Sedaka Italiano

 

Neil Sedaka entered the top-ten Billboard charts in late 1959, with 'Oh! Carol' which he wrote about Carole King, a song-writer who worked mainly out of the legendary Brill Building on Broadway, New York like himself and Howard Greenfield. A year later, on 26 October 1960, Sedaka placed 'Stairway to heaven' at # 9; two months later, on 31st December 1960 he took 'Calendar girl' to # 4. 

His next single missed the top-ten by a fraction: 'Little devil' got as high as # 11 on 8 May 1961; 5 months later, on 27 November 1961, Sedaka charted with 'Happy birthday, sweet sixteen' at # 6. 

Next year, on 7 July 1962, Lady Luck smiled at Sedaka... he took 'Breaking up is hard to do' all the way to # 1 at the Billboard charts for 2 weeks; three months later Neil reached # 5 with 'Next door to an angel'... and that was about it. It seemed like Neil Sedaka had run out of luck...

1963 was a non-eventful year for Neil Sedaka: 'Alice in wonderland' could get no higher than # 17; 'Let's go steady again' reached # 26 and 'Bad girl' no higher than # 33. 

Times were changing fast... The Beatles were all the rage in the United Kingdom and the US teenagers were biding their time to get into Beatlemania. Neil Sedaka flew to Italy and recorded some Italian songs which became hits almost instantly... 

Actually, Sedaka's Italian career started earlier in 1961, when he recorded an Italian-language version of 'Little devil' titled 'Esagerata' which was well received by the Italian public. By 1963, when his US chart career was on the wane, Sedaka visited Rome and recorded a few Italian songs which became major hits like 'La terza luna', 'I tuoi capricci' and others. 

1961 - Little devil / I must be dreaming (45n1174)

1961 - Esagerata (Little devil) /Un giorno inutile (45n1188)

1961 - Happy birthday, sweet sixteen / Don't lead me on (45n1230)

1962 - King of clowns / Walk with me (45n1281)

1962 - Breaking up is hard to do / You're knockin' me out (45n1294)

1963 - Tu non lo sai (Breaking up is hard to do) / Finchè vivrò (45n1308)

1963 - Il re dei pagliacci / La terza luna (45n1309)

1963 - Next door to an angel / I belong to you (45n1315)

1963 - I tuoi capricci / Non cercare un'altra bocca (45n1328)

1963 - Adesso no / Quando sorridi così (45n1366)

1964 - La notte è fatta per amare / La forza del destino (45n1377)

1964 - Manuela / Lunita consejera (45n1388)

1964 - La luna a fiori / Ricordati ancora (45n1411)

1965 - Non basta mai / Darei 10 anni (45n1444)

1966 - Lettera bruciata / L'ultima foglia (45n1477)

1969 - L'addio / Passo e chiudo... (Atlantic, ATL NP03123)

'Neil Sedaka italiano' was his 1st Italian-language album. Read the liner notes below:

Neil Sedaka può a ragione essere considerato il pionere della moda alquanto diffusa oggi tra i grandi cantanti della musica leggera internazionale: quella cioè di cantare in italiano. Basterà ricordare il successo incontrato alcuni anni fa dalla traduzione di 'Little devil' nell'italiana 'Esagerata', che fu sicuramente uno dei primi passi di questo fortunato cammino su una via che in seguito molti altri hanno battuto.

Se per molti questa esperienza italiana è stata un episodio della loro carriera, per il populare Neil non si può dire altrettanto: ci ha infatti abituati alle sue periodiche visite per cui vederlo registrare nei nostri studi ci sembra la cosa più naturale del mondo.

In questo microsolco sono raccolte, assieme a successi americani, canzoni di alcuni tra i migliori autori italiani. 

Gli stessi autori della 'La terza luna' e de 'I tuoi capricci', Luis Enriquez e Franco Migliacci si son messi al lavoro e, più che mai in forma, hanno scritto due belle canzoni: 'L'ultimo appuntamento' e 'Se c'è un paradiso', particolarmente adatte allo stile e al genere del popolare cantante d'oltreoceano e che sicuramente godranno i favori di quanti apprezzano i due già noti motivi. 

