Eros Ramazzotti
Perfetto

Thirteenth studio album by Eros Ramazzotti, "Perfetto" presents itself as a highly homogeneous record, with few openings towards other genres. Fourteen unreleased songs, mostly in full Ramazzotti style, that sentimental nature that has always characterized him, but which, alas, after three decades becomes highly predictable. "Alla fine del mondo" and "Il tempo non sente ragione", the two songs that open the album as well as the two opening singles, end up being the best. In the former, there's an opening to a genre essentially foreign to the Roman singer-songwriter, country. The video, the one that plays on RadioItalia twenty times a day these days, comments well on the song, characterized by an "adventurous" arpeggio. You see a young cowboy intent on winning back his elementary school love. However, it seems that the video takes over from the music, it's the music that comments on the video, and this is especially true for "Il tempo non sente ragione", a markedly Ramazzottian song enhanced by a beautiful video where words alternate, amidst autumn leaves, people passing with umbrellas, and a sensual sax solo, with an equally sensual female saxophonist. But the rest? The rest are twelve somewhat bland tracks, without any particular peak, and represent a decalogue of clichés about love and summer, like "L'amore è un modo di vivere" and "Un'altra estate". Fairly predictable titles with equally predictable verses and choruses. Eros then accentuates his pronunciation of the last syllable of verbs, creating a repetitive effect: "il tuo amore mi salveRA'", "e passando lo rubeRA'" are just two examples, but the entire album is infested with them, tackling love as a couple's discourse but also as love for children, as in "Rosa nata ieri," "Vivi e vai," and "Tra vent'anni," the concluding song. Among the lyricist collaborators are big names of the Italian mainstream, Mogol, Federico Zampaglione, and Gino De Crescenzo, aka Pacifico, while musically there are collaborations that open Eros to an American discourse: drummers Vinnie Colaiuta and Jim Keltner, guitarists Michael Landau, Lawrence Juber, and Tim Pierce, and bassist Sean Hurley. The album was recorded at Henson Studios in Los Angeles. Therefore, a typically Italian taste was joined by a decidedly made in USA way of making songs. Eros Ramazzotti himself is the producer of the work, assisted by colleague Claudio Guidetti,

In short, a typically Ramazzottian album, Italian mainstream and "big American production." An album that will break through on a commercial level, but from a strictly artistic and technical point of view, cannot be defined as its title.