccoglieva violette ai bordi del pozzo Andrea gettava Riccioli neri nel cerchio del pozzo Il secchio gli disse gli disse - Signore il pozzo è profondo più fondo del fondo degli occhi della Notte del Pianto. Lui disse - Mi basta mi basta che sia più profondo di me. Lui disse - Mi basta mi basta che sia più profondo di me. Andrea © 1978 Fabrizio De André/Massimo Bubola "Andrea" is both an anti-war song and a statement of solidarity with and acceptance of gays, as the song is about the love between two men (Andrea is a man's name in Italian). The setting for the song is World War I, which can be deduced because intense battles occurred on the ground in the mountains of Trent during WWI, whereas in WWII Trent suffered bombing from the air by the Germans toward the end of the war.

Andrea got lost, he got lost and doesn't know how to return. Andrea got lost, he got lost and doesn't know how to return. Andrea used to have a love, black curly hair, Andrea used to have a sorrow, black curly hair. It was written on a page that he'd died on the flag. It was written and the signature was in gold, it was signed by the king: killed in the mountains of Trent by machine gun fire, killed in the mountains of Trent by machine gun fire. Forest-colored eyes, peasant of the realm, French profile. Forest-colored eyes, soldier of the realm, French profile. And Andrea lost him, he lost his love, the pearl most rare. And Andrea has in his mouth, he has in his mouth a sorrow, the darkest pearl. Andrea was plucking, he was gathering violets at the edges of a well. Andrea was throwing black ringlets in the circle of the well. The bucket said to him, it said, “Sir, the well is deep, deeper than the depth of the eyes of the Night of Tears.” He said, “It’s enough for me, it's good enough that it’s deeper than I am.” He said, “It’s enough for me, it's good enough that it’s deeper than I am.” English translation © 2014 Dennis Criteser Rimini grew out of De André's disappointments with the political events of the previous couple of years. In close collaboration with Massimo Bubola, a young 24-year-old who had just released his first album, De André explored several social and political themes, including abortion, homosexuality, and how the petite bourgeoisie attempted to move into the ranks of the powerful and rise above the political and social turmoil of the times. The music has more influence from American rock and pop music than previous albums, and includes his first forays into ethnic music, which will eventually come to full fruition in his masterpiece album Crêuza de mä.

Back to Album List         Back to Song List

Rimini: Avventura a Durango Romance in Durango (Bob Dylan and Jacques Levy)

Peperoncini rossi nel sole cocente polvere sul viso e sul cappello io e Maddalena all'occidente abbiamo aperto i nostri occhi oltre il cancello ho dato la chitarra al figlio del fornaio per una pizza ed un fucile la ricomprerò lungo il sentiero e suonerò per Maddalena all'imbrunire. Nun chiagne Maddalena Dio ci guarderà e presto arriveremo a Durango Stringimi Maddalena 'sto deserto finirà tu potrai ballare o fandango Dopo i templi aztechi e le rovine le prime stelle sul Rio Grande Di notte sogno il campanile e il collo di Ramon pieno di sangue Sono stato proprio io all'osteria a premere le dita sul grilletto Vieni mia Maddalena voliamo via il cane abbaia quel che è fatto è fatto Nun chiagne Maddalena Dio ci guarderà e presto arriveremo a Durango Stringimi Maddalena 'sto deserto finirà tu potrai ballare o fandango Alla corrida con tequila ghiacciata vedremo il toreador toccare il cielo All'ombra della tribuna antica dove Villa applaudiva il rodeo Il frate pregherà per il perdono ci accoglierà nella missione Avrò stivali nuovi un orecchino d'oro e sotto il velo tu farai la comunione La strada è lunga ma ne vedo la fine arriveremo per il ballo e Dio ci apparirà sulle colline coi suoi occhi smeraldi di ramarro Nun chiagne Maddalena Dio ci guarderà e presto arriveremo a Durango Stringimi Maddalena 'sto deserto finirà tu potrai ballare o fandango Che cosa è il colpo che ho sentito ho nella schiena un dolore caldo siediti qui trattieni il fiato forse non sono stato troppo scaltro Svelta Maddalena prendi il mio fucile guarda dove è partito il lampo miralo bene cercare di colpire potremmo non vedere più Durango Nun chiagne Maddalena Dio ci guarderà e presto arriveremo a Durango Stringimi Maddalena 'sto deserto finirà tu potrai ballare o fandango Avventura a Durango © 1978 Fabrizio De André/Massimo Bubola based on Romance in Durango © 1975 Ram's Horn Music; renewed 2003 by Ram’s Horn Music During the making of Rimini, De Andrè and Bubola listened to Dylan's Desire album a lot, and De André considered it one of the best of Dylan's releases. Their translation is fairly faithful to the original; the Spanish choruses are rendered in Neapolitan dialect.

