Tutti morimmo a stento: Cantico dei drogati - Canticle of the Junkies

Ho licenziato Dio gettato via un amore per costruirmi il vuoto nell'anima e nel cuore Le parole che dico non han più forma nè accento si trasformano i suoni in un sordo lamento Mentre fra gli altri nudi io striscio verso un fuoco che illumina i fantasmi di questo osceno giuoco. Come potrò dire a mia madre che ho paura ? Chi mi riparlerà di domani luminosi dove i muti canteranno e taceranno i noiosi Quando riascolterò il vento tra le foglie sussurrare i silenzi che la sera raccoglie Io che non vedo più che folletti di vetro che mi spiano davanti che mi ridono dietro Come potrò dire a mia madre che ho paura ? Perchè non hanno fatto delle grandi pattumiere per i giorni già usati per queste ed altre sere? E chi, chi sarà mai il buttafuori del sole chi lo spinge ogni giorno sulla scena alle prime ore? E soprattutto chi e perchè mi ha messo al mondo dove vivo la mia morte con un anticipo tremendo? Come potrò dire a mia madre che ho paura ? Quando scadrà l'affitto di questo corpo idiota allora avrò il mio premio come una buona nota Mi citeran di monito a chi crede sia bello giocherellare a palla con il proprio cervello Cercando di lanciarlo oltre il confine stabilito che qualcuno ha tracciato ai bordi dell'infinito Come potrò dire a mia madre che ho paura ? Tu che mi ascolti insegnami un alfabeto che sia differente da quello della mia vigliaccheria Cantico dei drogati © 1968 Fabrizio De André/Riccardo Mannerini/ Gian Piero Reverberi The lyrics of "Cantico dei drogati" were derived from Riccardo Mannerini's poem "Eroina," then amplified into some of the most intense lyrics to be found in De André's work. De André described Mannerini as one of the most important figures in his life, with whom he had a deep connection. They shared an anarchist political philosophy, a free-spirited approach to life, an addiction to alcohol, and even a small apartment in Sant'Agostino. De André stated that he himself drank two bottles of whiskey a day from when he was 18 until the age of 45 when he promised his father, who was on his deathbed, that he would stop. He described the writing of "Cantico" as cathartic. A canticle is a song of praise taken from a Biblical text other than the Psalms, and would be familiar to Italians as part of the Roman Catholic liturgy. With God fired in the first line of the song, praise is replaced with a desperate call for help. Other musical collaborations with Mannerini can be heard on Senza orario, senza bandiera, the first album of the New Trolls. Riccardo Mannerini and Fabrizio De André

I fired God and threw away a lover to create the emptiness in my soul and in my heart. The words I speak no longer have form nor accent, the sounds turn into a muffled lament while, among other naked ones, I crawl towards a fire that illuminates the ghosts of this obscene game. How will I tell my mother that I’m afraid ? Who will talk with me again about bright tomorrows where the mute will sing and silence the dolts? When will I listen again to the wind in the leaves, whispering the silences the night collects? I who no longer see that glass goblins who spy on me beforehand, who laugh at me afterwards . . . How can I tell my mother that I’m afraid ? How come they didn’t make some huge trashcans for days already spent, for these and other nights? And who, who will ever be the bouncer for the sun? Who pushes it every day onto the stage in the early hours? And above all, by whom and why was I put into the world where I live out my death in a terrible advance? How will I tell my mother that I’m afraid ? When the lease is up on this idiotic body, then I’ll have my prize, like a good note. They’ll cite me as a warning to whoever believes it’s great to fiddle with one’s brain like a ball, trying to launch it beyond the established boundary that someone traced at the edges of infinity. How can I tell my mother that I’m afraid ? You who hear me, teach me an alphabet that might be different from that of my cowardice. English translation © 2014 Dennis Criteser Tutti morimmo a stento, released in 1968, was one of the first concept albums in Italy, its unified scope inspired by the Moody Blues album The Days of Future Passed. In De André's own words, the album "speaks of death, not of bubble gum death with little bones, but of psychological death, moral death, mental death, that a normal person can encounter during his lifetime." After the success of Volume I, De André was provided for this next album a cutting edge recording studio complete with an 80-member orchestra, directed by Gian Piero Reverberi, and a children's chorus. The whole project was under the direction of Gian Piero's brother Gian Franco Reverberi. This album also met with commercial success, becoming the highest selling album in Italy in 1968. In 1969 a version of the album was made with De André re-recording the vocals in English. The album was not officially released.