Oltre alle conosciute 'Finchè vivrò', 'Tu non lo sai', 'Il re dei pagliacci', 'Non cercare un'altra bocca' vi sono incise altre tre piacevoli canzoni: 'Quando sorridi così', una musica del bravo Enriquez questa volta su testo di  Fersen, 'Il cielo ti ha creata per me' di Rossi e Pelleschi e infine la gustosissima 'A 16 anni tu vuoi sempre amare' di Bardotti-Ronnye-Grosman. Particolarmente bella la canzone 'Adesso no', dovuta alla fertile vena del nostro Gianni Meccia. 

Sedaka at the Caelian Hill in 1962. 

Lato 1 (A-side)

1. I tuoi capricci (Migliacci-Enriquez) (Look inside your heart)

2. Quando sorridi così (Ofir-Enriquez)

3. La terza luna (Migliacci-Enriquez) (Waiting for never)

4. Adesso no (Gianni Meccia) 

5. Finchè vivrò (As long as I live) (Greenfield-Sedaka-Pallesi) 

6. Il cielo ti ha creata per me (Rossi-Pelleschi)

Lato 2 (B-side)

1. Tu non lo sai (Breaking up is hard to do) (Greenfield-Sedaka-Pallesi)

2. Non cercare un'altra bocca (Greenfield-Sedaka-Gentile) (Walk with me)

3. Il re dei pagliacci (King of clowns) (Greenfield-Sedaka-Ammeni) 

4. L'ultimo appuntamento (Franco Migliacci-Luis Enriquez)

5. A sedici anni tu vuoi amare (Ronnie Grossman-Sergio Bardotti) (It hurts to be sixteen)

6. Se c'è un paradiso (Franco Migliacci-Luis Enriquez)

Singles releases

Eight of the songs on this album saw 45 rpm singles releases prior to being compiled together for this album.

1962: "Tu non lo Sai" b/w "Finche Vivro"

1963: "La Terza Luna" b/w "Il Re Dei Pagliacci"

1963: "I Tuoi Capricci" b/w "Non Cercare Un'Altra Bocca"

1963: "Adesso No" b/w "Quando Sorridi Cosi"

Sedaka Italiano volume 2 

is a 1965 compilation containing a second set of Italian-language recordings by Neil Sedaka. It was released on RCA Victor's Italiana label.

Lato 1 (A-side)

1. La notte è fatta per amare (Another day, another heartache) (Greenfield-Sedaka-Migliacci)

2. Sarà, sarà

3. Viene la notte

4. Mai sarà come te (She'll never be you)

5. Ricordati ancora (Sergio Bardotti-Luis Enriquez)

6. Matto (The dreamer)

Lato 2 (B-side) 

1. Non basta mai (G.P.Reverberi-Sergio Bardotti) 

2. I primi giorni (Bad girl)

3. La luna a fiori (Alberto Testa-Carlo Pes)

4. Darei 10 anni (Carlo Rossi-Robifer)

5. La forza del destino (Carlo Rossi-Robifer)

6. Che non farei (I hope he breaks your heart)

Sedaka plays soccer on Via Appia; at Piazza di Spana steps in 1964. 

RCA Victor – LPM 10181 - released in 1966

Lato 1 (A-side)

1. Ricordando (Fumo negli occhi) (Smoke gets in your eyes) (Kern-Harbach-Nomen)

2. Un'ora sola ti vorrei (Marchetti-Berlini)

3. 'Na sera è maggio (Ctofli-Pisano)

4. Questa notte saprò (Again) (Newman-Cochran-Nisa-Devilli)

5. Estrellita (Ardo-Ponce) (early 20th century Mexican folk song in Italian)

6. Cantando con le lacrime agli occhi (Mascheroni-Panzeri) 

Lato 2 (B-side) 

1. Sorridi (Smile) (Chaplin-Turner-Parsons-Ardo)

2. I' te vurria vasa' (Russo-Di Capua)

3. Arcobaleno (Over the rainbow) (Arlen-Harburg-Devilli)

4. Tu musica divina (D'Anzi-Bracchi)

5. L'amore è una cosa meravigliosa (Love is a many-splendored thing) (Fain-Webster-Devilli)

6. Si, amore (All the way) (Van Heusen-Cahn-Testoni-Abbate) 

the titles in bold are sung in the Neapolitan dialect

Pino Donaggio

 

Pino Donaggio was the great revelation of San Remo 1961 with 'Come sinfonia'... it would take 2 years (1963) for it to be released in Brazil... and another 2 years (1965) for 'Io che non vivo (senza te)' to reach Number One in the South America giant...   

