For me, 1997 wasn't just the year of Sanremo: it was also an important year personally. Something changed in my life: for example, transitioning from middle school to high school, with the mental changes that the high school environment brought me. That summer, I followed three of the protagonists of the Sanremo festival: Paola & Chiara, Cattivi Pensieri, and Dirotta su Cuba. Dirotta su Cuba also had a beautiful song, a bit emotionally dry compared to Cattivi Pensieri, but very well made: especially with the presence on stage of a famous internationally renowned harmonica player.
"E' andata così" lasted quite well within me, but a bit less today than the song performed by Cinzia Farolfi and her companions. As I might have mentioned in the Cattivi Pensieri review, Simona Bencini's group (well-dressed at the festival and with a good level performance) was a group I felt so-so about.
When "Jesahel" arrived, the cover of Ivano Fossati and Delirium's song, I listened to it with distracted interest, but today I notice the energy of this song and how, at the "Festivalbar," Simona's performance was engaging. Three years after the last work with Rossano Gentili and Stefano de Donato, the friends remained as always.
It's a pity then that I felt the Sanremo songs were no longer considered, in favor of the summer ones. Maybe because I followed the festival with more involvement with my family, compared to the Festivalbar which, if I could, I watched alone. Today, I don't watch either anymore.
Now that I have in hand the best of the three Florentines, I enjoy some of their jewels: "Gelosia" and "Ridere". Even the rest is not bad.
Their sound is fresh and international, and the blend with Italian light music creates an overall pleasant mood that is appealing, but in the long run tiresome.
It’s easy to talk about “mimicry,” when in fact, the capabilities of the musicians, along with the harmonious vocals of the singer, appear credible and well-structured.