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- 99 m (en)
dbp:text
- I think that Stelle di stelle is one of the most beautiful songs ever made. It was an idea of Claudio, he called me and asked me if I was available to sing a track with him in the album.[...] The first time he made me listen to the song it was not exactly like that, as it was later developed by Claudio. It was a shorter track that we had to sing in unison. We had listened together to this first draft, I really liked that, and then Claudio re-called me and he said: 'I've listened to your voice, while you rehearsed with me, and I've changed completely the draft, practically creating a song inside another. I thought it was a beautiful idea, also really new, because it is a cutting-edge song, no one had written it in that way, both for the melodic and harmonic side. He even added a new part of lyrics, while before we had to sing the same words, suddenly, my voice became a conscience's one. With my presence, pessimism of the artist who does this journey backwards, and then stops to shine and disappears from the scene, is illuminated for a while by a bit of hope. And therefore I say him those things in order to lift his pessimism: ‘but could the sky end here, could the sea end before the horizon…’ I offer to him this hope which is basically the strength that the artist wants to receive in order to move on, because the road ahead is too hard. He later added a melodic part, that is the one I sing, that is not consequent to the melody sung by him but it is written as if it is a bass score, even a double bass one. In the song there are very few instruments, there's a piano, drums - only brushes, quite refined and light - and there's that double bass which is marvellously record with three overlays and three different basses, so everything becomes more captivating and involving, my part is musically more intended as a drum between rhythmic and support of the double bass, it is also funny for me to enter in this melody in a complete different way from my normal interpretations. (en)
- It is a song which is born from the idea that love, the true one, sometimes originates when the love ends. It is a song which in his final phase became more complete and just originated because I think that a man, when he meets a woman and truly falls in love for her, tries to hide himself from her and then to hide her – so her casing – from the world's eyes. I think that it is the moment when a men really falls in love. [...] Basically the whole song is autobiographical, but with such taste of autobiography that artists have in put together different biographies, that is to create a web through which is mysterious to enter. There a verse, in particular, which says: “The one, who'll be after you, will smell your scent thinking that is mine" [Chi ci sarà dopo di te respirerà il tuo odore pensando che sia il mio]”. And this is a verse of which I'm particularly fond, because I think that memory has a scent, absence of people is still measured by their scent. (en)
- Pino Daniele is a separated chapter. I was very impressed the great Neapolitan character in his voice, in his way to play: that beautiful voice and guitar wail. There's that end at sixth almost resembling a tarantella played in quarters... These are the stuffs that music offers to you: words not mix so easily, they are too heavy. (en)
- [...] There is a complicated process if you want to work with Claudio [Baglioni]. In a very first step, he took me to listen only the instrumental part, but he wrote all short stuffs, lasting about twenty seconds. Like... consider... 120 or 150 bars on the piano, and other 100 on the guitar. Very short musical things of twenty seconds, thirty seconds max. Then, we continued to choose, among all of these pieces, those we liked and to give them a definition in the various structures of the song. I mean: this song of thirty seconds is good for a verse, that for a riff, that for a bridge. [...] Then we tried to put togher all of that pieces in all the possible ways, until we came to the phase with the completed songs which were more than twenty . The lyrics phase, due to his way of working, came just at the end and, once the disc was completed from the musical point of view, he wrote all the lyrics three times: he did not like them and trashed them, and he rewrote them again. (en)
- Cucaio is the magical part of the disc, of this wizard sky which is not something impalpable but it is earthly. Cucaio is the man who can not properly pronounce his own name, who doesn't know where he originates neither where he's going; what are his anxieties, his problems and his joys. I believe that in everyone's life there are a human side and a magical one: the first suffers the most, because it knows that it can't emulate the second. This is Cucaio, and he represents the moment when moreover you should leave him in ordert to go beyond. (en)
- This album doesn't do a balance, on the contrary it is a disc without answers at the end, because as we wanted – I, together with other people – represent it also graphically, the essence of the disc is a long wave, and a wave doesn't find again itself, it can never rejoin itself from the opposite part, from the final one. So, it's a way to continue, to exist in a continuous metamorphosis, hoping sometimes to have answers, but answers are a true miracle. Anyway, the most important thing is to ask yourself what's happening. And I thing that the disc, in its musical texture but also in its – let's say – literary texture, can reflect that. It's a disc without a true final answer but a disc with many questions. (en)
- Here it is a songwriter [Baglioni] which has never standardize himself. He has always been coherent, never enslaved by "vices" which falsify the eventual originality that a good song must have. (en)
- Paco de Lucìa is a musician that I always loved, for his extraordinary ability to create a so particular music, which lives of incredible beats following one other, too hard to count, and also an extraordinary harmonic ability, a world unrolling itself with continuous surprises. (en)
- I've always carried Umbria in my heart and eyes, up to Castelluccio. Castelluccio is a small town above Norcia and which I know since 1971; Franco Zeffirelli made me know it, on occasion of one of my first singins, of my first performances. I was the [Italian] singing voice of Francis of Assisi in the film Brother Sun, Sister Moon, just directed by Franco Zeffirelli, and since that year, loving in particular that place, I've begun a pilgrimage, practically almost every year, and I've even started to took inspiration for a song called La piana dei cavalli bradi. And I've begun to think about the fact that we are all a bit waiting, like horses in stables, and men and horses look alike after all, and the horse like the man tries to subdue itself, because it feels that there's something to which it can't say no. The horse has an incredible strength, but it decides in a certain moment to let stuff go, a bit like the man does. And the horse's eye, a bit like the man's mind, contains some sparks of craziness and restlessness. [...] I've imagined in this song that men are horses, both similar for their ability to wait and their incredible strength - which can be bended only with a reason – and just in this final when you begin to run until you fly: after all, this would be the dream of all people. (en)
- We should begin to took seriously mister Claudio Baglioni, songwriter by profession. [...] And let's say straightly that we are at the top levels of musical production [...] Magniloquence is evident, but after all it is a typical characteristic of Baglioni, who has done often excessive undertakings and it has to be seen in the context of this weird songwriter history, absolutely unique and all based on an inextinguishable desire for intellectual redemption that he has cultivated since when he was the biggest writer of songs for teenagers in love. [...] This time, ambition is truly unbridled, it is the one of the great allegory reuniting the sense of life, and here it is really hard to follow the speech, moreover supported by an outstanding musical work. [...] If Baglioni demonstrates to be a poet, it is just in some beautiful melodic intuitions, where his talent shines without any ambiguity. And there is more in those crumbs of notes than in all the unrealistic literary saga on which the disc is pivoted. (en)
- I had met Claudio in Italy, but I can't remember who had presented him to me. We played in the recording studio all night, in Rome, and he had gave me the complete freedom in the interpretation of his song. I had only tried to follow the melody and to give my contribute. I've a very positive memory of him, who is also musically very prepared. (en)
rdf:type
rdfs:label
- Oltre (Claudio Baglioni) (it)
- Oltre (album) (en)