Francesco Guccini is among the most admired from the Italian cantautori from the 1970s, section of a era that changed the facial skin and concepts of Italian popular music. Among peers such as for example Fabrizio de André, Francesco De Gregori, Lucio Dalla, or Paolo Conte, Guccini sticks out for his fiercely uncompromising position, which includes translated right into a profession of remarkable visual and ideological coherence. A poetic, if rather fatalistic, observer of lifestyle with an enthusiastic eyes for the locale from the Italian provinces, Guccini’s music are stories of existential anguish on the duration of time as well as the regret over skipped opportunities, dropped causes, and close friends. In the framework of Italian tradition, nevertheless, Guccini’s persona can be probably as significant as his music. He offers arrive to represent a lone, incorruptible moral power even to young audiences and co-workers who usually do not always or readily recognize with the cantautori genre. Delivered on June 14, 1940 — four times after Italy inserted World Battle Two — Guccini spent the battle years at his grandparents’ home in the Apennines, and shifted back again to his indigenous city of Modena in 1945. From that second on, Guccini’s lifestyle and function was indissolubly from the central area of Emilia Romagna, and especially with his followed hometown of Bologna, the town where his family members relocated in 1961. The cities, landscape, vocabulary, and local people from the Emilia Romagna area would feature thoroughly in Guccini’s tracks. It took some time for the youthful Francesco to get his contacting, as he spent his twenties alternating between teaching careers and university examinations in neuro-scientific Literature, regional journalism, a stint within the military, and a continuing fascination with music that got were only available in his teenagers. After teaching himself to strum your guitar and play the harmonica, he created his 1st music group, the Hurricanes (later on rechristened the Snakes) at 17, and instantly began to create tunes. Through the ’60s he performed single or collaborated with several local functions (I Marinos, I Gatti, Equipe 84), and gradually but steadily constructed a reputation like a songwriter, greatly influenced from the protest folksingers of that time period. The first Bob Dylan was the most obvious referent, but similarly vital that you Guccini’s development had been the Italian traditional tunes from the employees’ and anarchists’ motions. In 1967, one of is own personal compositions, the questionable “Dio è Morto,” was documented by I Nomadi (who jumpstart their profession by performing Guccini’s tunes, not really unlike the Byrds with Dylan’s). The track caused a significant stir, since it was prohibited with the Italian Broadcasting Network RAI but praised with the Vatican. In addition, it brought Guccini some much-needed interest and arrived him a saving agreement with EMI. He’d stick with the business for his whole profession, the longest association EMI has already established with an Italian musician ever sold. Guccini’s initial record, Folk Defeat No. 1, premiered in 1967 and it proceeded to go largely unnoticed, even when it contained a few of what would ultimately become Guccini’s most well-known tunes, such as for example “Auschwitz” and “In Morte di S.F.” (better referred to as “Canzone per una Amica”). In retrospect, Guccini’s debut recording provided a blueprint for his whole profession, presenting his endearing, thick-accented drawl, and revealing his amazing skills as a article writer equally comfortable within the registers of historic analysis, politics or interpersonal satire, and personal introspection. Credited Anni Dopo, another, equally solid collection, adopted in early 1970. For the reason that same 12 months he visited america, a long-cherished wish that soon changed sour. As much Italians of his era do, Guccini nurtured a deep admiration for American lifestyle (he taught British books at Dickinson University in Bologna for twenty years), and he was stunned to understand how deeply Puritanical and unintellectual American culture could possibly be, worlds from the liberality and modernity he previously dreamed from its music and books. Upon his come back, his music started to convert from American protest folk music, getting even more literate and long-winded — not forgetting a lot more taciturn and pessimistic. Important to these adjustments was the intro of arranger and key pad participant Vince Tempera, bassist Ares Tavolazzi, and drummer Ellade Bandini for Guccini’s third recording, L’Isola non Trovata, released in past due 1970. These music artists, among Italy’s most important program players, would become Guccini’s studio room and tour music group for practically his entire profession and substantially impact his leaving the original format of three-minute verse/chorus folk music to six-or-more-minutes-long narrative parts established to an understated jazzy history, with piano overtaking the classical guitar as the prominent voice. 