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Tutti morimmo a stento: Primo intermezzo - First Interlude

Gli arcobaleni d'altri mondi hanno colori che non so lungo i ruscelli d'altri mondi nascono fiori che non ho. Gli arcobaleni d'altri mondi hanno colori che non so lungo i ruscelli d'altri mondi nascono fiori che non ho. Primo intermezzo © 1968 Fabrizio De André/Gian Piero Reverberi "Primo intermezzo" refers to addicts who inhabit a world far removed from reality.

The rainbows of other worlds have colors I do not know. Along the brooks of other worlds grow flowers I do not have. The rainbows of other worlds have colors I do not know. Along the brooks of other worlds grow flowers I do not have. English translation © 2014 Dennis Criteser Tutti morimmo a stento, released in 1968, was one of the first concept albums in Italy. In De André's own words, the album "speaks of death, not of bubble gum death with little bones, but of psychological death, moral death, mental death, that a normal person can encounter during his lifetime." After the success of Volume I, De André was provided for this next album a cutting edge recording studio complete with an 80-member orchestra, directed by Gian Piero Reverberi, and a children's chorus. The whole project was under the direction of Gian Piero's brother Gian Franco Reverberi. This album also met with commercial success, becoming the highest selling album in Italy in 1968. In 1969 a version of the album was made with De André re-recording the vocals in English. The album was not officially released.

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Tutti morimmo a stento: Leggenda di Natale - Christmas Tale

Parlavi alla luna giocavi coi fiori avevi l'età che non porta dolori e il vento era un mago, la rugiada una dea, nel bosco incantato di ogni tua idea nel bosco incantato di ogni tua idea E venne l'inverno che uccide il colore e un Babbo Natale che parlava d'amore e d'oro e d'argento splendevano i doni ma gli occhi eran freddi e non erano buoni ma gli occhi eran freddi e non erano buoni Coprì le tue spalle d'argento e di lana di pelle e smeraldi intrecciò una collana e mentre incantata lo stavi a guardare dai piedi ai capelli ti volle baciare dai piedi ai capelli ti volle baciare E adesso che gli altri ti chiamano dea l'incanto è svanito da ogni tua idea ma ancora alla luna vorresti narrare la storia d'un fiore appassito a Natale la storia d'un fiore appassito a Natale Leggenda di Natale © 1968 Fabrizio De André/Gian Piero Reverberi "Leggenda di Natale" takes inspiration from "Le Père Noël et la petite fille" (1960) by Georges Brassens. While Brassens's song is more like a recitation of the pleasures and gifts a child receives at Christmas, De André's rendition is about the loss of innocence, or worse, the destruction or violation of innocence.

You used to talk to the moon and play with the flowers, you were of an age that wore not sorrows. And the wind was a sorcerer, the rust a goddess in the enchanted forest of each of your ideas, in the enchanted forest of each of your ideas. And there came the winter that kills color, and a St. Nick who spoke of love. And of gold and silver sparkled the gifts, but his eyes were cold and they were not nice, but his eyes were cold and they were not nice. He covered your shoulders with silver and wool, he wove a necklace of leather and emeralds. And while enchanted you stayed to watch him, from head to toe he wanted to kiss you, from head to toe he wanted to kiss you. And now that others call you a goddess, the enchantment has vanished from every one of your ideas. But still you'd like to recount to the moon the story of a faded flower at Christmastime, the story of a faded flower at Christmastime. English translation © 2014 Dennis Criteser Tutti morimmo a stento, released in 1968, was one of the first concept albums in Italy. In De André's own words, the album "speaks of death, not of bubble gum death with little bones, but of psychological death, moral death, mental death, that a normal person can encounter during his lifetime." After the success of Volume I, De André was provided for this next album a cutting edge recording studio complete with an 80-member orchestra, directed by Gian Piero Reverberi, and a children's chorus. The whole project was under the direction of Gian Piero's brother Gian Franco Reverberi. This album also met with commercial success, becoming the highest selling album in Italy in 1968. In 1969 a version of the album was made with De André re-recording the vocals in English. The album was not officially released.