Singles in Brazil - from 1963 through to 1966.

3032  -  Come sinfonia / Sera d'inverno  

3056  -  Motivo d'amore / Il domani è nostro  

3069  -  Quando è sera / Non vado a quella festa  

3105  -  Io che non vivo (senza te) (San Remo '65) / Il mondo di notte  

3126  -  Sulla sabbia / Pensa solo a me 

3148  -  L'ultima telefonata / Sono nato con te 

3163  -  Una casa in cima al mondo / Non ne ho colpa (San Remo 1966)

'Pino Donaggio' MOFB 252 - his Brazilian 1st album. 

liner notes to Donaggio's 1st album; it featured 'Pera matura', covered here as 'Pera madura' by teenager rocke singer Ronnie Cord, 'Vestito di sacco', a fashion statement in 1961, and 'La ragazza col maglione'. 

Donaggio's 2nd album 'Motivo d'amore' - MOFB 276 - the song was presented at San Remo 1964, released in Brazil by Odeon; it featured apart from the title-song, 'Giovane, giovane', 'Archimede Pitagorico' (which had a fairly popular Brazilian cover 'Arquides Pitagórico' sung by Roberto Barreiro) and 'Rita' which was covered by rock band The Clevers.

Pino Donaggio's 3rd album - MOFB 328 - released by Odeon in 1965, looks like a 'Greatest Hits' long-play; 'Io che non vivo (senza te) went to #1 in Brazil and many other countries in the world; Dusty Springfield covered it in English as 'You don't have to say you love me' (I will understand) and so did everyone else and his dog, including Elvis, the Pelvis himself; 'L'ultima telefonata' went to #1 in Brazil and was covered by Agnaldo Timóteo as 'Ultimo telefonema'; 'Sono nato con te' was covered by Brazilian blind-singer Jean Carlo as 'Eu nasci p'ra você'; 'Sulla sabbia' was a Top 10 hit; 'Pensa solo a me' was B-side to 'Io che non vivo' and played well on the radio too; the same with 'Il mondo di notte' (B-side to 'Sulla sabbia'). No reason whatsoever to include 'Saint Tropez' in this album for it had already appeared at Donaggio's first album. 

Donaggio's fourth album - MOFB 404 - featured 'Una casa in cima al mondo' introduced at San Remo 1966 and 'Io per amore' introduced at San Remo 1967; Odeon waited a whole year to release this album for Italian music in Brazil was on the wane. Odeon must have been bonkers for there's no reason to include 'Sono nato con te' which had already been featured in Donaggio's 1965 album. 

'Come sinfonia' (1963); 'Motivo d'amore' (1964).

"Io che non vivo (senza te)' 1965; 'Una casa in cima al mondo' 1966.

'Il cane di stoffa' (1961)

'Il mondo di notte' (1965); 'L'ultima telefonata' (1965). 

'San Remo nel Mondo' revue tours São Paulo - 4 to 9 March 1961

As soon as the 1961 Festival di San Remo closed ('serata finale' on Monday, 6 February 1961) with 'Al di là' (Mogol-Carlo Donida) sung by old-timer Luciano Tajoli and new-face Betty Curtis as the winner, Ezio Radaelli, the Festival big boss summoned Teddy Reno to his office and made him an offer he couldn't refuse. Knowing before-hand Teddy was dead-set in giving up his singing career, Radaelli entrusted Ferruccio Ricordi (Teddy's real name) to take charge of a troupe of Italian singers on a long tour through some countries in Europe, South America and the USA.   

Teddy, who had already been to South America at least 4 times before was excited to be the captain of such a bevy of talents and be able to lead them through lands most of them had never seen. The idea was to put on a show called 'San Remo nel Mondo' which emulated the Festival itself with many of the original artists (Tajoli and Reno himself) singing songs they introduced at the Festival in late January and early February. This was the original idea which had to be tampered with because South American audiences were not interested in new material but wanted to listen to songs they already knew by heart.

