Creuza de mä: Creuza de mä - Cobbled Sea Path

Umbre de muri muri de mainé dunde ne vegnì duve l'è ch'ané    Ombre di facce facce di marinai    da dove venite dov'è che andate da 'n scitu duve a l'ûn-a a se mustra nûa e a neutte a n'à puntou u cutellu ä gua    da un posto dove la luna si mostra nuda    e la notte ci ha puntato il coltello alla gola e a muntä l'àse gh'é restou Diu u Diàu l'é in çë e u s'è gh'è faetu u nìu    e a montare l'asino c'è rimasto Dio    il Diavolo è in cielo e ci si è fatto il nido ne sciurtìmmu da u mä pe sciugà e osse da u Dria e a funtan-a di cumbi 'nta cä de pria    usciamo dal mare per asciugare le ossa dall'Andrea    alla fontana dei colombi nella casa di pietra E 'nt'a cä de pria chi ghe saià int'à cä du Dria che u nu l'è mainà    E nella casa di pietra chi ci sarà    nella casa dell'Andrea che non è marinaio gente de Lûgan facce da mandillä qui che du luassu preferiscian l'ä    gente di Lugano facce da tagliaborse    quelli che della spigola preferiscono l'ala figge de famiggia udù de bun che ti peu ammiàle senza u gundun    ragazze di famiglia, odore di buono    che puoi guardarle senza preservative E a 'ste panse veue cose ghe daià cose da beive, cose da mangiä    E a queste pance vuote cosa gli darà    cose da bere, cose da mangiare frittûa de pigneu giancu de Purtufin çervelle de bae 'nt'u meximu vin    frittura di pesciolini, bianco di Portofino    cervelli di agnello nello stesso vino lasagne da fiddià ai quattru tucchi paciûgu in aegruduse de lévre de cuppi    lasagne da tagliare ai quattro sughi    pasticcio in agrodolce di lepre di tegole (gatto) E 'nt'a barca du vin ghe naveghiemu 'nsc'i scheuggi emigranti du rìe cu'i cioi 'nt'i euggi    E nella barca del vino ci navigheremo sugli scogli    emigranti della risata con i chiodi negli occhi finché u matin crescià da puéilu rechéugge frè di ganeuffeni e dè figge    finché il mattino crescerà da poterlo raccogliere    fratello dei garofani e delle ragazze bacan d'a corda marsa d'aegua e de sä che a ne liga e a ne porta 'nte 'na creuza de mä    padrone della corda marcia d'acqua e di sale    che ci lega e ci porta in una mulattiera di mare Creuza de mä © 1984 Fabrizio De André/Mauro Pagani The album begins with sailors returning to Genoa, strolling back to their familiar homes on the cobbled paths that lead to and from the sea. ("Sweet and sour 'hare-of-the-tiles' pie" is actually cat pie, cats being referred to as roof bunnies.) Mauro Pagani and Fabrizio De André

Shadows of faces, faces of sailors, where do you come from, where is it you’re going? From a place where the moon shows itself naked and the night has pointed a knife at our throat, and God remains to mount the donkey and the Devil is in heaven and makes his nest there, we come in from the sea to dry out at Andrea's place, at the fountain of the doves in the stone house. And in the stone house, whoever will be there in the house of Andrea, who isn’t a sailor - people of Lugano, faces like pickpockets, those who prefer the wing of the sea bass, family girls, smelling good, whom you can watch without condoms. And to these empty stomachs, what will he give them? Things to drink, things to eat, fried fish, a white Portofino, lamb brains in the same wine, four-sauce lasagna to cut, sweet and sour hare-of-the-tiles pie. And in a boat of wine we’ll navigate the perils, emigrants of laughter with nails in our eyes, until the morning grows able to gather him up, brother of the cloves and of the girls, master of the rope, rotten from water and salt that binds and carries us on a cobbled sea path. English translation © 2014 Dennis Criteser Creuza de mä received both critical and popular acclaim upon its release. David Byrne told Rolling Stone that Creuza de mä was one of the ten most important works of the Eighties. The album grew out of a deep collaboration between Mauro Pagani, founding member of PFM, and De André. Pagani had been studying Mediterranean musics - Balkan, Greek, Turkish - and De André suggested that they make a Mediterranean album together, partly as an act of identity and a declaration of independence from the strains of Anglo-American music that were then dominant: rock, pop and electronic music. De André once stated that "music should be a cathartic event, but today's music is only amphetamine-like, and enervating." While granting that Americans made great music that he too was influenced by, he felt there were different ways and different roots that were being smothered by the mass commercialization and success of American popular music; Creuza de mä was to be a synthesis of Mediterranean sounds, and it was indeed a stark contrast to the music of the time. De André's lyrics are in Genovese, a dialect that over the centuries absorbed many Persian, Arabic, Turkish, Spanish, French and even English words, and Pagani's music combined folk instruments (oud, shehnai, doumbek, bazouki, bağlama) with contemporary instrumentation, including Synclavier, creating what might be called an ethnic/pop masterpiece.

