Rimini is Fabrizio De André's first record for Ricordi, and the first of the two co-written with Massimo Bubola . If in the preceding album, V.8 , De André signaled a turn from the modes of European 18th century literature to surrealist poetry, here he changes another frame of reference, from Europe to the Americas. De André moved to the island of Sardinia in 1976, bought an estate, and became a farmer. The change in his lifestyle, as well as the fact that he finally started performing live (it seems this became necessary in order to finance his new home), affected his music in several ways. On one hand, he developed an interest in local dialects and realities that would dominate the later part of his career, as shown by the inclusion of a number in Sardinian, "Zirichiltaggia." On the other, he seemed to have equated, in an imaginary sense, his moving to the country with a mythical trip to the New World, most specifically the American West. For instance, the terrific "Coda di Lupo," one of De André's most political songs, surprisingly uses the Native American Sioux as a metaphor to talk about the weakening of opposition groups (in this case the Italian trade unions and parties of the left) by treason, corruption, or violence. Perhaps even more surprising are the American folk and country music influences of the song, very reminiscent of Johnny Cash 's sardonic tales. In fact, the entire record often has a definite Tex-Mex flavor, thanks to the prominent use of fiddle, harmonica, mandolin, and ocarina, as well as male and female background vocals -- rarely employed by De André previously. The most obvious examples of these new leanings are the beautiful "Andrea," which sounds as if lifted straight from an Ennio Morricone Western score, and of course the excellent Italian version of Bob Dylan 's "Romance in Durango." Reportedly, Dylan liked the cover so much that he sent De André a personal thank-you letter.