Annie Lennox
Medusa

THE REVIEW

Among the various female artists who have truly changed (or made) the history of global music, many have become recognized for their talents and qualities that allowed them to impose and "push out" the female figure even in the musical universe. Some names? Madonna became the queen of pop for her audacity and disregard for the rules; Gloria Gaynor became a symbol of diversity (due to her skin color and the fact that the homosexual community appreciates many of her songs); Donna Summer was the first to make her way onto the dance floors; Tina Turner was the panther of American shows with her unstoppable voice and wild moves. And the list goes on (I hope others will forgive me for not mentioning their favorite singer.....).

Instead, there is someone like Annie Lennox who has chosen not to jostle with her colleagues who, besides their voice, have centered their careers on their bodies, their shows, and their outward image. Yet nonetheless, even the Priestess of Pop has managed to become a sufficiently recognizable ICON. And not only thanks to her refinement, her very elegant demeanor, and her androgynous charm. But also thanks to a certain substance. Thanks to her artistic side, which for some may not be a source of envy for other international singers. But an artistic side that everyone will agree with me if I say that it is "unique in its kind".

Introducing the album "MEDUSA" after this brilliant description might almost seem like a suicide mission, since it is a work that contains 10 rearranged covers by Lennox herself. Many underestimate and snub artists who very easily build a career on pieces already composed in the past (Marylin Manson, Celine Dion, etc.). But before criticizing a movie, you need to watch it. And before criticizing an album, you need to listen to it. For this reason, I'll give a brief description of this album that, much like the many tentacles of the Greek monster Medusa protruding from its head, shows the various facets, the thousand personalities of a woman who somehow makes these songs "her own."

The album opens with one of Lennox's greatest hits: "No More I Love You's", which, as I always say, "you don't belong to the human race if you don't know this song...". Certainly, the relentless dopopopo dododo and the use of the track in the film Vacanze di Natale 95 have concealed for years the macabre and psychopathic atmosphere of this melancholic song, leaving room for a one-hit summer catch. I invite you to watch the beautiful video of the song (partially set up by Lennox herself) to better understand its meaning...

With the second track, "Take me to the river", Annie takes us into a 70s rock atmosphere, staying quite faithful to the official version by Al Green (indeed, perhaps Lennox has made it less intense and less "black" compared to the original).

Although the original tracks covered by Lennox on this album are mostly unknown to the contemporary general public (at least in Italy), with the third song Annie truly dares and takes on the task of interpreting "A whiter shade of pale", a historic song by Procol Harum that has been defined as one of the most beautiful songs of all time according to the prestigious Rolling Stones magazine. The arrangement is more modern, and Annie's voice fits perfectly.

"Don't let it bring you down" (by Neil Young) redone by Lennox seems like almost another song, despite the excessive use of a pop base that at times dims the magic created by the interpretation of who wrote and sang it before her. The song will be used in the film American Beauty.

With "Train in vain" and "I can't get next to you", Lennox dons the garments of two 70s pop/rock groups (The Clash and The Temptations) with an ambiance that maintains a rhythm typical of those years defined as golden for rock 'n' roll.

The very long "Downtown lights" (by Blue Nile) embarrassingly presents a base identical to the original, but probably the futuristic sound of the song couldn't tolerate too drastic changes.

"Thin line between love and hate" (by The Pretenders) announces that we are close to the conclusion, giving us with its pop/soul rhythm a moment of respite that precedes a song by a music legend.

Even the king of reggae Bob Marley appears among Lennox's favorite artists, as she "steals" the sun-soaked "Waiting in vain" and slightly cleans it of typically reggae instruments, making it her own with her pop voice.

The last tentacle of the album, "Something so right", is probably the most heartfelt in terms of interpretation: so heartfelt that Lennox will perform it with the same author of the song (for the record, Paul Simon) in a re-edition of the album.

This is the musical universe presented in this beautiful album. An album that has always accompanied my days for its variety of musical genres and, naturally, for this "Medusa" of the 90s who has known how to pay homage to artists she undeniably appreciates. And by presenting tracks that did not build the name of these artists but rather represent their more intimate side, more unknown to the general public. A side that Lennox has seized without much ado and made her own.

I would like to conclude precisely with a phrase that Annie writes in the booklet of this precious work just described:

"To the authors of these beautiful songs, to whom I offer my deepest respect."