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Rating: Here we are. Some preliminary information: the Bud Spencer Blues Explosion ironically (but not too much) reference the more well-known Jon Spencer Blues Explosion and very ironically the legendary Bud Spencer; they are a duo from Rome that started about a decade ago and whom I consider among the few Italian bands capable of riding international trends without looking pathetic or cartoonish. The genre is, of course, blues, which is mixed with a good dose of garage and fuzz sounds, with a hint of metallic heaviness (especially live) and also some electronic influences. The drums range from punkish patterns to much more relaxed and almost rap-like rhythms at times, it's a nice mix that I find strange but effective.
The concert was enjoyable (the third I've had the opportunity to see) and they seem very changed compared to previous versions. Adriano Viterbini, guitarist and frontman, is a real ace; he plays the guitar with tender violence, caresses it, and tugs at it but is always very clean; he is one of those who don’t pretend, when he was little, he made a devilish pact with the gods of the six strings and every time he plays, possession emerges in its greatest splendor! During the concert there was a technical problem but the Bud Spencer went a good half-hour past curfew, moreover returning to the stage twice, acclaimed by us who were dazed by their performance. The venue is small, the mosh pit involves almost everyone and those right by the speakers the next day have to use a "cornetto" to hear the world, but it's nice also and especially like that, you know.
The songs presented were mostly from the latest album "Vivi muori blues ripeti," released recently; the influences are different compared to previous works: in my opinion, they have taken a turn that nods to the Black Keys on one side, to Ty Segall of "Emotional Muggers" and "Freedom Goblin" on the other, but also, and perhaps more than the others, to Jack White from "Lazzaretto" onwards. And it's precisely by following these coordinates that I propose the listens: "E tu?", a single released a few months ago to bait us, works pretty well: it has a damned riff that bubbles fuzzily and which gives me goosebumps; for the rest, aside from the solo, it's rhythmed along the lines of a certain electronic style that's quite engaging. Then there are indeed the blackeysian "La donna è blu," the lazarettian "Dove," and tracks like "Allacci e sleghi," a real stroke of genius in my opinion, that links this syncopated and pointed sound to a fully electronic atmosphere. The cover of "Hey Boy Hey Girl" really thrilled me, it's like standing on the ocean shore and getting hit in the face by a wave of "electronic guitar" and then feeling the undertow and knowing that soon another one will return, with this incredible electro-guitar rise. There was also room for a pseudo-psychedelic and improvisational drift in the second part of "Calipso," a track that closes the album and lends itself excellently to this dynamic; and finally the old hit songs like "Mi sento come se" and "Hey Boy Hey Girl" indeed.
The lyrics are not that exciting, it's true, I still recommend seeing a live performance if you have the chance, to understand, because I'm the first to admit that the recordings do not do justice to their actual capability. I described them through other groups not to belittle them, but because, in fact, they are not revolutionary and do not even break the critics, in short, they are neither a turning point nor will they create a music scene, but the genuine violence with which they slam all this noise in your face live is an experience that leaves a mark.
Additional information: they toured with Verdena and the drummer (Cesare) sometimes in live performances seems like Luca Ferrari pounding the drums, evidently there's an influence. They are labeled La Tempesta and some tracks are written by Toffolo, who sings in the track "Io e il demonio." Viterbini has collaborated with and collaborates with everyone, Marco Fasolo (Jennifer Gentle), Verdena, someone from the Nine Inch Nails in a solo project (I can't remember the name, have mercy) and many others! A polymath of the instrument, he is truly a musician of absolute value, and just for this reason alone he was worth reviewing. Ave DeBaseriani!
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