(Jazz-Pop, Blues, Alternative Pop, Folk) Vinicio Capossela - Modi' - 1991, FLAC (tracks+.cue), lossless

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Vinicio Capossela / Modi
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TITLE "Modi"
PERFORMER "Vinicio Capossela"
CATALOG 9031756430200
REM GENRE "Songwriter"
REM DATE 1991
FILE "01 - Modi.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Modi"
    PERFORMER "Vinicio Capossela"
    SONGWRITER "Vinicio Capossela"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "La regina del Florida"
    PERFORMER "Vinicio Capossela"
    SONGWRITER "Vinicio Capossela"
    INDEX 00 04:20:00
FILE "02 - La regina del Florida.wav" WAVE
    INDEX 01 00:00:00
FILE "03 - Notte newyorkese.wav" WAVE
  TRACK 03 AUDIO
    TITLE "Notte newyorkese"
    PERFORMER "Vinicio Capossela"
    SONGWRITER "Vinicio Capossela"
    INDEX 01 00:00:00
  TRACK 04 AUDIO
    TITLE "25 aprile"
    PERFORMER "Vinicio Capossela"
    SONGWRITER "Vinicio Capossela"
    INDEX 00 03:03:20
FILE "04 - 25 aprile.wav" WAVE
    INDEX 01 00:00:00
  TRACK 05 AUDIO
    TITLE "Solo per me"
    PERFORMER "Vinicio Capossela"
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    INDEX 00 03:39:37
FILE "05 - Solo per me.wav" WAVE
    INDEX 01 00:00:00
  TRACK 06 AUDIO
    TITLE "Ultimo amore"
    PERFORMER "Vinicio Capossela"
    SONGWRITER "Vinicio Capossela"
    INDEX 00 04:49:45
FILE "06 - Ultimo amore.wav" WAVE
    INDEX 01 00:00:00
  TRACK 07 AUDIO
    TITLE "E allora mambo"
    PERFORMER "Vinicio Capossela"
    SONGWRITER "Vinicio Capossela"
    INDEX 00 06:48:70
FILE "07 - E allora mambo.wav" WAVE
    INDEX 01 00:00:00
FILE "08 - Pasionaria.wav" WAVE
  TRACK 08 AUDIO
    TITLE "Pasionaria"
    PERFORMER "Vinicio Capossela"
    SONGWRITER "Vinicio Capossela"
    INDEX 01 00:00:00
  TRACK 09 AUDIO
    TITLE "Cadillac"
    PERFORMER "Vinicio Capossela"
    SONGWRITER "Vinicio Capossela"
    INDEX 00 03:59:25
FILE "09 - Cadillac.wav" WAVE
    INDEX 01 00:00:00
FILE "10 - Notte di provincia.wav" WAVE
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    TITLE "Notte di provincia"
    PERFORMER "Vinicio Capossela"
    SONGWRITER "Vinicio Capossela"
    INDEX 01 00:00:00

A larger-than-life character on the Italian music scene, Vinicio Capossela
(born in Hannover, Germany, 1965) can boast an extraordinary career dating back
to 1990 with his first album All’Una E Trentacinque Circa. Though an unknown
artist at that time, Capossela immediately conquered the the Tenco Club (a
panel of music journalists, musicians and friends of the late Luigi Tenco,
which gives awards for singing/songwriting achievements every year), thus
earning himself a prize for Best Debut Album in the 1991 edition. A string of
records followed (Modм, 1992; Camera A Sud, 1994; Il Ballo Di San Vito, 1996;
Liveinvolvo, 1998; Canzoni A Manovella, 2000 – which also won the Tenco Award
for Best Album of the Year – and Ovunque Proteggi, 2006, another Tenco Award
for Best Album of the Year), which expanded his fanbase as well as enhancing
his credibility amongst critics.
Born in Germany, Capossela moved to Italy shortly afterwards, where he grew up
and was exposed to music influences alien to the usual background of a singer-
ongwriter. Even in his early pieces, Capossela’s world revolved around the
American underground culture and the road myth (namely Jack Kerouac, Charles
Bukowski and Tom Waits) as well as the Italian exoticism embodied by the
legendary Luis Prima in the US or Renato Carosone in Italy. Capossela’s early
works displayed a real passion for “Italo-Americanness”, for the kind of
entertainment portrayed in Martin Scorsese’s films or in masterpieces like Big
Night and Broadway Denny Rose, as well as an affectionate reference to the
“exportable Italianness” that made Adriano Celentano and Adamo so famous with
Italian communities abroad.
While his early recordings conveyed a scenario of this kind, with his fourth
album Capossela began to pursue a different direction. Imagination “colics”,
geographical derailments, images that would develop into stronger and stronger
visions with each album: this is what Capossela’s backward journey towards his
own roots (which would turn out to be the long folklore tradition of Italy)
is all about. Il Ballo Di San Vito represented the finishing point of this
journey and at the same time the starting point of a new one, which was also
affected by his friendship with the late folk singer-songwriter Matteo
Salvatore. Capossela actually regards Salvatore as his model, as he encouraged
him to explore the rural and peasant world haunted by demons and ghosts, which
both fascinate and obsess him. In the same way, Capossela also became
interested in the revolutionary films by director Pier Paolo Pasolini, a
passionate and hopeless champion of pre-industrial Italy and her values.
Capossela’s magic lies in his ability to break the boundaries of a song and to
evoke, through the use of images, entire worlds in which to live through the
song. They are worlds infested by demons, grace, shadows, lost souls and
losers, and they are built on language, an element Capossela is constantly
working on. Lyrics play a crucial role in Capossela’s songs, while the music –
free from any genre restraints – is at the complete disposal of the musical
world he creates. His music rests strongly on words, but at the same time it is
so open to the world outside that it is able to incorporate tango, morna and
rebetic music, thus involving different musicians and different backgrounds.
