In Concerto - Arrangiamenti PFM

1. "Bocca di Rosa" ["Rose-mouth"] (De André; main arrangers: Franco Mussida and Flavio Premoli) - 4:32
2. "Andrea" (De André/Massimo Bubola; main arranger: Mussida) - 5:24
3. "Giugno '73" ["June '73"] (De André; main arrangers: Patrick Djivas, Premoli) - 4:24
4. "Un giudice" ["A judge"] (De André/Giuseppe Bentivoglio/Edgar Lee Masters [lyrics], De André/Nicola Piovani [music]; main arranger: Premoli) - 3:23
5. "La guerra di Piero" ["Piero's war"] (De André; arranged by PFM) - 3:30
6. "Il pescatore" ["The Fisherman"] (De André [lyrics], Gian Piero Reverberi/Franco Zauli [music]; main arrangers: Di Cioccio, Premoli) - 3:58
7. "Zirichiltaggia" [literally "Lizards' den" in Gallurese] (De André/Bubola; main arranger: Lucio Fabbri) - 2:27
8. "La canzone di Marinella" ["Marinella's song"] (De André; main arranger: Mussida) - 4:02
9. "Volta la carta" ["Turn the page"] (De André/Bubola; main arrangers: Premoli, Fabbri) - 3:56
10. "Amico fragile" ["Frail friend"] (De André; main arranger: Mussida) - 9:35

1. "Avventura a Durango" [a translation of Bob Dylan's "Romance in Durango", from his 1976 album Desire] (De André/Bubola [Italian lyrics], Bob Dylan/Jacques Levy [music]; main arrangers: Mussida, Premoli) - 5:20
2. "Presentazione" [Band and crew intros, by Franz Di Cioccio] - 3:42
3. "Sally" (De André/Bubola; arranger: Roberto Colombo) - 5:05
4. "Verranno a chiederti del nostro amore" ["They will come to ask you about our love"] (De André/Bentivoglio [lyrics], De André/Piovani [music]; main arranger: Premoli) - 5:06
5. "Rimini" (De André/Bubola; arranged by PFM, main arranger: Premoli) - 5:00
6. "Via del Campo" [literally "Field Street" - a street in Genoa] (De André/Enzo Jannacci; arranger: Roberto Colombo) - 2:44
7. "Maria nella bottega del falegname" ["Mary in a carpenter's workshop"] (De André [lyrics], De André/Reverberi [music]; main arranger: Premoli) - 4:37
8. "Il testamento di Tito" ["Titus's testament"] (De André [lyrics], De André/Corrado Castellari [music]; arranged by PFM, main arrangers: Mussida, Premoli) - 6:34

The 2012 re-release of both albums, within the 16-CD live box set I concerti ["The concerts"] by Sony Music, features four bonus tracks entitled "Contestazione Roma PalaEUR" (1-4) [i.e. "Jeering in Rome PalaEUR"], which consist in various excerpts from a 1980 show in Rome's PalaLottomatica (formerly PalaEUR); in the show, De André performed the same setlist as in the live albums, but he was verbally attacked, jeered and booed throughout by some of the local audience, who, as several other early fans of De Andre's, viewed the coupling between a singer-songwriter and a rock band as almost sacrilegious, implying a sell-out of the former; large groups of people shouted out "sell-out, sell-out" and chanted "idiot, idiot" between songs. The singer responded (in the second excerpt, track 10 on the CD) by claiming that there are no such things as good ideals and bad ideals, but that ideals are seen as good or bad depending on them being accepted by a majority or a minority of people. Di Cioccio, on his own turn, defended the combination on the ground that PFM were merely functioning as De Andre's backing band for that tour, as opposed to a full-fledged rock band with their own personality; he then proceeded to introduce the band members, as he did on Volume 2.[4] Some footage showing the audience from the Rome show was also included in the first section of the 2020 documentary film Fabrizio De André & PFM: Il concerto ritrovato, described below. The film also includes a scene from the same show, referred to by Di Cioccio in an interview excerpt, where De André, fittingly with the audience's reactions, sarcastically sings a line from "Amico fragile" as "And while I was sitting amongst your fuck-offs..." instead of ending it with the correct word, "goodbyes".