Back to Album List         Back to Song List

Creuza de mä: Jamin-a

Lengua 'nfeuga Jamin-a lua de pelle scûa cu'a bucca spalancà morsciu de carne dûa       Lingua infuocata Jamina       lupa di pelle scura       con la bocca spalancata       morso di carne soda stella neigra ch'a lûxe me veuggiu demuâ 'nte l'ûmidu duçe de l'amë dû teu arveà       stella nera che brilla       mi voglio divertire       nell'umido dolce       del miele del tuo alveare ma seu Jamin-a ti me perdunié se nu riûsciò a ésse porcu cumme i teu pensë       sorella mia Jamina       mi perdonerai       se non riuscirò a essere porco       come i tuoi pensieri destacchete Jamin-a lerfe de ûga spin-a fatt'ammiâ Jamin-a roggiu de mussa pin-a       staccati Jamina       labbra di uva spina       fatti guardare Jamina       getto di fica piena e u muru 'ntu sûù sûgu de sä de cheusce duve gh'è pei gh'è amù sultan-a de e bagasce       e la faccia nel sudore       sugo di sale di cosce       dove c'è pelo c'è amore       sultana delle troie dagghe cianìn Jamin-a nu navegâ de spunda primma ch'à cuæ ch'à munta e a chin-a nu me se desfe 'nte l'unda       dacci piano Jamina       non navigare di sponda       prima che la voglia che sale e scende       non mi si disfi nell'onda e l'ûrtimu respiu Jamin-a regin-a muaé de e sambe me u tegnu pe sciurtï vivu da u gruppu de e teu gambe       e l'ultimo respiro Jamina       regina madre delle sambe       me lo tengo per uscire vivo       dal nodo delle tue gambe Creuza de mä © 1984 Fabrizio De André/Mauro Pagani In De André's words, "Jamína is not a dream, but rather the hope for respite. A respite in the face of possible gale force conditions at sea, or even a shipwreck. I mean that Jamina is the hypothesis of a positive adventure that, in a corner of the fantasy of a sailor, always finds space and respite. Jamina is the companion in an erotic voyage that every sailor hopes for, or better, expects to encounter in every place, after the dangerous broadsides subjected to by an enemy sea or an imprudent commander."

Inflamed tongue Jamina, dark-haired wolf with wide-open mouth, morsel of tough meat. Black star that shines, I want to enjoy myself in the sweet dampness of the honey of your hive. My sister Jamina, you'll pardon me if I don’t manage to be lewd like your thoughts. Hold back, Jamina, gooseberry lips, let me look at you, Jamina, climax of a full pussy and your face in sweat, salty leg juice - where there’s hair there’s love, lady sultan of the whores. Give it to us slowly, Jamina, don’t go sailing off of the banks before the desire that rises and falls casts me off into the waves. And the final breath, Jamina, queen mother of the sambas, I'm hanging on to get out alive from the knot of your legs. English translation © 2014 Dennis Criteser Creuza de mä received both critical and popular acclaim upon its release. David Byrne told Rolling Stone that Creuza de mä was one of the ten most important works of the Eighties. The album grew out of a deep collaboration between Mauro Pagani, founding member of PFM, and De André. Pagani had been studying Mediterranean musics - Balkan, Greek, Turkish - and De André suggested that they make a Mediterranean album together, partly as an act of identity and a declaration of independence from the strains of Anglo-American music that were then dominant: rock, pop and electronic music. De André once stated that "music should be a cathartic event, but today's music is only amphetamine-like, and enervating." While granting that Americans made great music that he too was influenced by, he felt there were different ways and different roots that were being smothered by the mass commercialization and success of American popular music; Creuza de mä was to be a synthesis of Mediterranean sounds, and it was indeed a stark contrast to the music of the time. De André's lyrics are in Genovese, a dialect that over the centuries absorbed many Persian, Arabic, Turkish, Spanish, French and even English words, and Pagani's music combined folk instruments (oud, shehnai, doumbek, bazouki, bağlama) with contemporary instrumentation, including Synclavier, creating what might be called an ethnic/pop masterpiece.

