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Volume 3 (Vol. 3°) is the third album released by Italian singer-songwriter Fabrizio De André. It was first issued in 1968 on Bluebell Records and is De André's last studio release on Bluebell. Of the songs contained in the album, only four were previously unreleased; the other ones are re-recordings of tracks originally issued on 45-rpm records during De André's early stint with the Karim label.

Volume 3
Studio album / Compilation album by
Fabrizio De André
Released1968
Recorded1968
GenreFolk, Chanson
Length27:19
LabelBluebell Records (BBLP 33)
Produttori Associati (PA/LP 33)
ProducerGian Piero Reverberi
Giorgio Agazzi
Fabrizio De André chronology
Tutti morimmo a stento
(1968)
Volume 3
(1968)
La buona novella
(1969)
Singles from Vol. 3°
  1. "La canzone di Marinella/Amore che vieni, amore che vai"
    Released: 1968
  2. "La ballata del Michè/La guerra di Piero"
    Released: 1968
  3. "Il gorilla/Nell'acqua della chiara fontana"
    Released: 1969
Professional ratings
Review scores
SourceRating
Allmusic [1]

Track listing


All tracks are written by Fabrizio De André, except where noted.

Side one
No.TitleLyricsMusicLength
1."La canzone di Marinella"  3:20
2."Il gorilla" Georges Brassens2:59
3."La ballata dell'eroe"  2:35
4."S'i' fosse foco"Cecco Angiolieri 1:14
5."Amore che vieni, amore che vai"  2:50
Side two
No.TitleMusicLength
6."La guerra di Piero" 3:04
7."Il testamento" 3:47
8."Nell'acqua della chiara fontana"G. Brassens2:20
9."La ballata del Michè" 2:55
10."Il re fa rullare i tamburi" 1:55
1971 reissue tracklist
No.TitleLyricsMusicLength
1."La canzone di Marinella"  3:20
2."Il pescatore"  2:21
3."La ballata dell'eroe"  2:35
4."S'i' fosse foco"Cecco Angiolieri 1:14
5."Amore che vieni, amore che vai"  2:50
6."La guerra di Piero"  3:04
7."Il testamento"  3:47
8."Nell'acqua della chiara fontana" G. Brassens2:20
9."La ballata del Michè"  2:55
10."Il re fa rullare i tamburi"  1:55

The songs



Alternate explicit lyrics to "La canzone di Marinella"


The fifth verse of "Marinella", as De André originally wrote it, was notably more explicit in its depiction of the actual rape act: "It started with a caress and a little kiss / then he moved straight onto a blowjob; / and under the threat of a straight razor / you were forced to spit and swallow." However, by the time he went into the studio to record the song, De André was well aware of how strict Italian censorship was in seizing upon even the tiniest hints of explicitness (having previously experienced censorship on his earlier song "Carlo Martello") and decided not to record the explicit verse at all; he rewrote it as "There were kisses and there were smiles / then it was only cornflowers, / which, as your eyes were looking at the stars, / saw your skin shivering to the wind and the kisses," which made a better fit to the overall "sweet" mood of the lyrics. However, De André did include the alternate verse in his earliest live performances, starting from his very first concert residency in 1975 at the famous "Bussola" nightclub in Viareggio. It can be heard in a March 15, 1975 recording of his, as featured in the 2012 release La Bussola e Storia di un impiegato: il concerto 1975-'76; on the same recording, the live audience can be heard reacting enthusiastically to the lyrical change, as they did not expect the song (which was already popular by then) to have any "alternate" lyrics at all.[2] On the other hand, a critic for Corriere della Sera, reviewing the opening night, unceremoniously referred to the performance as a "porn version of Marinella".[3] During the 1975 residency, De André performed the song in a very similar arrangement to the studio version; after Franco Mussida from PFM reworked the song into a melancholic 6
8
ballad for the band's historical 1979 concert tour with De André, the singer dropped the explicit verse and went back to its "radio-friendly" equivalent.


References


  1. Allmusic review
  2. La Bussola e Storia di un impiegato CD release, Disc 1, track 17.
  3. Photo book included with Fabrizio De André: I concerti box set, page 8.
  4. Commentary by Dennis Criteser, on his blog Fabrizio De André in English, containing his English translations of De André's entire recorded output.



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