• "Bocca di Rosa", originally from Volume 1, is given a new intro and a new solo by guitarist Franco Mussida and keyboardist Flavio Premoli, with additional violin passages by violinist Lucio "Violino" Fabbri. The tarantella rhythm on the original recording is removed, and the song is played instead as a fast shuffle in ¹²
  ₈.
• "Andrea", originally from Rimini, is played faster than the original, and Massimo Bubola's passionately Mediterranean instrumental melody (functioning as an interlude between verses) is more prominent.
• "Giugno '73" adds a new intro based on Patrick Djivas's bass, but remains otherwise faithful to its original recording on Volume 8; only, keyboards are more prominent and the instrumental interlude is played by Franz Di Cioccio on crotales.
• "Un giudice" is played very slightly slower than its original recording on Non al denaro non all'amore né al cielo and it is given a Cajun feel by Premoli, who adds a new solo on accordion.
• "La guerra di Piero" is relatively unchanged from its original recording on Volume 3; the song's military march feel is emphasized by Di Cioccio's percussion and additional keyboards by guest musician Roberto Colombo, one of which is played with a harpsichord timbre.
• "Il pescatore", originally released in 1970 as a standalone single, features one of the most striking changes: the simple folk arrangement in the original version is transformed into a rousing rock anthem, featuring heavy drums, percussion (both engaged in a short solo/break towards the end), electric and acoustic guitars, keyboards and violin. The hook, originally consisting in a whistled melody, is joyously sung as a choir ("La-la-la-la, la-la, la-la..." etc.) by the entire band - except for bass player Patrick Djivas, who does not sing.
• "Zirichiltaggia" is, again, played much faster than its original recording on Rimini. Fabbri emphasizes the song's bluegrass feel by playing a longer fiddle solo. The harmony vocals, originally sung by Bubola as one of the two shepherds comically arguing in the song, are here sung by Mussida. In his introduction to the song, De André stated that living in Gallura for four years meant that he at least managed to learn the local language - which allowed him to write the song.
• "La canzone di Marinella" is transposed from the ⁴
  ₄ beat of its original recording, on Volume 3, to a ⁶
  ₈ beat, and the arrangement, led by piano and acoustic guitar, is softer and calmer than the original - thus adding even more sweetness to De André's already sugar-coated, fairytale-like lyrical treatment of Marinella's rape and tragic death.
• In "Volta la carta", the Irish gig elements of the original recording, on Rimini, are given more prominence, with the main interludes being played on violin and keyboards. Mussida sings Dori Ghezzi's part from the original version, and the final operatic tenor high note is omitted, played instead as a held note on the violin. Di Cioccio starts the song by singing "Branca, Branca, Branca!", to which the band responds "Leòn, Leòn, Leòn!" - a reference to the main theme from the 1966 film L'armata Brancaleone.
• "Amico fragile" is much longer than its original recording on Volume 8, with a new intro by Premoli and two new guitar solos by Mussida. De André sings the second verse an octave higher than the original, and in a much more impassioned tone, highlighting the overall resentful attitude of the whole lyric.

• "Avventura a Durango" is a slightly faster adaption of the original recording on Rimini, which was itself faithfully adapted from the Dylan recording. Although the general tone of De André's delivery remains lightweight, he sings with a more direct and focused tone than on the studio version. During the Neapolitan chorus, De André harmonizes with Colombo (in lieu of Bubola) and Di Cioccio punctuates it with a disco beat, still being aware of the rhythmical irregularities in the main song.
• In "Sally", the interlude melody, played on acoustic guitars in the original studio version on Rimini, is complemented by Colombo's prominent Moog synth (Colombo arranged the song by himself). In the last verse, De André sings: "Mia madre mi disse: «Non devi giocare con gli Svizzeri nel bosco»" ["My mother told me: «You shouldn't play with the Swiss people in the woods»"], instead of the correct word zingari (i.e. gypsies, used at the time in Italy as a slightly deprecating epithet for Romani people). Years later, he attributed this mistake to his being intoxicated on stage, as he used to drink half a bottle of whisky immediately before each show in order to win his severe stage fright.[5]
• In "Verranno a chiederti del nostro amore", a new piano introduction is added; the orchestration on the original recording, on Storia di un impiegato, is simplified and played on keyboards and synths.
• The choir singing the titular word in "Rimini" is here sung by the entire band - except for Djivas - with Fabbri taking the highest note in a falsetto voice; Premoli adds a new synth solo at the end. After performing the song, De André states that the atmosphere of 1960s Rimini, which inspired him, was depicted much better in «I Vitellini» by Felloni, referring to the 1965 film I Vitelloni by Federico Fellini. The unintentional spoonerism was later referred to by De André as another mistake due to intoxication.
• "Via del Campo", another Colombo arrangement, is led by the guest keyboardist's harpsichord-like synth. He also adds an instrumental interlude in order to modulate between the second and third verses. (In the original recording, on the 1967 Volume 1 album, the modulation is carried out on guitars.)
• In "Maria nella bottega del falegname" the choral parts, representing the townspeople, are sung by Di Cioccio, Mussida and Fabbri in unison, without any harmonizations and, unlike the original recording on La buona novella, obviously without any female vocals. Premoli adds a new synth solo at the end. Before the song starts, Di Cioccio acts out the role of the carpenter by shouting to "Mary" in Milanese.
• Similar to "Il pescatore" on the 1979 release, "Il testamento di Tito", originally from La buona novella, features a full-on rock performance by the whole band, including heavy, prominent drums, acoustic and electric guitars, an electric violin part by Fabbri, a new guitar intro by Mussida and a new synth solo by Premoli. De André's vocal delivery is, again, slightly angrier in tone than the detached attitude of his original vocals on the studio recording.