Back to Album List         Back to Song List

Creuza de mä: Sidùn - Sidon

U mæ nininu mæ u mæ lerfe grasse au su d'amë d'amë     Il mio bambino il mio     il mio     labbra grasse al sole     di miele di miele tûmù duçe benignu de teu muaè spremmûu 'nta maccaia de stæ de stæ     tumore dolce benigno     di tua madre     spremuto nell'afa umida     dell'estate dell'estate e oua grûmmu de sangue ouëge e denti de laete     e ora grumo di sangue orecchie     e denti di latte e i euggi di surdatti chen arraggë cu'a scciûmma a a bucca cacciuéi de bæ a scurrï a gente cumme selvaggin-a finch'u sangue sarvaegu nu gh'à smurtau a qué     e gli occhi dei soldati cani arrabbiati     con la schiuma alla bocca cacciatori di agnelli     a inseguire la gente come selvaggina     finché il sangue selvatico non gli ha spento la voglia e doppu u feru in gua i feri d'ä prixún e 'nte ferie a semensa velenusa d'ä depurtaziún perché de nostru da a cianûa a u meü nu peua ciû cresce ni aerbu ni spica ni figgeü     e dopo il ferro in gola i ferri della prigione     e nelle ferite il seme velenoso della deportazione     perché di nostro dalla pianura al molo     non possa più crescere né albero né spiga né figlio ciao mæ 'nin l'ereditæ l'è ascusa 'nte sta çittæ ch'a brûxa ch'a brûxa inta seia che chin-a     ciao bambino mio l'eredità     è nascosta     in questa città     che brucia che brucia     nella sera che scende e in stu gran ciaeu de feugu pe a teu morte piccin-a     e in questa grande luce di fuoco     per la tua piccola morte Sidùn © 1984 Fabrizio De André/Mauro Pagani Sidon is a coastal city halfway between the southern border of Lebanon and Beirut. At the time this song was written, Lebanon was in the midst of a civil war that began in 1975 and that saw Israel invade and push towards Beirut in 1982. In De André's words, "Sidon is the Lebanese city that gave us, beyond the letters of our alphabet, even the invention of glass. I imagined myself, after the sudden attack of General Sharon in 1982, as a middle-aged Arab man, dirty, desperate, certainly poor, holding in his arms his own son, chewed up by the steel tracks of an armored tank. . . . The 'little death' alluded to at the end of this song should not be confused with the death of a little boy. Rather it is understood metaphorically as the end of a civilization and culture of a small country: Lebanon, Phoenicia, which at its discretion was perhaps the greatest nurse of Mediterranean civilization." In 2004 Mauro Pagani rearranged "Sidùn," with parts of the text in Arabic and Hebrew.

My little boy, mine oh mine, fat lips in the sun, of honey, of honey. Sweet benign tumor of your mother, squeezed from the damp mugginess of summer, of summer, and now blood clotted ears and milk white teeth. And the eyes of the soldiers, rabid dogs with foaming mouths, lamb hunters following people like game for as long as the wild blood has not spent its desire. And after the iron in the throat, the irons of the prison, and in the wounds the spiteful seed of deportation so that from our line, from the plain to the pier, no more can grow tree nor spike nor son. Goodbye my child, my heritage is lost in this city that burns, that burns in the evening that descends, and in this great light from the fire for your little death. English translation © 2014 Dennis Criteser Creuza de mä received both critical and popular acclaim upon its release. David Byrne told Rolling Stone that Creuza de mä was one of the ten most important works of the Eighties. The album grew out of a deep collaboration between Mauro Pagani, founding member of PFM, and De André. Pagani had been studying Mediterranean musics - Balkan, Greek, Turkish - and De André suggested that they make a Mediterranean album together, partly as an act of identity and a declaration of independence from the strains of Anglo-American music that were then dominant: rock, pop and electronic music. De André once stated that "music should be a cathartic event, but today's music is only amphetamine-like, and enervating." While granting that Americans made great music that he too was influenced by, he felt there were different ways and different roots that were being smothered by the mass commercialization and success of American popular music; Creuza de mä was to be a synthesis of Mediterranean sounds, and it was indeed a stark contrast to the music of the time. De André's lyrics are in Genovese, a dialect that over the centuries absorbed many Persian, Arabic, Turkish, Spanish, French and even English words, and Pagani's music combined folk instruments (oud, shehnai, doumbek, bazouki, bağlama) with contemporary instrumentation, including Synclavier, creating what might be called an ethnic/pop masterpiece.