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Tutti morimmo a stento: Secondo intermezzo - Second Interlude

Sopra le tombe d'altri mondi nascono fiori che non so Ma tra i capelli d'altri amori muoiono fiori che non ho Secondo intermezzo © 1968 Fabrizio De André/Gian Piero Reverberi "Secondo intermezzo" notes again the have-nots looking in from the outside at the haves. The English version of "Secondo intermezzo"

Above the tombs of other worlds flowers are born that I don't know. But in the hair of other lovers, flowers die that I don't have. English translation © 2014 Dennis Criteser Tutti morimmo a stento, released in 1968, was one of the first concept albums in Italy. In De André's own words, the album "speaks of death, not of bubble gum death with little bones, but of psychological death, moral death, mental death, that a normal person can encounter during his lifetime." After the success of Volume I, De André was provided for this next album a cutting edge recording studio complete with an 80-member orchestra, directed by Gian Piero Reverberi, and a children's chorus. The whole project was under the direction of Gian Piero's brother Gian Franco Reverberi. This album also met with commercial success, becoming the highest selling album in Italy in 1968. In 1969 a version of the album was made with De André re-recording the vocals in English. The album was not officially released.

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Tutti morimmo a stento: Ballata degli impicatti - Ballad of the Hanged Men

Tutti morimmo a stento ingoiando l'ultima voce tirando calci al vento vedemmo sfumare la luce. L'urlo travolse il sole l'aria divenne stretta cristalli di parole l'ultima bestemmia detta. Prima che fosse finita ricordammo a chi vive ancora che il prezzo fu la vita per il male fatto in un'ora. Poi scivolammo nel gelo di una morte senza abbandono recitando l'antico credo di chi muore senza perdono. Chi derise la nostra sconfitta e l'estrema vergogna ed il modo soffocato da identica stretta impari a conoscere il nodo. Chi la terra ci sparse sull'ossa e riprese tranquillo il cammino giunga anch'egli stravolto alla fossa con la nebbia del primo mattino. La donna che celò in un sorriso il disagio di darci memoria ritrovi ogni notte sul viso un insulto del tempo e una scoria. Coltiviamo per tutti un rancore che ha l'odore del sangue rappreso ciò che allora chiamammo dolore è soltanto un discorso sospeso. Ballata degli impiccati © 1968 Fabrizio De André/Giuseppe Bentivoglio/ Gian Piero Reverberi "La ballata degli impiccati" is closely related to a 1462 poem, "Ballade des pendus" by François Villon, written in prison while waiting for his execution. Whereas Villon asks for pity for the condemned, those in the lyrics of De André and Bentivoglio express rancor for the ones who judged, buried, and even remembered, all of whom will inevitably also meet their ends. These condemned men are unrepentant, and in death sit in judgment against the cruelty of capital punishment, waiting to restart their "suspended discourse" until joined in death by those who sent them there.

We all died a hard death, swallowing the last voice. Kicking in the wind, we saw the light vanish. The scream overwhelmed the sun, the air became close, crystals of words, the final curse uttered. Before it was all over we reminded whoever still lives that the cost was life for the harm done in an hour. Then we sunk into the chill of a dead man without surrender, reciting the ancient credo of whoever dies without pardon. Whoever mocked our defeat and the extreme shame and the manner, choked by the very same grip he may learn to recognize the knot. Whoever spread earth over the bones and took to the road again, tranquil, even he may arrive at the grave shocked, with the fog of early morning. The woman who concealed in a smile the discomfort of giving us memory may rediscover every night on her face an insult of time and some dross. We cultivate for everyone a resentment that smells like clotted blood. What we back then called sadness is just a suspended discourse. English translation © 2014 Dennis Criteser Tutti morimmo a stento, released in 1968, was one of the first concept albums in Italy. In De André's own words, the album "speaks of death, not of bubble gum death with little bones, but of psychological death, moral death, mental death, that a normal person can encounter during his lifetime." After the success of Volume I, De André was provided for this next album a cutting edge recording studio complete with an 80-member orchestra, directed by Gian Piero Reverberi, and a children's chorus. The whole project was under the direction of Gian Piero's brother Gian Franco Reverberi. This album also met with commercial success, becoming the highest selling album in Italy in 1968. In 1969 a version of the album was made with De André re-recording the vocals in English. The album was not officially released.

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Tutti morimmo a stento: Inverno - Winter

Sale la nebbia sui prati bianchi come un cipresso nei camposanti un campanile che non sembra vero segna il confine fra la terra e il cielo. Ma tu che vai, ma tu rimani vedrai la neve se ne andrà domani rifioriranno le gioie passate col vento caldo di un'altra estate. Anche la luce sembra morire nell'ombra incerta di un divenire dove anche l'alba diventa sera e i volti sembrano teschi di cera. Ma tu che vai, ma tu rimani anche la neve morirà domani l'amore ancora ci passerà vicino nella stagione del biancospino. La terra stanca sotto la neve dorme il silenzio di un sonno greve l'inverno raccoglie la sua fatica di mille secoli, da un'alba antica. Ma tu che stai, perché rimani? Un altro inverno tornerà domani cadrà altra neve a consolare i campi cadrà altra neve sui camposanti. Inverno © 1968 Fabrizio De André/Gian Piero Reverberi "Inverno" is, according to De André, a song against the pursuit of guarantees when it comes to love, as if love were like an automobile. One must remain open to love, but without trying to condition when it might arise and when it might die.