Hot chili peppers in the blistering sun, dust on my face and my hat. Me and Magdalena off to the west, we’ve opened our eyes beyond the gate. I gave my guitar to the baker’s son for a pizza and a rifle. I’ll buy it back along the trail and I’ll play for Magdalena at dusk. Don’t cry, Magdalena, God will watch over us and soon we’ll arrive in Durango. Hold me, Magdalena, this desert will end, you’ll be able to dance the fandango. After the Aztec temples and ruins, the first star on the Rio Grande. At night I dream of the bell-tower and the neck of Ramon filled with blood. Was it just me at the cantina to squeeze the trigger? Come, my Magdalena, let’s fly away, the dog barks, “What’s done is done.” Don’t cry, Magdalena, God will watch over us and soon we’ll arrive in Durango. Hold me, Magdalena, this desert will end, you’ll be able to dance the fandango. At the bullfight with ice-cold tequila we’ll see the torero touch the sky in the shadow of the ancient grandstand where Villa applauded the rodeo. The priest will pray for my pardon, he’ll welcome us in the mission church. I'll wear new boots and an earring of gold, and under the veil you’ll take Communion. The way is long but I see the end, we’ll arrive for the dance and God will appear there on the hill with his lizardy emerald eyes. Don’t cry, Magdalena, God will watch over us and soon we’ll arrive in Durango. Hold me, Magdalena, this desert will end, you’ll be able to dance the fandango. What is the blast that I heard? I have a hot pain in my back. Sit here, hold your breath, maybe I wasn’t too clever. Thin Magdalena, take my rifle, look where the flash of light came from. Aim at it well, try to shoot it, we may not see Durango no more. Don’t cry, Magdalena, God will watch over us and soon we’ll arrive in Durango. Hold me, Magdalena, this desert will end, you’ll be able to dance the fandango. English translation © 2014 Dennis Criteser Rimini grew out of De André's disappointments with the political events of the previous couple of years. In close collaboration with Massimo Bubola, a young 24-year-old who had just released his first album, De André explored several social and political themes, including abortion, homosexuality, and how the petite bourgeoisie attempted to move into the ranks of the powerful and rise above the political and social turmoil of the times. The music has more influence from American rock and pop music than previous albums, and includes his first forays into ethnic music, which will eventually come to full fruition in his masterpiece album Crêuza de mä.