Back to Album List         Back to Song List

Creuza de mä: Sinàn Capudàn Pasciá - Sinan Kapudan Pasha

Teste fascië 'nscià galéa ë sciabbre se zeugan a lûn-a a mæ a l'è restà duv'a a l'éa pe nu remenalu ä furtûn-a       Teste fasciate sulla galea       le sciabole si giocano la luna       la mia è rimasta dov'era       per non stuzzicare la fortuna intu mezu du mä gh'è 'n pesciu tundu che quandu u vedde ë brûtte u va 'nsciù fundu intu mezu du mä gh'è 'n pesciu palla che quandu u vedde ë belle u vegne a galla       in mezzo al mare c'è un pesce tondo       che quando vede le brutte va sul fondo       in mezzo al mare c'è un pesce palla       che quando vede le belle viene a galla E au postu d'i anni ch'ean dedexenueve se sun piggiaë ë gambe e a mæ brasse neuve d'allua a cansún l'à cantà u tambûu e u lou s'è gangiou in travaggiu dûu       E al posto degli anni che erano diciannove       si sono presi le gambe e le mie braccia       da allora la canzone l'ha cantata il tamburo       e il lavoro è diventato fatica vuga t'è da vugâ prexuné e spuncia spuncia u remu fin au pë vuga t'è da vugâ turtaiéu e tia tia u remmu fin a u cheu       voga devi vogare prigioniero       e spingi spingi il remo fino al piede       voga devi vogare imbuto (= mangione)       e tira tira il remo fino al cuore e questa a l'è a ma stöia e t'ä veuggiu cuntâ 'n po' primma ch'à vegiàià a me peste 'ntu murtä e questa a l'è a memöia a memöia du Cigä ma 'nsci libbri de stöia Sinán Capudán Pasciá       e questa è la mia storia e te la voglio raccontare       un po' prima che la vecchiaia mi pesti nel mortaio       e questa è la memoria la memoria del Cicala       ma sui libri di storia Sinán Capudán Pasciá E suttu u timun du gran cäru c'u muru 'nte 'n broddu de fàru 'na neutte ch'u freidu u te morde u te giàscia u te spûa e u te remorde       e sotto il timone del gran carro       con la faccia in un brodo di farro       una notte che il freddo ti morde       ti mastica ti sputa e ti rimorde e u Bey assettòu u pensa ä Mecca e u vedde ë Urì 'nsce 'na secca ghe giu u timùn a lebecciu sarvàndughe a vitta e u sciabeccu       e il Bey seduto pensa alla Mecca       e vede le Uri su una secca       gli giro il timone a libeccio       salvandogli la vita e lo sciabecco amü me bell'amü a sfurtûn-a a l'è 'n grifun ch'u gia 'ngiu ä testa du belinun amü me bell'amü a sfurtûn-a a l'è 'n belin ch'ù xeua 'ngiu au cû ciû vixín       amore mio bell'amore la sfortuna è un avvoltoio       che gira intorno alla testa dell'imbecille       amore mio bell'amore la sfortuna è un cazzo       che vola intorno al sedere più vicino e questa a l'è a ma stöia e t'ä veuggiu cuntâ 'n po' primma ch'à vegiàià a me peste 'ntu murtä e questa a l'è a memöia a memöia du Cigä ma 'nsci libbri de stöia Sinán Capudán Pasciá       e questa è la mia storia e te la voglio raccontare       un po' prima che la vecchiaia mi pesti nel mortaio       e questa è la memoria la memoria del Cicala       ma sui libri di storia Sinán Capudán Pasciá E digghe a chi me ciamma rénegôu che a tûtte ë ricchesse a l'argentu e l'öu Sinán gh'a lasciòu de luxî au sü giastemmandu Mumä au postu du Segnü       E digli a chi mi chiama rinnegato       che a tutte le ricchezze all'argento e all'oro       Sinán ha concesso di luccicare al sole       bestemmiando Maometto al posto del Signore intu mezu du mä gh'è 'n pesciu tundu che quandu u vedde ë brûtte u va 'nsciù fundu intu mezu du mä gh'è 'n pesciu palla che quandu u vedde ë belle u vegne a galla       in mezzo al mare c'e un pesce tondo       che quando vede le brutte va sul fondo       in mezzo al mare c'è un pesce palla       che quando vede le belle viene a galla Sinàn Capudàn Pasciá © 1984 Fabrizio De André/Mauro Pagani "Sinàn Capudàn Pasciá" is based on the story of a Genoese mariner, Scipione Cicala, who at a young age was captured in a battle with the Ottoman Navy and taken to Constantinople in 1561. As a Christian, he had to choose between either death or converting to Islam and becoming a member of the Janissaries, which began in the 14th century as an elite corps of slaves recruited from young Christian boys that formed the Ottoman Sultan's household troops and bodyguards. Cicala chose conversion and then rose to the highest ranks, gaining favor from Sultan Mechmed II who bestowed on him the honorary title Pasha and eventually appointed him as Grand Admiral (Kapudan Pasha) of the Ottoman Navy (1591-1595).