'Il Musichiere', 11 February 1961, with Luciano Tajoli on the cover. 'Al di là' was the winner but '24 mila baci', sung by Adriano Celentano was the most popular song shooting to Number One immediately...

These were the 12 finalist songs chosen among 24 in 1961: 'Al di là' was the winner but 'Ventiquattromila baci' was the one which went to Number One in the country's charts. San Remo 1961 revealed or acknowledged many acts that would play major roles in the future of Italian pop music like Milva, Pino Donaggio and Edoardo Vianello ('Che freddo'). Mina who would soon become the greatest Italian female singer - felt underestimated and would never set her feet at San Remo again.

Wilma de Angelis presented 'Patatina' (Migliacci-Meccia) which was also sung by Gianni Meccia; Jolanda Rossin sang 'Libelulle' (Viezzoli-Testa) sharing it with Joe Sentiere; Silvia Guidi introduced 'Notturno senza luna' (Giovanni-D'Anzi) with Aura D'Angelo; Aurelio Fierro sang 'Tu con me' (Amurri-Ballotta) with Carla Boni.

2nd March 1961 - 'Diário da Noite' - One day before 'San Remo nel Mondo' was supposed to open at Teatro Paramount in São Paulo, the advertising was still embarrassingly mistaken. Neither Carla Bonni (sic), Jula de Palma, Mina, Milva or Irma (?) were in the line-up. Claudio Villa actually traveled to Rio and São Paulo but never made it to the stage. 

3rd March 1961 (Thursday) -  'Diário da Noite' reports that due to a delay in the departure of an Aerolíneas Argentinas jet from Paris the troupe had to re-arrange their schedule in São Paulo. They missed a function at Circolo Italiano and their opening night at Teatro Paramount had to be postponed. 

5 March 1961 (Sunday) - 'O Estado de S.Paulo' review of 'San Remo nel Mondo' opening on Saturday, 4 March 1961 corroborates Brazilian reality. San Remo was too far away in a strange continent with a different latitude. Brazilians were not interested in new songs but wanted to hear old songs they already knew by heart. The highlights of the night were Teddy Reno with 'Guaglione' / 'Picollissima serenata' and Luciano Tajoli with standards like 'Anema e core' / 'Vurria'. Brazilians would have to wait for another 2 years to take 'Al di là' to # 1 in the charts when it came back via Hollywood, USA in the travelogue 'Rome adventure' (O candelabro italiano) with Suzanne Pleshette & Troy Donahue. 

The OESP music columnist showed his cultural cringe when he put down songs with a Spanish colour: 'Algumas das músicas mais novas nunca poderão cair na preferência do público pois são composições híbridas em que num rítmo monótono de cha-cha-cha, se fazem alusões às terras de Espanha, ciganos e outras coisas de mau gosto...'  Not happy with that he goes on saying: Jolanda Rossini impressionou pela voz embora também feito sua 'incursão' pela Espanha... Silvia Guidi cantou um 'Flamenco rock' (originally recorded by Milva), inteiramente inexpressivo. The columnist showed his ignorance and arrogance for our very own Celly Campello, Queen of Brazilian Rock, would cover 'Flamenco rock' for Odeon in 1962, actually being the last song Celly recorded before getting married and leaving show business forever. 

6 March 1961 - 'Diário da Noite' - the original line up with such stars as Mina, Milva and Jula de Palma never made it to Brazil, Argentina or the USA. Judging by the size of Teatro Paramount the Italian tour must have made a lot of money for they filled it twice a day: one at 4:00 pm and the second at 9:00 pm. Note the misspelling of proper names like Jolanda Rossini, Tony Dallara anda Maestro Meraviglia pseudonym of Bruno Canfora. Sometimes they also misspelt Luciano Tajoli too.

6 March 1961 - Monday - 'Diário da Noite', a newspaper linked to Emissoras Associadas which signed the revue 'San Remo nel Mondo' trumpets its utter success at Teatro Paramount, 'Associação Brasileira A Hebraica' at Alameda Gabriel Monteiro da Silva on Friday and at the streets of Brás, the Italian inner borough on Sunday, 5 March 1961. 

'San Remo nel Mondo' visit Brás on Sunday - Wilma de Angelis & Aurelio Fierro are 'mobbed' by a crowd of Italian-Brazilians in Brás, a São Paulo inner borough with a huge Italian immigrant presence. Fierro was asked to sing some of his Napolitan songs which he gladly obliged.