Back to Album List         Back to Song List

Rimini: Sally

Mia madre mi disse - Non devi giocare con gli zingari nel bosco. Mia madre mi disse - Non devi giocare con gli zingari nel bosco. Ma il bosco era scuro l'erba già verde lì venne Sally con un tamburello ma il bosco era scuro l'erba già alta dite a mia madre che non tornerò. Andai verso il mare senza barche per traversare spesi cento lire per un pesciolino d'oro. Andai verso il mare senza barche per traversare spesi cento lire per un pesciolino cieco. Gli montai sulla groppa sparii in un baleno andate a dire a Sally che non tornerò. Gli montai sulla groppa sparii in un momento dite a mia madre che non tornerò. Vicino alla città trovai Pilar del mare con due gocce di eroina s'addormentava il cuore. Vicino alle roulottes trovai Pilar dei meli bocca sporca di mirtilli con coltello in mezzo ai seni. Mi svegliai sulla quercia l'assassino era fuggito dite al pesciolino che non tornerò. Mi guardai nello stagno l'assassino s'era già lavato dite a mia madre che non tornerò. Seduto sotto un ponte si annusava il re dei topi sulla strada le sue bambole bruciavano copertoni. Sdraiato sotto il ponte si adorava il re dei topi sulla strada le sue bambole adescavano i signori. Mi parlò sulla bocca mi donò un braccialetto dite alla quercia che non tornerò. Mi baciò sulla bocca mi propose il suo letto dite a mia madre che non tornerò. Mia madre mi disse - Non devi giocare con gli zingari nel bosco. Ma il bosco era scuro l'erba già verde lì venne Sally con un tamburello. Sally © 1978 Fabrizio De André/Massimo Bubola "Sally" is the fable of a boy who leaves home to discover the world. Like "Volta la carta," the song has as a point of take-off a nursery rhyme, English in this case: My mother said that I never should Play with the gypsies in the wood, The wood was dark; the grass was green; In came Sally with a tambourine. I went to the sea - no ship to get across; I paid ten shillings for a blind white horse; I up on his back and was off in a crack, Sally, tell my mother I shall never come back. There are also references to One Hundred Years of Solitude by Gabriel García Márquez (Pilar and the fish of gold) and to El Topo, a film by Alejandro Jodorowsky.

My mother told me, “You shouldn’t play with the Gypsies in the woods.” My mother told me, “You shouldn’t play with the Gypsies in the woods.” But the woods were dark, the grass already green, there came Sally with a tambourine. But the woods were dark, the grass already tall, tell my mother I’m not coming back. I headed off to the sea without boats for crossing, I spent a hundred lira for a little golden fish. I headed off to the sea without boats for crossing, I spent a hundred lira for a little blind fish. I climbed on its back and disappeared in a trice, go tell Sally that I won’t return. I climbed on its back and disappeared in an instant, go tell my mother that I won’t return. Near the city I found Pilar of the sea, with two drops of heroin she put her heart to sleep. Near the caravans I visited Pilar of the apple trees, mouth spotted with blueberry, a knife between her breasts. I woke up in the oak tree, the assassin had fled, tell the little fish that I won’t return. I looked at myself in the pond, the assassin had already washed, tell my mother that I won’t return. Seated under a bridge the king of mice sniffed himself, on the road his young dolls burned tires. Stretched out under a bridge the king of mice adored himself, on the road his young dolls solicited gentlemen. He spoke to me on the mouth, he gave me a bracelet, tell the oak tree that I won’t return. He kissed me on the mouth, he offered his bed, tell my mother that I won’t return. My mother told me, “You shouldn’t play with the Gypsies in the woods.” But the woods were dark, the grass already green, there came Sally with a tambourine. English translation © 2014 Dennis Criteser Rimini grew out of De André's disappointments with the political events of the previous couple of years. In close collaboration with Massimo Bubola, a young 24-year-old who had just released his first album, De André explored several social and political themes, including abortion, homosexuality, and how the petite bourgeoisie attempted to move into the ranks of the powerful and rise above the political and social turmoil of the times. The music has more influence from American rock and pop music than previous albums, and includes his first forays into ethnic music, which will eventually come to full fruition in his masterpiece album Crêuza de mä.