Bandaged heads on the galley, sabers playing for the moon. Mine stayed put so as not to tempt fortune. In the middle of the sea there’s a round fish that, when it sees the ugly ones, swims to the bottom. In the middle of the sea there’s a blowfish that, when it sees the pretty ones, comes to the light. And instead of my years, which were nineteen, the legs and my arms were taken. From then on the tambourine sang the song and work became an effort. Row, you have to row, prisoner, and push, push the oar to your feet. Row, you have to row, big eater, and pull, pull the oar to your heart. And this is my story and I want to tell it to you, a little before old age grinds me in its mortar. And this is the memory, the remembrance of Cicala, but in the history books Sinan Kapudan Pasha. And under the helm of the Big Dipper, with face in a spelt broth one night when the cold kills you, chews you, spits you out and kills you again, and the seated Bey thinks of Mecca and sees the Uris on a shoal, I turn the rudder to the southwest, saving his life and his xebec. My love, sweet love, misfortune is a vulture that circles 'round the head of the imbecile. My love, sweet love, misfortune is a dick that flies too close around the ass. And this is my story and I want to tell it to you, a little before old age grinds me in its mortar. And this is my memory, the remembrance of Cicala, but in the history books Sinan Kapudan Pasha. And tell anyone who calls me a renegade that to all the riches, to silver and to gold, Sinan agreed to glisten in the sunlight, blaspheming Muhammad in place of the Lord. In the middle of the sea there’s a round fish that, when he sees the ugly ones, dives to the bottom. In the middle of the sea there’s a blowfish that, when he sees the pretty ones, comes to the light. English translation © 2014 Dennis Criteser Creuza de mä received both critical and popular acclaim upon its release. David Byrne told Rolling Stone that Creuza de mä was one of the ten most important works of the Eighties. The album grew out of a deep collaboration between Mauro Pagani, founding member of PFM, and De André. Pagani had been studying Mediterranean musics - Balkan, Greek, Turkish - and De André suggested that they make a Mediterranean album together, partly as an act of identity and a declaration of independence from the strains of Anglo-American music that were then dominant: rock, pop and electronic music. De André once stated that "music should be a cathartic event, but today's music is only amphetamine-like, and enervating." While granting that Americans made great music that he too was influenced by, he felt there were different ways and different roots that were being smothered by the mass commercialization and success of American popular music; Creuza de mä was to be a synthesis of Mediterranean sounds, and it was indeed a stark contrast to the music of the time. De André's lyrics are in Genovese, a dialect that over the centuries absorbed many Persian, Arabic, Turkish, Spanish, French and even English words, and Pagani's music combined folk instruments (oud, shehnai, doumbek, bazouki, bağlama) with contemporary instrumentation, including Synclavier, creating what might be called an ethnic/pop masterpiece. De Andrè at Boccadasse, Genoa - 1976