The fog rises o'er the white meadows like a cypress in the graveyards. A bell tower that doesn’t seem real marks the border between earth and heaven. But you who go, but you who remain, you will see the snow go away tomorrow. Past joys will flower again with the warm wind of another summer. Light, too, seems to die in the uncertain shadow of a becoming where even dawn becomes evening, and faces seem like wax skulls. But you who go, but you who remain, the snow will also die tomorrow. Love will still pass near us in the season of the hawthorn. The tired earth under the snow sleeps the silence of a heavy slumber. The winter harvests its struggles of a thousand centuries, since an ancient dawn. But you who are here, why do you stay? Another winter returns tomorrow, another snow will fall to console the fields, another snow will fall on the graveyards. English translation © 2014 Dennis Criteser Tutti morimmo a stento, released in 1968, was one of the first concept albums in Italy. In De André's own words, the album "speaks of death, not of bubble gum death with little bones, but of psychological death, moral death, mental death, that a normal person can encounter during his lifetime." After the success of Volume I, De André was provided for this next album a cutting edge recording studio complete with an 80-member orchestra, directed by Gian Piero Reverberi, and a children's chorus. The whole project was under the direction of Gian Piero's brother Gian Franco Reverberi. This album also met with commercial success, becoming the highest selling album in Italy in 1968. In 1969 a version of the album was made with De André re-recording the vocals in English. The album was not officially released.

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Tutti morimmo a stento: Girotondo - Ring-Around-the-Rosie

Se verrà la guerra, Marcondiro'ndero se verrà la guerra, Marcondiro'ndà sul mare e sulla terra, Marcondiro'ndera sul mare e sulla terra chi ci salverà? Ci salverà il soldato che non la vorrà ci salverà il soldato che la guerra rifiuterà. La guerra è già scoppiata, Marcondiro'ndero la guerra è già scoppiata, chi ci aiuterà. Ci aiuterà il buon Dio, Marcondiro'ndera ci aiuterà il buon Dio, lui ci salverà. Buon Dio è già scappato, dove non si sa buon Dio se n'è andato, chissà quando ritornerà. L'aeroplano vola, Marcondiro'ndera l'aeroplano vola, Marcondiro'ndà. Se getterà la bomba, Marcondiro'ndero se getterà la bomba chi ci salverà? Ci salva l'aviatore che non lo farà ci salva l'aviatore che la bomba non getterà. La bomba è già caduta, Marcondiro'ndero la bomba è già caduta, chi la prenderà? La prenderanno tutti, Marcondiro'ndera siam belli siamo brutti, Marcondiro'ndà Siam grandi o siam piccini li distruggerà siam furbi o siam cretini li fulminerà. Ci sono troppe buche, Marcondiro'ndera ci sono troppe buche, chi le riempirà? Non potremo più giocare al Marcondiro'ndera non potremo più giocare al Marcondiro'ndà. E voi a divertirvi andate un po' più in là andate a divertirvi dove la guerra non ci sarà. La guerra è dappertutto, Marcondiro'ndera la terra è tutta un lutto, chi la consolerà? Ci penseranno gli uomini, le bestie i fiori i boschi e le stagioni con i mille colori. Di gente, bestie e fiori no, non ce n'è più viventi siam rimasti noi e nulla più. La terra è tutta nostra, Marcondiro'ndera ne faremo una gran giostra, Marcondiro'ndà. Abbiam tutta la terra Marcondiro'ndera giocheremo a far la guerra, Marcondiro'ndà... Girotondo © 1968 Fabrizio De André/Gian Piero Reverberi In "Girotondo," De André marries the joyous melody of a popular song "Marcondiro'ndera" with the deadly serious theme of the possible annihilation of humankind through the use of nuclear weapons in war, intensified with the use of a chldren's chorus. After the success of "La canzone di Marinella," Italy's state television station Rai invited De André often to sing his big hit. But De André refused until he could choose what material to present. Among other songs, he chose "La guerra di Piero" and "Girotondo," anti-war anthems that reflected De André's deeply held pacifism.