De André was immediately appreciative of the new slant given by PFM to his songs (especially the older ones), to the point that he kept using identical arrangements to PFM's in all of his subsequent tours, up to his very last concerts in 1998, regardless of the musicians he played with. When asked in 1991 by his longtime lighting and theatrical director Pepi Morgia why he kept using the PFM versions instead of his own ones, De André half-jokingly replied: "Belin,[6] because they're so damn good that nobody's ever done any better - and nobody ever will, most of all myself!"[7]

• Franz Di Cioccio - Drums, percussion, vocals
• Patrick Djivas - Bass guitar, acoustic bass guitar on "Via del Campo"
• Franco Mussida - Electric guitar, acoustic guitar, vocals
• Flavio Premoli - Yamaha electric piano, Micromoog, Minimoog, Elka strings, 12-string guitar on "Avventura a Durango", vocals
• Roberto Colombo - Fender-Rhodes piano, Polymoog, Minimoog, percussion, vocals on "Avventura a Durango"
• Lucio "Violino" Fabbri - Violin, 12-string guitar on "Il testamento di Tito", vocals

(Note: At the time, Colombo and Fabbri were not official members of PFM or any other bands; they had joined the band as guests for the duration of the tour, with Fabbri replacing former member Mauro Pagani. While Fabbri stayed with the band throughout the 1980s and from 1997 to the present, Colombo left them in 1980 to pursue a career as a music producer and arranger, which he still is as of 2023.)

• All songs arranged by PFM (Main arrangers as detailed above.)
• Produced by Fabrizio De André and PFM
• Recorded live in Florence and Bologna with the Manor Mobile Recording Studio from Virgin Records, London.
• Recording engineer - Peter Greenslade
• Recording assistants - Chris Blake, Ken Capper
• Mixed in February 1979 at "Il Mulino" Recording Studio, Milan, by Franco Mussida
• Mix assistant - Franco Pellegrini
• Front-of-house and stage monitors engineer - Piero Bravin
• All photos by Guido Harari

• Remixed by Paolo Iafelice at Adesiva Discografica Studio, Milan.
• Mastered by Antonio Baglio at Nautilus Mastering Studio, Milan.
• "Cooperative" supervision by Dori Ghezzi, Franz Di Cioccio and Patrick Djivas.
• Art direction and all photos by Guido Harari.
• Graphic design by Guido Harari and Roberto Capussotti.
• Thanks to Yukio Takahashi from Sonopress GmbH for providing the original live tapes.

Expert concert photographer Guido Harari took all the photos for the artwork. The front cover of both albums is a shot of the audience in Florence taken from above the stage, without De André (his chair is empty); the photo has an orange-red tint on the first 1979 release, and a light green tint on Volume 2. The gatefold cover of the first album includes more onstage pictures of single members, and the album also features a booklet consisting of black-and-white stills of De André and band members relaxing and having fun backstage. The booklet includes, on its second-to-last page, a poem by De André entitled "Blues di altre date" ["Blues from other dates"], which he never set to music, addressing an imaginary girl and carrying a dedication to Djivas. (According to the musician himself in an interview excerpt within the 2020 film Fabrizio De André & PFM: il concerto ritrovato, De André wrote the poem immediately after he had an angry altercation with Djivas about the latter's playing; retreating himself into a backstage corner, as far as possible from Djivas, De André wrote silently for five minutes, then he tore the page off and gave it to Djivas. Following his explanation, Djivas reads out the poem in his slightly French-accented Italian.[8]) Two short handwritten parodies by De André are used as captions on three photos:

• A picture of De André seemingly asleep on the floor next to a heater is captioned with a parody of the first two lines from "Il pescatore": "Col culo esposto a un radiatore / s'era assopito il cantautore..." ("With his ass exposed to a heater, the singer-songwriter had fallen asleep...").
• Two ugly-looking pictures of Colombo and Fabbri holding their identity cards are captioned with a parody of the first verse from "Delitto di paese" (De André's 1965 translation of "L'assassinat", a Georges Brassens original from 1962): "Non tutti all'ombra di un ideale / sbocciano i fiori del male; / due terroristi malgrado tutto / ci abbiamo anche noi nel gruppo..." ("It's not always in the shadow of an ideal / that the flowers of evil blossom; / even we, in spite of everything / have got two terrorists in our band...")

The 2007 reissue features a reworked sepia-toned band photo by Harari on the front cover, overlaid with "Fabrizio De André & PFM" in a large white type and "In Concerto" in a smaller dark brown type. The booklet within the reissue features all of Harari's photos from the previous issues, and more previously unreleased ones.