Back to Album List         Back to Song List

Creuza de mä: 'Â pittima - The Debt Collector

Cosa ghe possu ghe possu fâ se nu gh'ò ë brasse pe fâ u mainä se infundo a e brasse nu gh'ò ë män du massacán     Cosa ci posso fare     se non ho le braccia per fare il marinaio     se in fondo alle braccia non ho le mani     del muratore e mi gh'ò 'n pûgnu dûu ch'u pâ 'n niu gh'ò 'na cascetta larga 'n diu giûstu pe ascúndime c'u vestiu deré a 'n fiu     e ho un pugno duro che sembra un nido     ho un torace largo un dito     giusto per nascondermi con il vestito     dietro a un filo e vaddu in giù a çerca i dinë a chi se i tegne e ghe l'àn prestë e ghe i dumandu timidamente ma in mezu ä gente     e vado in giro a chiedere i denari     a chi se li tiene e glieli hanno prestati     e glieli domando timidamente     ma in mezzo alla gente e a chi nu veu däse raxún che pâ de stránûä cuntru u trun ghe mandu a dî che vive l'è cäu ma a bu-n mercöu     e a chi non vuole darsi ragione     che sembra di starnutire contro il tuono     gli mando a dire che vivere è caro     ma a buon mercato mi sun 'na pittima rispettä e nu anâ 'ngíu a cuntâ che quandu a vittima l'è 'n strassé ghe dö du mæ     io sono una pittima rispettata     e non andare in giro a raccontare     che quando la vittima è uno straccione     gli do del mio 'Â pittima © 1984 Fabrizio De André/Mauro Pagani In ancient Genoa, the pittima was someone hired by creditors to get insolvent debtors to pay up. Dressed in red, their main approach was insistent and loud public embarrassment of the debtors. In modern usage the word has come to mean someone who complains without end about unimportant things. In this song, De André takes a sympathetic look at a socially marginalized person and how he came to his unpopular line of work. British singer/songwriter Allan Taylor recorded an English version of 'Â pittima' with the Göttinger Symphonie Orchester.

What can I do if I don’t have the arms for being a sailor, if at the end of my arms I don’t have the hands of a bricklayer? And I have a hard fist that resembles a nest, I have a torso the size of a finger, just right for hiding myself, in my suit, behind a thread. And I go around and ask for money from whoever has it and whomever they lent it to. And I ask them for it timidly, but with people around. And to him who doesn’t want to give a reason, who seems to sneeze against the thunder, to him I'll send word that living is expensive, though a good deal. I am a respected debt collector - and not going about spreading stories - who, when the victim is a bum I give him some of mine. English translation © 2014 Dennis Criteser Creuza de mä received both critical and popular acclaim upon its release. David Byrne told Rolling Stone that Creuza de mä was one of the ten most important works of the Eighties. The album grew out of a deep collaboration between Mauro Pagani, founding member of PFM, and De André. Pagani had been studying Mediterranean musics - Balkan, Greek, Turkish - and De André suggested that they make a Mediterranean album together, partly as an act of identity and a declaration of independence from the strains of Anglo-American music that were then dominant: rock, pop and electronic music. De André once stated that "music should be a cathartic event, but today's music is only amphetamine-like, and enervating." While granting that Americans made great music that he too was influenced by, he felt there were different ways and different roots that were being smothered by the mass commercialization and success of American popular music; Creuza de mä was to be a synthesis of Mediterranean sounds, and it was indeed a stark contrast to the music of the time. De André's lyrics are in Genovese, a dialect that over the centuries absorbed many Persian, Arabic, Turkish, Spanish, French and even English words, and Pagani's music combined folk instruments (oud, shehnai, doumbek, bazouki, bağlama) with contemporary instrumentation, including Synclavier, creating what might be called an ethnic/pop masterpiece.