6 March 1961 - Miranda Martino & Claudio Villa arrive at Congonhas Airport on Monday, 6 March; Miss Martino would join the troupe on the very Monday but Claudio Villa was nowhere to be seen. Mr Villa must have performed in Buenos Aires only.   

6 March 1961 - 'Diário da Noite' - The revue 'San Remo nel Mondo' ended up opening at 'A Hebraica' on Saturday, 4 March 1961; on Tuesday, 6 March 1961, they sang at Sociedade Harmonia de Tennis in Pinheiros.

6 March 1961 - 'Diário da Noite' - Luciano Tajoli & Wilma de Angelis on the stage of Teatro Paramount. 

7 March 1961 (Tuesday) - 'Diário da Noite' keeps its coverage of 'San Remo nel Mondo'; one can spot Tony Dallara at the centre of the table in some restaurant Claudio Villa & Miranda Martino arrived on Monday on a domestic flight from Rio de Janeiro, and were visibly shaken by an accident with an Iberia jet they witnessed at Congonhas Airport. Both singers went straight to Hotel Jaraguá where they other members of the troupe were.

7 March 1961 - 'San Remo nel Mondo' finally opens at 'A Hebraica' on the Friday. From left to right: Aurelio Fierro, Teddy Reno, Wilma de Angelis, Luciano Taijoli, Silvia Guidi, Jolanda Rossin, orchestra conductor Bruno Canfora and Miranda Martino. 

7 March 1961 (Tuesday) - 'San Remo nel Mondo' is shown on video-tape at 8:00 pm on TV Tupi and at 10:30 pm on TV Cultura; at 9:00 pm they perform live at Teatro Paramount. 

7 March 1961 - Night-life OESP columnist Mary Wynne says in her daily column 'Carrossel' the 11 artists of the 'San Remo nel Mondo' revue were feasted in many places in São Paulo during their 7-day stint: on Saturday, 5th they were honoured with a formal lunch at 11:00 o'clock at jewelry H. Stern's lounge; after the performance at Teatro Paramount they were giving a dinner by Mr Rogerio Fasano at Fasano's Winter Garden in which Vadeco-Odilon - the best musical combo in town - offered a special show. 

8 March 1961 - Wilma de Angelis & Miranda Martino on the front page of 'Diario da Noite.

Wilma de Angelis on the covers of Il Musichiere; 31st December 1960 & 29 April 1961.  

8 March 1961 - 'Diário da Noite' - Silvia Guidi on stage at Teatro Paramount. 1. Teddy Reno; 2. Luciano Tajoli; 3. Aurelio Fierro; 4. Tony Dallara; 5. Fantanicchio; 6. Wilma de Angelis; 7. Jolanda Rossin; 8. Silvia Guidi; 9. Edna Montanari; 10. conductor Bruno Canfora; 11. Claudio Villa. Soon after the last concert tomorrow night at Teatro Paramount all will be going to Boite Bambú to unwind and have a little fun.

8 March 1961 - 'Diário da Noite' social-column: Fantanicchio, being the youngest member of the crew was one of the most popular among the audience. He sang '24 mila baci' doing a Adriano Celentano-Elvis Presley-routine which broke the ice from slow ballads. 

Fantanicchio's rock'n'roll routine was really appreciated by the audience. 

9 March 1961 (Thursday) - 'Diário da Noite' front page ad of 'Sanremo nel Mondo's final curtain.

9 March 1961 - 'Diário da Noite' Radio & TV section: 'San Remo nel Mondo' last performance in São Paulo, started at 9:15 pm and ended at midnight; two and three quarters of an hour.

Silvia Guidi & Jolanda Rossin at Shangai Amusement Park in São Paulo.

Jolanda Rossin was born in January 1941, in Alessandria. In 1957 entered 'Voci e voltli della fortuna', singing competition which made her known to maestro Gian Stellari who believed in her talent. 

Edda Montanari signs autographs to Argentine fans in Buenos Aires.

Teddy Reno watches while Luciano Tajoli gives the golden key of New York's Carnegie Hall to Bertolini, the director of Casinò di San Remo. 

Teddy Reno & Luciano Tajoli at a press conference in New York, March 1961. 