If war will come, Marcondiro'ndero if war will come, Marcondiro’ndà on the sea and on the land, Marcondiro'ndera on the sea and on the land who will save us? We’ll be saved by the soldier who doesn’t want it, we’ll be saved by the soldier who refuses war. The war has already broken out, Marcondiro'ndero, the war has already broken out, who will help us? The good Lord will help us, Marcondiro'ndera the good Lord will help us, he will save us. The Good Lord has already escaped, where is not known. The Good Lord went away, who knows when he’ll return? The airplane flies, Marcondiro'ndera the airplane flies, Marcondiro’ndà. If it drops the bomb, Marcondiro'ndero if it drops the bomb who will save us? We're saved by the aviator who won't do it, the aviator who won’t drop the bomb saves us. The bomb has fallen already, Marcondiro'ndero the bomb has fallen already, who will take it? Everyone will take it, Marcondiro'ndera whether we are lovely or we're ugly, Marcondiro’ndà. Whether we are big or we're small, it will destroy us, whether we are clever or we're fools, it will strike us. There are too many holes, Marcondiro'ndera there are too many holes, who will fill them? We can no longer play at Marcondiro'ndera we can no longer play at Marcondiro’ndà. And you all go a little further on to amuse yourselves, you go for amusement where the war won’t be. War is everywhere, Marcondiro'ndera the earth is all one mourning, who will console it? They'll take care of it, the men, the beasts, the flowers, the forests and the seasons with a thousand colors. People, beasts and flowers, no, there aren’t any more, living, we are the remaining ones and nothing more. The land is all ours, Marcondiro'ndera let's make it a big merry-go-round, Marcondiro'nderà. We have all the land Marcondiro'ndera let's play at making war, Marcondiro'nderà . . . English translation © 2014 Dennis Criteser Tutti morimmo a stento, released in 1968, was one of the first concept albums in Italy. In De André's own words, the album "speaks of death, not of bubble gum death with little bones, but of psychological death, moral death, mental death, that a normal person can encounter during his lifetime." After the success of Volume I, De André was provided for this next album a cutting edge recording studio complete with an 80-member orchestra, directed by Gian Piero Reverberi, and a children's chorus. The whole project was under the direction of Gian Piero's brother Gian Franco Reverberi. This album also met with commercial success, becoming the highest selling album in Italy in 1968. In 1969 a version of the album was made with De André re-recording the vocals in English. The album was not officially released.

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Tutti morimmo a stento: Terzo intermezzo - Third Interlude

La polvere il sangue le mosche e l'odore per strada fra i campi la gente che muore e tu, tu la chiami guerra e non sai che cos'è e tu, tu la chiami guerra e non ti spieghi perché. L'autunno negli occhi l'estate nel cuore la voglia di dare l'istinto di avere e tu, tu lo chiami amore e non sai che cos'è e tu, tu lo chiami amore e non ti spieghi perché. Terzo intermezzo © 1968 Fabrizio De André/Gian Piero Reverberi Per De André's comments, "Third Interlude" speaks of love and war, which arise out of two separate human impulses, the desire to give and the instinct to have.

The dust, the blood, the flies, the smells on the street, among the fields, the people who die . . . and you, you call it war and don’t know what it is. And you, you call it war and don’t explain to yourself why. Autumn in the eyes, summer in the heart, the desire to give, the instinct to have . . . and you, you call it war and don’t know what it is. And you, you call it war and don’t explain to yourself why. English translation © 2014 Dennis Criteser Tutti morimmo a stento, released in 1968, was one of the first concept albums in Italy. In De André's own words, the album "speaks of death, not of bubble gum death with little bones, but of psychological death, moral death, mental death, that a normal person can encounter during his lifetime." After the success of Volume I, De André was provided for this next album a cutting edge recording studio complete with an 80-member orchestra, directed by Gian Piero Reverberi, and a children's chorus. The whole project was under the direction of Gian Piero's brother Gian Franco Reverberi. This album also met with commercial success, becoming the highest selling album in Italy in 1968. In 1969 a version of the album was made with De André re-recording the vocals in English. The album was not officially released.

