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Alice Non Lo Sa Parma

Alice non lo sa is the debut solo album by Italian singer-songwriter Francesco De Gregori, released on April 1973 by It. The previous year the eponymous duo of De Gregori and Antonello Venditti—another Italian singer-songwriter–published a hybrid album, Theorius Campus, with some songs by De Gregori.^[2]

Alice Non Lo Sa Montagna

The title track, 'Alice', is one of De Gregori's best known songs, and has become a classic.^[3][4][5]

Reception[edit]

The historian Cesare Grazioli writes that De Gregori became the acknowledged 'prince' of songwriters, inspired by Bob Dylan, a melancholy narrative voice expressing the doubt, ambiguity and human crisis of the times, with Alice no lo sa his first album.^[6] The album gained for De Gregori an undeserved reputation for being obscure.^[7] The album indicated De Gregori's innovativeness: the title song, 'Alice', broke with the past with its elegant lyrics and visionary quality,^[8] still esteemed a generation later.^[9] The album was not an immediate commercial hit, but it had great artistic value with its evocative poetry and sophisticated melodies, and it proved to be the first of a series of masterpieces of popular music.^[10] Mariano Prunes, reviewing the album on AllMusic.com, notes that while only the title track is recognised as a classic, several other songs deserve to be. The album, writes Prunes, is influenced by Leonard Cohen, and 'Marianna al Bivio' actually refers to Cohen's songs 'Suzanne' and 'So Long, Marianne', the lyrics throughout taking centre stage rather than, as was de rigueur in Italy at the time, making the singing openly personal or political.^[11]

Track listing[edit]

All lyrics written by Francesco De Gregori, except where noted; all music composed by De Gregori.

References[edit]

1. ^'SERATE D'AUTORE storici e nuovi protagonisti della canzone d'autore italiana' (in Italian). Teatro Lo Spazio. Retrieved 6 February 2016.
2. ^'Focus on Francesco De Gregori'. Legacy Recordings. Retrieved 6 February 2016.
3. ^Bezzone, Francesca (24 June 2015). 'Italian music V: the 1970's'. Life in Italy. Retrieved 6 February 2016.
4. ^'Italian Songwriters: Francesco De Gregori. Alice'. Music Graffiti. May 2015. Retrieved 6 February 2016.
5. ^Stamp, Roger (23 February 2015). 'La Donna Cannone, Francesco De Gregori (1983)' (in Italian). Stamp Toscana. Retrieved 6 February 2016.
6. ^Grazioli, Cesare. 'L'Italia in musica - Quarta parte La seconda generazione dei cantautori' (in Italian). La Cle des Langues. Retrieved 6 February 2016.
7. ^Talanca, Paolo. 'Dente e Vasco Brondi. Supposti ermetismi' (in Italian). L'Isola della Musica Italiana. Retrieved 6 February 2016.
8. ^Piccolo, Antonio. 'Francesco De Gregori' (in Italian). AntiwarSongs.org. Retrieved 6 February 2016.
9. ^Bensalhia, John (27 June 2014). ''Pop' the Question - Part 3: How Did Italian Pop Music Flourish in the 1970s?'. Italy Magazine. Retrieved 6 February 2016.
10. ^'Francesco De Gregori' (in Italian). Teatro Stabile Verona. 2014.
11. ^Prunes, Mariano. 'Francesco De Gregori Alice Non Lo Sa (CD - #1160848) Review'. AllMusic.com. Retrieved 6 February 2016.

Francesco de Gregori's first official release was Theorius Campus, a curious concoction split between early songs by De Gregori and fellow Roman songwriter Antonello Venditti. Yet for all intents and purposes, 1973's Alice Non Lo Sa should be considered De Gregori's debut album. This is the first collection of songs written entirely by De Gregori, and the clear expression of a coherent project conceived by a single creative mind. It also already sounds like any of his great '70s albums. While arguably only the title track has become a classic, at least half the album deserved the same fate: 'La Casa di Hilde,' '1940,' 'Suonatori di Flauto,' 'Il Ragazzo,' or 'Irene,' to mention but a few, are all little-known gems. Musically, the piano and strings arrangements are a bit anonymous, while the acoustic guitar-driven numbers reveal the influence of Leonard Cohen, most tellingly in 'Marianna al Bivio,' that also includes references to the characters of both 'Suzanne' and 'So Long, Marianne.' This is clearly a songwriter's effort, with lyrics taking center stage. Everything becomes subordinate to De Gregori's shy, soft spoken voice and his enigmatic cast of characters and literate wordplay -- the true stars of the album -- but also the reasons for the relative commercial and critical failure of Alice Non Lo Sa. De Gregori was criticized for the hermetic character of his lyrics, and for his refusal to be openly political or personal, something that was required of Italian songwriters at the time. Instead, De Gregori experimented with multiple characters and narrative perspectives inside a song, intertextuality, and unresolved allegories. It is precisely this complexity and ambiguity that almost 40 years later keeps the album so compelling in its depiction of a strange, poetic society of outsiders, losers, and minor characters of history. A fascinating album.