Enzo Carella
Ahoh yé nanà

THE REVIEW

Fifteen years ago, Enzo Carella, who that year also participated in Musicultura, where I met him, released the last work of his career and life: Ahoh yé nanà. Eleven new tracks, which arrived 12 years after his last studio effort and a whopping 30 years after that striking debut, Vocazione.
It was all published by Sony BMG, after five occasions with the label It and once with Sfinge by RCA italiana.
Just like the 1995 album, Se non cantassi sarei nessuno, which began with a convincing trilogy, this one also starts in the best way with the single, which had a certain impact, "Oggi non è domani", which alludes to the loss of sense that tomorrow will bring, followed by the amusing "Basta il pane", which immediately sticks in the mind, and "Lavorare no", another decidedly strong track, which also features all three interjections from the title.
"Tramonto" and "Estrella misteriosa" seem to pair up, but provide the work with two moments of "respite" before the driving blues of "La spina", where the verb "spensierare," so dear to Lino Panella, reappears, as it was popularized in the much more famous "Le cose che pensano", the first song of the new Battisti.
The seventh track, although both the back and booklet of the CD erroneously list "La canzone su di me" ending with "Pierina", is clearly the latter, a pseudo-romantic track always in the surreal style of the author of the lyrics. It connects well with "Bagnino", which is enjoyable in its portrayal of the protagonist.
Musically, the female choruses by Karima, Cristina Migliaccio, and Daniela Perticarà characterize various parts of the album, as the De Grossi sisters and Daniela Velli did in the mid-nineties record.
"La vita è un'altra", upbeat, stands out as one of the best on the tracklist, and the concept of life, as if to form a continuum, also returns in the following "Banalità".
The album and Enzo Carella's artistic journey close with "La canzone su di me", where the song, like a girl, says no, as if to give credit once again to the "treatise on dislove" and the dismantling of the song form to which Pasquale Panella had adeptly dedicated a decade with the Partner from Poggio Bustone.

Enzo Carella, a Roman, showcased his entire worth in two trilogies, one in vinyl, the other digital, much like another cult author from the singer-songwriter scene, fellow Roman Flavio Giurato.