alia76

Text by Yellow

Look at the stars
look how they shine for you
and everything you do,
yes, they were all yellow

I came along
and wrote a song for you
and all the things you do,
and it was called "yellow"

And so I took my chance
oh, the things that I've done..
and it was all yellow

Your skin
oh yes, your skin and your bones
turned into something beautiful
You know, you know I love you
know that I love you

I swam across
I jumped for you
oh, all the things you do..
because you were all yellow

I drew a line
I drew a line for you
oh, what a stupid thing to do
and it was all yellow

Your skin
oh yes, your skin and your bones
turned into something beautiful
Do you know I bleed for you?
I bleed for you until I dry out

All these groups that sing with these pathetic little voices make me break out in hives. In Italy, there are twenty thousand groups that do this kind of thing in English, but nobody pays attention to them. Instead, these ones because they're Ameri-cans... even though no one pays them any mind either. But whatever. I've said my piece... was it even necessary?

First of all, thank you for talking about Elia. The review is very nice, but I don't understand the average grade (which I am trying to balance here). Fumaretto, besides being a very interesting author, is also an engaging and well-prepared performer. There are people in the industry, even more prominent ones (who I won't name), who appreciated his qualities right from his early underground works (Pitocco; Buchi). The evolution from "life is short and often stays below" was inevitable but also treacherous. Yet, here we find ourselves faced with a very successful album. Sobriety paired with depth, featuring unconventional arrangements (tu sei pazza) and rich in dynamics. It’s a non-trivial album, which I recommend both to lovers of Eli's quirks and to the more attentive observers of the Gaberian song-theater. And finally: a beautiful analysis of contemporary anguish.

I'll allow myself a little joke too: this is one of those few cases where you miss the 33 RPM format... :-)

well!

If an intelligent person with a critical mind sees a cover like that, they ask themselves, "Why?" and then listen to the album to find the answers. On the other hand, if someone thinks only with their lower instincts, they say, "What a couple of melons," and then listen to Liga. To exaggerate. Also because Edda doesn't need these gimmicks.

Anyway. A few words about the cover. When I first saw the album's preview (without having listened to the songs), I was also a bit taken aback. However, now, after almost a month of listening, I can say that nothing is more relevant to the album than this cover. The album is clearly a tribute to women, to those who are intelligent (for the others, there’s "Iris-e le sue poesie" and other nonsense from Antonacci. Out of 10 songs, 6 are female portraits right from the titles – the links that I fear you haven't even listened to). Edda, in the album, repeatedly changes perspective: he speaks in the masculine, in the feminine, as a mother, as a child. The image of a voluptuous and somewhat concealed breast is the most symbolic thing for an album that aims to look at the beauty of women and return it in its raw essence. All this always from the perspective of an artist who, let’s not forget, was putting up scaffolding until yesterday. But now let’s talk about the music. All the instruments are there. Thanks, kisses.

Yes, nothing much. But I didn't even like Match Point. I was stuck on Husbands and Wives and Hannah and Her Sisters. Different times. However, Cruz gets better like wine. In every sense.

And I welcome you with a nice five. It's true I've followed Donà's career since the beginning and I can tell you that the balance achieved on this record is almost comparable to that, fantastic, of her debut in '97. Over the years Cristina has been courageous (NIdo), classy (Dove sei tu), and efficient (La quinta stagione). However, something in the overall picture has never quite added up perfectly (lyrics aside). Here we are in a territory of classy pop that combines Donà's indie background with the more mainstream history of Saverio Lanza's productions. For someone like me, who loves melody and beautiful singing, this combination has worked perfectly. And then live, the songs gain extraordinary power.