Back in Italy on 6 April 1961: from left to right: Miranda Martino, Silvia Guidi, Fantanicchio, Wilma de Angelis and Tony Dallara. 

Fantanicchio's father welcomes his son and wife who accompanied her son during the 40 days they traveled through Europe, South & North America.

'Il Musichiere' (15 Aprile 1961) long article about 'Sanremo nel Mondo' revue which started in Paris, then crossed the Atlantic Ocean to São Paulo, Brazil, Buenos Aires, Argentina, New York and Chicago, U.S.A. 

Tony Dallara claims singing at New York Carnegie Hall brought him more excitement than winning San Remo on 30 January 1960 with 'Romantica'. I didn't sing any songs that reminded the expats of Old Italy but 'Un uomo', 'Romantica' and 'Come prima' and the audience was widely receptive. I was also surprised to be asked to sing 'Ghiaccio bollente' and 'Cinzia' which I thought were only known in Italy. Perry Como came to see us and took me to NBC to show us how colour TV works.  

Fantanicchio dances with Miranda Martino at the farewell-party just before they flew back to Italy. Luciano Tajoli tells 'Il Musichiere' he had kidney pains after the Carnegie Hall presentation on 25 March 1961, and had to stay back at the hotel in New York. I placed a long-distance call to Chicago's Opera House to tell its manager why I had to stay back. He asked me if I'd like to ringa at 10:30 pm while the show was on... and then I told the audience through a telephone in N.Y. I was really sorry I wasn't there. I was asked to sing a little and I started with the first strains of 'Al di là'...the applause of the Chicago audience made me cry. 

Wilma de Angelis was amazed by the sheer number of Italian immigrants that populate the New Continent. In Buenos Aires she felt like she was back in Italy for everyone spoke Italian everywhere she went. In restaurants especially they spoke Italian non-stop...and when we left they sent regards for their relatives still living in Italy. 

Teddy Reno considers the importance of music to Italians in general: the tour of so many Italian singers together may not have brought in millions but set the stage for various acts to sign advantageous contracts with Brazilian, Argentine and US night-clubs and TV stations. Luciano Tajoli, Aurelio Fierro & Claudio Villa signed with TV Tupi in São Paulo and Rio de Janeiro. Mr. Reno adds that it was an honour to be received officially by President Arturo Frondizi at Casa Rosada, himself the son of Italian immigrants from Gubbio who arrived in Argentina in 1890.

Aurelio Fierro says he'll never forget the warmth he received from Naepolitans living in São Paulo, Brazil when he visited Brás. It seemed like I was in Margellina, valets, pizza cooks, the same clothes hanging from balconies and children playing on the streets. Mr. Fierro declares the only sad instance in the tour was Claudio Villa's abbandonment of the troupe claiming he wouldn't fly the rest of the tour in a tourist section. He was probably jealous of the acclaim and applause most of us singers got from the audiences.

Silvia Guidi says she had never fainted in her life, until she arrived in São Paulo and saw an  enormous crowd of people running towards them at the Airport. She fainted dead away. Afterwards she got used to signing autographs and was at peace with any crowd. 

Miranda Martino missed the Paris leg of the tour and only joined the troupe in São Paulo: "In the U.S.A. people asked me to sing 'Maria Canaria' which I had recorded 5 years ago at Fonit. At first I thought it 'strange' but then I obliged them and I was happy!" Miss Martino alongside Teddy Reno and Tony Dallara appeared at a musical show on NBC TV. 

Fantanicchio says he learned how to be a better singer during the 40 days he spent among so many cognoscenti. "In New York I sang a rock'n'roll number and was afraid it might be seen as ridiculous but to my surprise I was cheered by the crowd which gave me a good feeling. I never forget the night I spend wandering in Harlem".

Edda Montanari tells a tale about her impression of American Black people at a certain night club she went to. In the end the Italian singers joined the Afro-American people in some songs accompanied by a Black pianist. 

Jolanda Rossin was pleasantly surprised in Buenos Aires when she noticed Argentines still remembered her from her first visit a year before when she won the First Festival of Italian Music in Argentina.

Luciano Tajoli (*17 April 1920 +3rd August 1996) had the honour to meet Nat King Cole (*17 March 1919 +15 February 1965) in the flesh in New York.