Back to Album List         Back to Song List

Rimini: Zirichiltaggia - Lizard Den

Di chissu che babbu ci ha lacátu la meddu palti ti sei presa lu muntiggiu rúiu cu lu súaru li àcchi sulcini lu trau mannu e m'hai laccatu monti múccju e zirichèlti.   Di quello che papà ci ha lasciato   la parte migliore ti sei presa   la collina rosa con il sughero   le vacche sorcine e il toro grande   e m'hai lasciato pietre, cisto e lucertole. Ma tu ti sei tentu lu riu e la casa e tuttu chissu che v'era 'ndrentu li piri butìrro e l'oltu cultiato e dapói di sei mesi che mi n'era 'ndatu parìa un campusantu bumbaldatu.   Ma tu ti sei tenuto il ruscello e la casa   e tutto quello che c'era dentro   le pere butirre e l'orto coltivato   e dopo sei mesi che me n'ero andato   sembrava un cimitero bombardato. Ti ni sei andatu a campà cun li signuri fènditi comandà da to mudderi e li soldi di babbu l'hai spesi tutti in cosi boni, midicini e giornali che to fiddòlu a cattr'anni aja jà l'ucchjali.   Te ne sei andato a vivere coi signori,   facendoti comandare da tua moglie   e i soldi di papà li hai spesi tutti   in dolciumi, medicine e giornali   che tuo figliolo a quattro anni   aveva già gli occhiali. Ma me muddèri campa da signora a me fiddòlu cunnosci più di milli paráuli la tòja è mugnedi di la manzàna a la sera e li toi fiddòli so brutti di tarra e di lozzu e andaràni a cuiuàssi a a calche ziràccu.   Mia moglie vive da signora   e mio figlio conosce più di mille parole   la tua munge da mattina a sera   e le tue figlie sono sporche di terra e di letame   e andranno a spostarsi a qualche servo pastore. Candu tu sei paltutu suldatu piagnii come unu stèddu e da li babbi di li toi amanti t'ha salvatu tu fratèddu e si lu curàggiu che t'è filmatu è sempre chiddu chill'èmu a vidi in piazza ca l'ha più tostu lu murro e pa lu stantu ponimi la faccia in culu.   E tu quando sei partito soldato   piangevi come un bambinetto   e dai padri delle tue amanti   t'ha salvato tuo fratello   e se il coraggio che ti è rimasto   è sempre quello ce la vedremo in piazza   chi ha la testa dura   e nel frattempo mettimi la faccia in culo. Rimini © 1978 Fabrizio De André/Massimo Bubola "Zirichiltaggia" is in the Gallurese dialect of Sardinia and tells the true story of two brothers arguing over their inheritance. De André lived on Sardinia from the late 1970s on and was fascinated by its culture. A zirichiltaggia may also be something like a community center in Sardinia where locals gather, discussing politics and social affairs:

Brother 1: Of that which Papa left us, the best part you took for yourself - the pink hill with the cork, the Sorcine cows and the big bull - and you left me stones, rockrose and lizards. Brother 2: But you held for yourself the stream and the house and everything that was inside, the Butirra pears and the cultivated garden, and after six months that I was away it seemed like a bombed out cemetery. Brother 1: You went away to live with the gentlemen, being commanded by your wife, and you spent all of Papa’s money on sweets, medicines and magazines, so that your little son at four years already had sunglasses. Brother 2: My wife lives as a gentlewoman and my son knows more than a thousand words. Yours milks from morning to night and your daughters are stained with dirt and with muck and they will go to marry some shepherd servants. Brothers 1 and 2? And you, when you departed as a soldier you cried like a little baby. And from the fathers of your lovers your brother saved you. And if your remaining courage is always that, we'll see in the plaza who has the hard head, and in the meantime kiss my ass. English translation © 2014 Dennis Criteser Rimini grew out of De André's disappointments with the political events of the previous couple of years. In close collaboration with Massimo Bubola, a young 24-year-old who had just released his first album, De André explored several social and political themes, including abortion, homosexuality, and how the petite bourgeoisie attempted to move into the ranks of the powerful and rise above the political and social turmoil of the times. The music has more influence from American rock and pop music than previous albums, and includes his first forays into ethnic music, which will eventually come to full fruition in his masterpiece album Crêuza de mä.

