01 - 'O Marinariello
02 - Reginella
03 - Maria Mari'
04 - Core 'Ngrato
05 - Pusilleco Addiruso
06 - 'O Sole Mio
07 - 'A Serenata 'e Pulicenella
08 - Voce 'e Notte
09 - I' te vurria vasa'
10 - 'O Surdato 'Nnamurato
11 - Torna a Surriento
12 - Guapparia
13 - Sarra' chi Sa'
14 - Piscatore 'e Pusilleco
15 - Santa Lucia Luntana
16 - Lacreme Napulitane
17 - Marechiaro Marechiaro
18 - Tammuriata Nera
19 - Dduje Paravise
20 - 'Na Sera 'e Maggio
21 - Dicitencello Vuje
22 - Simmo 'e Napule, Paisa'
23 - Semplicita'
24 - Munasterio 'e Santa Chiara
25 - 'O Ciucciariello
Extremely important in defining what makes a Neapolitan song is the matter of language. All such songs are written and performed in Neapolitan dialect. They are never translated into standard Italian (although there are versions of many of the songs in other languages). Anyone in Italy?Neapolitan or not?who sings these songs has to sing them in Neapolitan. The matter of dialect has not prevented a few non-Neapolitans from writing dialect lyrics for the Neapolitan song.
Biography of Roberto Murolo (1912-2003)
The son of Lia Cavalli and Ernesto Murolo, poet and author of many classic Neapolitan songs, ("Napule 'ca se ne va" (Naples leaving home), "Piscatore 'e Pusilleco", "Nun me scetā") Roberto took up the guitar as a boy. Before he was twenty-five, he joined the vocal group Mida Quartet (inspired by the American group The Mills Brothers) with whom he toured Europe between 1939 and '46, performing a repertoire of both international and Italian songs.
At the end of the war, he returned to his native Italy, where he took up performing at the Tragara Club in Capri. His stripped down, whispered 'chansonnier' style, based around a sultry vocal accompanied only by guitar, represented a significant modernising of the local song tradition, which was sure to make converts (amongst whom, a name familiar to everyone, Fausto Cigliano). The response was immediate. His first 78's, helped by much airplay, met with great success, and triggered a successful movie career for Roberto, who, by way of example, also appeared in Raffaello Matarazzo's films "Catene" and "Tormento".
His interest in the Neapolitan repertoire lead him to do extensive research on the subject, culminating in the issue, between 1963 and '65, of 12 LP's of "Napoletana:- A chronological anthology of Neapolitan songs", followed at the beginning of 1969 by a series of recorded monographs on the work of poets of the stature of Salvatore di Giacomo, Ernesto Murolo, Libero Bovio, E.A. Mario and Raffaele Viviano. Murolo's vast repertoire now included masterpieces such as "Munasterio 'e Santa Chiara" (Santa Chiara Monastery), "Vierno"(Winter), "Luna Caprese"(Capri Moon), "Scalinatella"(Steps), "Tammuriata nera"(Black Tammuriata), "'Na voce, 'na chitarra e 'o ppoco 'e luna"(A voice, a guitar and a little moonlight), but as a consummate composer, he also performed his own songs, from "'O ciucciarello"(O little donkey)(1951) to "Torna a vucā" (1958), from "Sarrā... chi sa" (It will be... who knows)(1959) to "Scriveme"(Write me) (1966).
Following legal setbacks, his output suffered a certain cutback, and it wasn't until 1990 that he finally returned to the recording studio with the album "'Na voce, 'na chitarra" where he performes songs by other singers :- for example Paolo Conte's "Spassiunatamente", and Lucio Dalla's "Caruso". It was the start of a second flowering of youth for Murolo, which saw him duet with Mia Martini ("Cu'mme") on "Ottanta voglia di cantare" and on "Don Raffae" with Fabrizio de André, while on "Tu si' 'na cosa grande" (You're something great) (1994), a tribute to Domenico Modugno, it is Amalia Rodrigues who accompanies him on 'Anema e core' (Heart and Soul). He continued his intense concert schedule until 1997, when he recorded his farewell work "Ho sognato di cantare" (2002), eleven love songs recorded with songwriters and musicians from his home town of Naples.
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