Back to Album List         Back to Song List

Creuza de mä: Â duménega - Sundays

Quandu ä dumenega fan u gíu cappellin neuvu neuvu u vestiu cu 'a madama a madama 'n testa o belin che festa o belin che festa       Quando alla domenica fanno il giro       cappellino nuovo nuovo il vestito       con la madama la madama in testa       cazzo che festa cazzo che festa a tûtti apreuvu ä pruccessiún d'a Teresin-a du Teresún tûtti a miâ ë figge du diàu che belin de lou che belin de lou       e tutti dietro alla processione       della Teresina del Teresone       tutti a guardare le figlie del diavolo       che cazzo di lavoro che cazzo di lavoro e a stu luciâ de cheusce e de tettín ghe fan u sciätu anche i ciû piccin mama mama damme ë palanche veuggiu anâ a casín veuggiu anâ a casín       e a questo dondolare di cosce e di tette       gli fanno il chiasso anche i più piccoli       mamma mamma dammi i soldi       voglio andare a casino voglio andare a casino e ciû s'addentran inta cittæ ciû euggi e vuxi ghe dan deré ghe dixan quellu che nu peúan dî de zeùggia sabbu e de lûnedì       e più si addentrano nella città       più occhi e voci gli danno dietro       gli dicono quello che non possono dire       di giovedì di sabato e di lunedì a Ciamberlinú sûssa belin ä Fuxe cheusce de sciaccanuxe in Caignàn musse de tersa man e in Puntexellu ghe mustran l'öxellu       a Pianderlino succhia cazzi       alla Foce cosce da schiaccianoci       in Carignano fighe di terza mano       e a Ponticello gli mostrano l'uccello       a Pianderlino succhia cazzi       alla Foce cosce da schiaccianoci       in Carignano fighe di terza mano       e a Ponticello gli mostrano l'uccello e u direttú du portu c'u ghe vedde l'ou 'nte quelle scciappe a reposu da a lou pe nu fâ vedde ch'u l'è cuntentu ch'u meu-neuvu u gh'à u finansiamentu       e il direttore del porto che ci vede l'oro       in quelle chiappe a riposo dal lavoro       per non fare vedere che è contento       che il molo nuovo ha il finanziamento u se cunfunde 'nta confûsiún cun l'euggiu pin de indignasiún e u ghe cría u ghe cría deré bagasce sëi e ghe restè       si confonde nella confusione       con l'occhio pieno di indignazione       e gli grida gli grida dietro       bagasce siete e ci restate e ti che ti ghe sbraggi apreuvu mancu ciû u nasu gh'avei de neuvu bruttu galûsciu de 'n purtò de Cristu nu t'è l'únicu ch'u se n'è avvistu       e tu che gli sbraiti appresso       neanche più il naso avete di nuovo       brutto stronzo di un portatore di Cristo       non sei l'unico che se ne è accorto che in mezzu a quelle creatúe che se guagnan u pan da nûe a gh'è a gh'è a gh'è a gh'è a gh'è anche teu muggè       che in mezzo a quelle creature       che si guadagnano il pane da nude       c'è c'è c'è c'è       c'è anche tua moglie a Ciamberlin sûssa belin ä Fuxe cheusce de sciaccanuxe in Caignàn musse de tersa man e in Puntexellu ghe mustran l'öxellu       a Pianderlino succhia cazzi       alla Foce cosce da schiaccianoci       in Carignano fighe di terza mano       e a Ponticello gli mostrano l'uccello       a Pianderlino succhia cazzi       alla Foce cosce da schiaccianoci       in Carignano fighe di terza mano       e a Ponticello gli mostrano l'uccello  duménega © 1984 Fabrizio De André/Mauro Pagani The canvas of " duménega" is the historical period in Genoa from the 16th to the late 19th century when every Sunday the prostitutes would walk openly through the town. Being a port town, there was never a shortage of demand for their services, and tariffs collected from prostitutes were a significant part of the funding for the upkeep and expansion of port facilities.

When on Sunday they go out for a stroll, new bonnet, new dress, with the madam, the madam in the lead, fuck what a holiday, fuck what a holiday! And everyone behind the procession of little Teresa and big Teresito, everyone watching the devil’s daughters - what a fuck of a job, what a fuck of a job. And this swaying of thighs and boobs causes a tumult in even the littlest ones. "Mama, mama, give me some money, I want to go to the brothel, I want to go to the brothel!" And even more go into the city, more eyes and voices follow behind. They say what they can’t say on Thursdays, Saturdays and Mondays. In Pianderlino she sucks cocks, in Foce, thighs like a nutcracker, in Carignano, third hand pussies, and in Ponticello they show him the bird. In Pianderlino she sucks cocks, in Foce, thighs like a nutcracker, in Carignano, third hand pussies, and in Ponticello they show him the bird. And the Port Director who sees the gold there in those cheeks at repose from work, to not show that he’s happy that the new pier has financing, he merges into the confusion with his eyes full of indignation and shouts to them, shouts to them from behind, "You’re all whores and so will remain!" And you who howls at them, following, "You all don't even have a nose!" again, ugly bastard of a bearer of Christ, you aren’t the only one that noticed it, that in the middle of those creatures who earn their bread in the nude there is, there is, there is, there is, there is also your wife. In Pianderlino she sucks cocks. In Foce, thighs like a nutcracker. In Carignano, third hand pussies, and in Ponticello they show him the bird. In Pianderlino she sucks cocks. In Foce, thighs like a nutcracker. In Carignano, third hand pussies, and in Ponticello they show him the bird. English translation © 2014 Dennis Criteser Creuza de mä received both critical and popular acclaim upon its release. David Byrne told Rolling Stone that Creuza de mä was one of the ten most important works of the Eighties. The album grew out of a deep collaboration between Mauro Pagani, founding member of PFM, and De André. Pagani had been studying Mediterranean musics - Balkan, Greek, Turkish - and De André suggested that they make a Mediterranean album together, partly as an act of identity and a declaration of independence from the strains of Anglo-American music that were then dominant: rock, pop and electronic music. De André once stated that "music should be a cathartic event, but today's music is only amphetamine-like, and enervating." While granting that Americans made great music that he too was influenced by, he felt there were different ways and different roots that were being smothered by the mass commercialization and success of American popular music; Creuza de mä was to be a synthesis of Mediterranean sounds, and it was indeed a stark contrast to the music of the time. De André's lyrics are in Genovese, a dialect that over the centuries absorbed many Persian, Arabic, Turkish, Spanish, French and even English words, and Pagani's music combined folk instruments (oud, shehnai, doumbek, bazouki, bağlama) with contemporary instrumentation, including Synclavier, creating what might be called an ethnic/pop masterpiece. Art of Giordano Prudenti based on De Andrè songs