Capossela’s music career has been littered with collaborations over the years –
from his first readings dedicated to Italian-American writer John Fante
together with Vincenzo Costantino “Cinaski” to his tour with Neat Veliov’s
Kocani Orkestar, the Balkan brass band made famous by Emir Kusturica’s film
Time of the Gypsies; from his tribute to the distinguished Russian singer-
songwriter Vladimir Vitsosky included in the album Il Volo Di Volodja to his
ongoing collaboration with New York guitarist Marc Ribot and with cellist
Mario Brunello and his Orchestra d’Archi Italiana; from his “Concerti per le
Feste”, a pretext for regular live gigs during Christmas time to his concerts
dedicated to morna music, tango and rebetic music in the show called “Parole
d’altrove”; from his first radio broadcasts like “I cerini di Santo Nicola” and
his radio adaptation of Charles Dickens’ A Christmas Carol to his own novel,
Non Si Muore Tutte Le Mattine, which met with wide acclaim upon publication in
2004. Capossela then worked on another radio play (“RadioCapitolazioni”) and a
theatrical piece (“Voci, Echi e Visioni da Non Si Muore Tutte Le Mattine”),
both based on his book.
His latest, long-awaited album Ovunque Proteggi reached a surprising number
one spot in the charts and sold over 70,000 copies in its first two months of
release. It is a collection of solemn songs about “man, the earth and its
never-ending topicality”. This time Capossela excelled himself, focusing on
evocative words based on narrative archetypes that are engraved on the hard
stone of time: “You get to a point where the novel, the topic or the mere
current issue is not enough… You need to get back to the roots. On one hand,
historical ages – baroque, neoclassical, modern… on the other, stone”.
Ovunque Proteggi is rich in historical, biblical and mythological references,
each of which is connected with today’s reality, where it finds its deepest
meaning. It is a parade of characters that the author defines as “wretches of
all historical times”, stuck between the misery of their human condition and
the longing to lift their eyes to the grace of God. Travel in space and time
adds a deeper perspective to the record, serving almost as an “archaeological
sediment” which makes Ovunque Proteggi a “geographical” album. It is a
geographical album also because, in Pasolini’s style, it contains a geography
of places and people, of the important encounters made before completing this
work. The first stone was placed in Rome, in front of the Colosseum, during the
recording of the song “Al Colosseo”. That was the start of six months of work
during which Capossela wrote and recorded in the very places the songs led him
to: a prehistoric cave in Sardinia (Ispinigoli), a church in Sicily (Scicli)
or in Milan, a theatre (Treviso), a disused monastery (Montebello) or the hot
and humid southern Emilia (Rubiera) where he polished the lyrics to his songs.
A histrionic and bewitching “circus artist”, Vinicio Capossela is also an
outstanding and creative live perfomer. His recent tour, which started in
February with a series of sold out concerts, speaks volumes. The show, of
which Capossela is director and art director, literally reproduces the songs of
his new album Ovunque Proteggi by immersing them in the evocative setting of a
shadow theatre. The first act is a riot of shadows, sounds and visions,
followed by a short interlude which leads to the second act, where a different
selection of songs from previous albums is played depending on the location of
the concert, the moment and the guests that join him onstage. After forty
concerts held in winter and spring, Capossela spent last summer touring stone
theatres, so as to mirror the music and lyrics of Ovunque Proteggi even
further. From the concerts and the visions of this fortunate tour is taken his
latest effort, the film drama/live cd Nel Niente sotto il Sole – Grand Tour,
issued on dvd/cd shortly before Christimas 2006.
Vinicio Capossela has spent most of this year bringing his music outside of
Italy. His three gigs in Spain at the end of 2006 were so widely acclaimed by
critics and fans that his record company decided to release Ovunque Proteggi in
the country. However, Spain is not the only place Vinicio visited. As his album
was re-released there, gigs were scheduled in Germany, Greece, Switzerland,
France, the Netherlands, Belgium, Luxembourg, and even Canada and United States
in May (with a stunning live set at New York’s Joe’s Pub).
Last April Capossela performed in Greece for the first time. Together with his
band and a rebetiko trio, he played at the Half Note in Athens for seven
consecutive nights. This experiment spawned a proper show, originally entitled
OI REBETIKI MINOTAVROI and then REBETIKOS GYMNASTAS. Five shows were played in
Italy at the end of May and two more at the end of July.
In the meantime, at the end of June, Capossela was invited to guest the great
concert the Greek chanteuse Dimitra Galani played at the Lycabettus in Athens.
During the gig she delivered the Greek versions of two songs by Vinicio,
“Corre il soldato” and “Non и l’amore che va via”, both of which were included
in Dimitra Galani’s new album Dama Koupa.
The summer had more gigs in store – the Czech Republic, Austria, Portugal, in
addition to some special events in Italy, namely the Florentine Genius that
took place in Florence in May, where Capossela performed the live project
FUGGITE AMANTI AMOR: RIME E LAMENTAZIONI PER MICHELANGELO together with top
cello player Mario Brunello. Vinicio turned some of Michelangelo Buonarroti’s
verses into “songs” providing them with music. Among his other engagements were
the Festival Cremona Poesia [Cremona Poetry Festival] and the prestigious
International Tiziano Terzani Literary Prize in Udine, in addition to another
massive concert like The Italia Wave Festival (21th july). More international
shows are scheduled for fall 2007 (Portugal, Germany) and winter 2008 (France).
(Source: viniciocapossela.it)