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Arrangers: Jim Papoulis; Lives of a Cell; Michéal Castaldo.
Personnel: Hernan Romero, Peter Calo (guitar); Elliot Thomas (keyboards); Michael Wimberly (percussion); Jim Papoulis (programming); Marlon Saunders (background vocals).
Recording information: Amadeus Studios, Norway; Amphion Studios, New York, NY; Fast Forward Studios, New York, NY; Raz Studios, New York, NY.
Micheal Castaldo Villa Songs Villa Review
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Fabrizio De André was in many ways already a seasoned veteran when he released his first album in 1967. He was 27 years old, he had a wife and child, and he had been writing and recording singles for the small Karim label since 1961. While recognition took a while, by late 1966 De André was hot news. His last singles had done well, Mina was about to record one of his songs, and Karim was quick to put out an LP compilation of his early songs, Tutto Fabrizio De André. In the meantime, De André broke with Karim and signed a record deal with renowned producer Antonio Casetta, who offered him much better production values, as well as proper national distribution. De André was even given his choice of musical producers, and he picked top Ricordi arranger Giampiero Reverberi. Casetta's gamble paid off, with V.1 reaching number two in the Italian charts, and winning the Italian Music Critics' Album of the Year award. Since most of his early material was being released almost simultaneously in the Karim compilation, De André was forced to write entirely new material for his debut album -- something that didn't always came easy for the hardly prolific Genovese songwriter. Indeed, V.1 included two Georges Brassens translations and a previously released song co-written with Paolo Villaggio to complement the seven brand new De André originals.
Having to come up with new material may ultimately have made the album stronger, since many of the new songs shared similar themes and De André was always at his best when making concept- or theme-based albums. Whether it was intended or not, the album seemed designed for maximum controversy, with every song questioning or mocking established values of the Italian conservative bourgeoisie, notably on the issues of religion and sex. Even the sequencing contributes to this impression, as V.1 seems to comprise two mini-suites: songs one through four deal with Catholic doctrine's taboos (including suicide, the desacralization of marriage, and the humanity of Christ), while songs five through eight propose casual sex and prostitution as better, or more sincere, alternatives to the stifled sexuality of bourgeois marriage. Among the latter songs are the classics "Bocca di Rosa" and "Via del Campo," both offering a glimpse into one of De André's favorite galleries of characters, the world of prostitutes, their customers, and the town's zealous bigots. The first is a raucous tarantella and the second a solemn waltz: these two songs constitute an excellent example of De André's range of expression as he manages to examine the same subject from the compassionate to the farcical. ...
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