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Tutti morimmo a stento: Recitativo (due invocazioni e un atto d'accusa)/ Corale (leggenda del re infelice) - Recitative (Two Invocations and an Indictment)/ Chorale (Legend of the Unhappy King)

Uomini senza fallo, semidei che vivete in castelli inargentati che di gloria toccaste gli apogei noi che invochiam pietà siamo i drogati. Dell'inumano varcando il confine conoscemmo anzitempo la carogna che ad ogni ambito sogno mette fine: che la pietà non vi sia di vergogna.      C'era un re      che aveva      due castelli      uno d'argento      uno d'oro      ma per lui      non il cuore      di un amico      mai un amore      né felicità. Banchieri, pizzicagnoli, notai, coi ventri obesi e le mani sudate coi cuori a forma di salvadanai noi che invochiam pietà fummo traviate. Navigammo su fragili vascelli per affrontar del mondo la burrasca ed avevamo gli occhi troppo belli: che la pietà non vi rimanga in tasca. Giudici eletti, uomini di legge noi che danziam nei vostri sogni ancora siamo l'umano desolato gregge di chi morì con il nodo alla gola. Quanti innocenti all'orrenda agonia votaste decidendone la sorte e quanto giusta pensate che sia una sentenza che decreta morte?      Un castello      lo donò      e cento e cento      amici trovò      l'altro poi      gli portò      mille amori      ma non trovo      la felicità. Uomini cui pietà non convien sempre male accettando il destino comune, andate, nelle sere di novembre, a spiar delle stelle al fioco lume, la morte e il vento, in mezzo ai camposanti, muover le tombe e metterle vicine come fossero tessere giganti di un domino che non avrà mai fine. Uomini, poiché all'ultimo minuto non vi assalga il rimorso ormai tardivo per non aver pietà giammai avuto e non diventi rantolo il respiro: sappiate che la morte vi sorveglia gioir nei prati o fra i muri di calce, come crescere il gran guarda il villano finché non sia maturo per la falce.      Non cercare la felicità      in tutti quelli a cui tu      hai donato      per avere un compenso      ma solo in te      nel tuo cuore      se tu avrai donato      solo per pietà      per pietà      per pietà... Recitativo and Corale © 1968 Fabrizio De André/Gian Piero Reverberi In "Recitativo" and "Corale" De André makes the case that a merciful outlook should underpin all human affairs, as death waits patiently for each of us regardless of station in life. Gian Piero Reverberi and Fabrizio De André in the studio

You men with no failings, half gods who live in silvered castles, who touched the heights of glory, we who invoke mercy are the addicts. Of the inhuman border crossing we will know prematurely its carcass that puts an end to every ambitious dream: may mercy not be shameful for you all.      There was a king      who had      two castles,      one of silver,      one of gold;      but for him      not the heart      of a friend,      never a love      nor happiness. Bankers, deli owners, accountants with obese bellies and sweaty hands, with hearts shaped like piggy banks, we who invoke mercy were led astray. We sail on fragile ships to face the storm of the world and we have eyes too beautiful: may mercy not remain in your pockets. Elected judges, men of law, we who still dance in your dreams, we are the bleak human herd of those who died with a knot at the throat. How many innocents to a horrible agony did you vote through, determining their destiny? And how right do you think it is that it’s a sentence that decrees death?      One castle      he gave away      and hundreds and hundreds      of friends he found.      The other then      brought him      a thousand lovers,      but he didn't find      happiness. Men for whom mercy is not always suitable, ill accepting the common destiny, you go, in the evenings of November in the dim light of the stars, to spy on death and the wind, amidst the graveyards, moving tombstones and placing them nearby as if they were giant pieces of a domino game that will never have an end. You men, since at the last minute remorse, by then belated, doesn’t assault you for never having had mercy, and the breath doesn’t become a death rattle: know that death keeps a close eye on you, rejoicing in the meadows or in between the lime walls like a boorish peasant looks after the growing grain while it’s not yet ripe for the scythe.      Don’t search for happiness      in all those to whom you      have gifted      in order to have a reward,      but only in you,      in your heart,      if you might have given      purely out of mercy,      out of mercy,      out of mercy . . . English translation © 2014 Dennis Criteser Tutti morimmo a stento, released in 1968, was one of the first concept albums in Italy. In De André's own words, the album "speaks of death, not of bubble gum death with little bones, but of psychological death, moral death, mental death, that a normal person can encounter during his lifetime." After the success of Volume I, De André was provided for this next album a cutting edge recording studio complete with an 80-member orchestra, directed by Gian Piero Reverberi, and a children's chorus. The whole project was under the direction of Gian Piero's brother Gian Franco Reverberi. This album also met with commercial success, becoming the highest selling album in Italy in 1968. In 1969 a version of the album was made with De André re-recording the vocals in English. The album was not officially released.

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