Back to Album List         Back to Song List

Creuza de mä: D'ä mê riva - From My Shore

D'ä mæ riva sulu u teu mandillu ciaèu d'ä mæ riva        Dalla mia riva        solo il tuo fazzoletto chiaro        dalla mia riva 'nta mæ vitta u teu fatturisu amàu 'nta mæ vitta        nella mia vita        il tuo sorriso amaro        nella mia vita ti me perdunié u magún ma te pensu cuntru su e u so ben t'ammii u mä 'n pò ciû au largu du dulú        mi perdonerai il magone        ma ti penso contro sole        e so bene stai guardando il mare        un po' più al largo del dolore e sun chi affacciòu a 'stu bàule da mainä e sun chi a miä        e son qui affacciato        a questo baule da marinaio        e son qui a guardare tréi camixe de vellûu dui cuverte u mandurlin e 'n cämà de legnu dûu        tre camicie di velluto        due coperte e il mandolino        e un calamaio di legno duro e 'nte 'na beretta neigra a teu fotu da fantinn-a pe puèi baxâ ancún Zena 'nscià teu bucca in naftalin-a        e in una berretta nera        la tua foto da ragazza        per poter baciare ancora Genova        sulla tua bocca in naftalina D'ä mê riva © 1984 Fabrizio De André/Mauro Pagani "D'ä mê riva" closes the album with a plaintive song that depicts the sailor heading back out to sea, leaving behind his loved one and his home.

From my shore, only your bright handkerchief from my shore. In my life, your bitter smile in my life. You'll pardon me the lump in my throat, but I think of you against the sun, and I know well that you’re watching the sea, a little further out off the coast of sadness. And I'm here looking down on this seaman’s trunk, and I’m here to look - three velvet tops, two blankets, and the mandolin and a hardwood inkwell, and in a black hat your picture as a young girl, so I can still kiss Genoa on your mouth, in mothballs. English translation © 2014 Dennis Criteser Creuza de mä received both critical and popular acclaim upon its release. David Byrne told Rolling Stone that Creuza de mä was one of the ten most important works of the Eighties. The album grew out of a deep collaboration between Mauro Pagani, founding member of PFM, and De André. Pagani had been studying Mediterranean musics - Balkan, Greek, Turkish - and De André suggested that they make a Mediterranean album together, partly as an act of identity and a declaration of independence from the strains of Anglo-American music that were then dominant: rock, pop and electronic music. De André once stated that "music should be a cathartic event, but today's music is only amphetamine-like, and enervating." While granting that Americans made great music that he too was influenced by, he felt there were different ways and different roots that were being smothered by the mass commercialization and success of American popular music; Creuza de mä was to be a synthesis of Mediterranean sounds, and it was indeed a stark contrast to the music of the time. De André's lyrics are in Genovese, a dialect that over the centuries absorbed many Persian, Arabic, Turkish, Spanish, French and even English words, and Pagani's music combined folk instruments (oud, shehnai, doumbek, bazouki, bağlama) with contemporary instrumentation, including Synclavier, creating what might be called an ethnic/pop masterpiece.

Back to Album List         Back to Song List