1972 noticed the discharge of Radici, Guccini’s discovery record that but guaranteed his entrance within the pantheon of Italy’s most beloved cantautori. The record also included his personal music “La Locomotiva,” in line with the genuine story of the anarchist who stole a teach engine in 1893, and drove it at complete rate into Bologna’s primary train station, crashing it. The music continued to became symbolic from the Italian remaining, and forever solid in rock Guccini’s reputation like a “politics” songwriter — a common sense that a good cursory study of Guccini’s function would expose at greatest as extremely restrictive, otherwise misleading. Guccini’s initial four albums are seminal masterpieces of Italian folk-rock and constitute important listening for anybody interested in contemporary Italian culture. In addition they featured the majority of Guccini’s most significant music, with classics such as for example “Vedi Cara,” “L’Isola non Trovata,” “El Altro Giorno è Andato,” “Il Vecchio ed il Bambino,” or “Incontro” (in addition to the music mentioned previously above), all to be staples of his outstanding live repertoire. Guccini’s following albums were general more constant than brilliant, but also for all their customary seriousness of style and execution, tended to add fewer memorable tracks — approximately one traditional per recording. The one significant exclusion was 1976’s Via Paolo Fabbri 43, that added the famous rant “L’Avvelenata,” along with the shifting “Canzoni Quasi d’Amore” and “Il Pensionato” towards the cannon of Guccini’s finest. The tango-influenced Signora Bovary from 1987 was a stylish return to type, continuing in 1990 using the very much praised Quello Che Non…. While Guccini’s information were no more considered as essential as they have been within the ’80s, these were still typically well-received, both in commercial and vital terms. However, it had been his ever-popular concerts and live albums, like the exceptional Fra la Via Emilia e il Western world(possibly the greatest intro to the designer), that really held him alive in the general public imagination. His studio room albums through the ’90s and 2000s had been few and practically compatible, and denoted an intensification of Guccini’s erudite prose, which obtained him substantial literary reputation and honours. In 1989 he released his 1st book, the best-seller Croniche Epifaniche, and it has since divided his time taken between books and music, composing several books and short tales (including some popular criminal offense thrillers with Loriano Macchiavelli) and a dictionary from the Pavana area dialect. Furthermore, within the 1st decade from the 21st hundred years, the 60-12 months old Guccini required to showing up in movies — ostensibly simply for the fun of it — especially in fellow vocalist and friend Luciano Ligabue’s directorial debut Radiofreccia, and in two of Leonardo Pieraccioni’s blockbusters.
|1||Father of actress Teresa Guccini.|
|La Linea Gialla: Bologna, 2 agosto||2015||Il fornaio|
|Io & Marilyn||2009||Psichiatra|
|Una moglie bellissima||2007||Regista Grease|
|Ti amo in tutte le lingue del mondo||2005||Preside|
|Ormai è fatta!||1999||Libero Fantazzini|
|Musica per vecchi animali||1989||Guardia del Museo|
|Le lunghe ombre||1987|
|Plauto, recuerdo distorsionado de un tonto eventual||2004||"Vite"|
|Un amore||1999||writer: "Argentina", "La canzone della vita quotidiana"|
|Radiofreccia||1998||performer: "Incontro" / writer: "Incontro"|
|Lavori in corso||1985||writer: "NOI NON CI SAREMO"|
|I giorni cantati||1979|
|Dove la bellezza non si annoia mai||2006||Himself|
|I giorni cantati||1979||Himself|
Looks like we don't have awards information. Sorry!
Looks like we don't have salary information. Sorry!
Looks like we don't have quotes information. Sorry!
Looks like we don't have trademarks information. Sorry!
Looks like we don't have pictures. Sorry!