Tracks (listen) 1. Coppola Rossa Tradizionale/elab. A. Paliotti Gianni Lamagna 2. Valse Musica di A. Paliotti/testo di Luciano Giannini Brunella Selo 3. Bambeniello Tradizionale/elab. A. Paliotti Luciano Catapano 4. Sanguetta Musica di Antonello Paliotti/testo di Raffaele Viviani Lamagna Selo, Giulivo, Catapano 5. Pacchianella d'Uttaiano Tradizionale/elab. A. Paliotti Gianni Lamagna 6. Nada prā dizer Testo e musica di A. Paliotti Giulivo/Selo 7. Figliole d'Antignano Musica di Antonello Paliotti/testo di Ernesto Murolo Lamagna, Selo, Giulivo/ Catapano 8. Mas una cancion A. Paliotti Lello Giulivo 9. Parlami d'amore Marių Musica di C. A. Bixio/ testo di Ennio Neri Luciano Catapano 10. Curre, curre guaglio' Persico - Jovine- Messina Gianni Lamagna 11. Ce avimm"a sullevā Musica di Antonello Paliotti/testi di Raffaele Viviani Lamagna, Selo, Giulivo, Catapano

The artist writes about this work:
Coppola Rossa (red cap) is an autobiographic record which takes its name fron a theatre play with the same title.

The play represent the world to which I have been a witness: the world I inherited from my ancestors, the world of war and poverty as experienced at home - unbelievable as it may seem - of those wanting to live and who found the strenght to laugh without second thoughts. Technically, Coppola Rossa is a study of the song as a musical form. It can be interpreted from at least two viewpoints: at first hearing, that of folk tunes, traditional or not. At a second, more in-depht approach, that of the classical processing of material taken from the popular tradition, or at least from my personal tradition: that of somebody in his forties, who grew up with Schoenberg, The Beatles, Debussy, Canfora, Mingus, Berg, Mina, Rota, Chaplin, Satie, Iviani, Brecht.... And so, Coppola Rossa is a tribute to these monuments, which, although intheir death throes, I still feel alive.

There is also a clear South-American influence, once again autobiographic. In South America lies that part of the Third World which we carry inside of us. Our representation of its misery becomes the material for pure entertainment- a divertimento: laughter brimming with bitterness, weeping tainted by a sardonic grin, all a big sneer.

Our blasphemy sets out from the singers of the past, starting with Pietro Mazzone, to end, in the age of modernity, with the musica of Raffaele Viviani with the unemployed dockworkers of Liverpool, with Thelonious Monk, with the unpaid labour, shamelessly wrenched out of the ghettoes of Warsaw.

Berlin, Karachi and Borgo Sant'Antonio Abate in Naples: with our ancestors, so uselessly honest, who we claim the humilty to resemble.

It is to those ancestors that we would like to dedicate this blasphemy: to all those who taught us about a world that never existed. - Antonello Paliotti (English translation by Mike van der Vijver)