Back to Album List         Back to Song List

Rimini: Parlando del naufragio della London Valour Speaking of the Shipwreck of the London Valour

I marinai foglie di coca digeriscono in coperta il capitano ha un'amore al collo venuto apposta dall'Inghilterra il pasticcere di via Roma sta scendendo le scale ogni dozzina di gradini trova una mano da pestare ha una frusta giocattolo sotto l'abito da tè. E la radio di bordo è una sfera di cristallo dice che il vento si farà lupo il mare si farà sciacallo il paralitico tiene in tasca un uccellino blu cobalto ride con gli occhi al circo Togni quando l'acrobata sbaglia il salto. E le ancore hanno perduto la scommessa e gli artigli i marinai uova di gabbiano piovono sugli scogli il poeta metodista ha spine di rosa nelle zampe per far pace con gli applausi per sentirsi più distante la sua stella si è oscurata da quando ha vinto la gara del sollevamento pesi. E con uno schiocco di lingua parte il cavo dalla riva ruba l'amore del capitano attorcigliandole la vita il macellaio mani di seta si è dato un nome da battaglia tiene fasciate dentro il frigo nove mascelle antiguerriglia ha un grembiule antiproiettile tra il giornale e il gilè. E il pasticciere e il poeta e il paralitico e la sua coperta si ritrovarono sul molo con sorrisi da cruciverba a sorseggiarsi il capitano che si sparava negli occhi e il pomeriggio a dimenticarlo con le sue pipe e i suoi scacchi e si fiutarono compatti nei sottintesi e nelle azioni contro ogni sorta di naufragi o di altre rivoluzioni e il macellaio mani di seta distribuì le munizioni. Parlando del naufragio della London Valour © 1978 Fabrizio De André/Massimo Bubola The shipwreck of the London Valour was an actual event that took place in Genoa in 1970. But the focus in this song is on the people who came out to the Genoa docks to rubber neck and watch the unfolding tragedy in morbid fascination. The lyrics are somewhat obtuse, with many possible references to political events and cultural figures from Italy's Years of Lead, (the late 1960's to the early 1980's), which were marked by tremendous social upheaval and terrorism.

The seamen are digesting coca leaves on deck, the captain has a lover ‘round his neck, just in from England. The confectioner of Via Roma is descending the stairs, every dozen steps he finds a hand to step on. He has a toy whip under his tea coat. And the radio on board is a crystal sphere, it says the wind will becomee a wolf, the sea will become a jackal. The paraplegic holds in his pocket a little bird, cobalt blue. He laughs with his eyes, at the Togni Circus, when the acrobat fails his leap. And the anchors lost the bet and their hold, the seamen, seagull eggs, rained on the rocks. The Methodist poet has rose thorns in his paws to make peace with the acclaim, to feel more distant, his star eclipsed ever since he won the weightlifting contest. And with a tongue click, the cable parts from the bank, steals the captain’s lover, entangling her waist. The butcher, hands of silk, gave himself a battle name. He keeps, swaddled inside the refrigerator, nine antiwar jawbones. He has a bulletproof apron between his newspaper and his vest. And the confectioner and the poet and the paraplegic and his blanket met again on the dock, with crossword puzzle smiles, to nurse like a drink the captain who shot himself in the eyes, and by afternoon to forget him with his pipes and his chessmen, and they smelled secret agreements in the innuendos and in the actions against every kind of shipwreck or other revolutions. And the butcher, hands of silk, handed out the munitions. English translation © 2014 Dennis Criteser Rimini grew out of De André's disappointments with the political events of the previous couple of years. In close collaboration with Massimo Bubola, a young 24-year-old who had just released his first album, De André explored several social and political themes, including abortion, homosexuality, and how the petite bourgeoisie attempted to move into the ranks of the powerful and rise above the political and social turmoil of the times. The music has more influence from American rock and pop music than previous albums, and includes his first forays into ethnic music, which will eventually come to full fruition in his masterpiece album Crêuza de mä.

Back to Album List         Back to Song List