Eros ramazzotti
Tutte storie

THE REVIEW

Oh my god! Ramazzotti! Who? Luca? Oh yes, the one who needs to see an ear specialist! And what does he do? Reviews the Simple Minds! What a sacrilege! These people usually listen to Masini, Pausini, D'Alessio... But now I'm going to read what he wrote, actually no... I'll just write! I'll make fun of him because I feel like it! How can you listen to Ramazzamorti or Ramazzacazzi!

Yes indeed... against everything and everyone, here I am to give you and myself some annoyance (sorry, but you really asked for it!) with yet another review of the national Eros, which makes us so ashamed abroad. And do you know why I do it? Because I just read a review on Mr. Aiuola Grignani and I was convinced: I have to do it!

Well, let's start by saying that this album is and will probably remain a striking episode in Eros's career, let's start with the heresies: "Tutte storie" comes out after a period (quite long) of pause where Ramazzotti was dedicated to sporadic collaborations and the release of a (commendable) live album. Someone expected an album that followed the path outlined by the previous albums.. And instead?
And instead the album you don't expect, perhaps the most complete, the most played and the most engaging. If "In ogni senso" reached the peak from a melodic and expressive point of view, "Tutte storie" reaches the peak from a musical point of view. Perfect arrangements, incredible musicians, never predictable melodies, and direct and mature lyrics make the album have an international flavor more than ever. Anyone who hates Ramazzotti's voice could just listen to the album's tracks to realize how over-the-top this work can be. The sequence "Cose della vita", "A mezza via", "Un'altra te" and "Memorie" is striking. The rhythmic section of Steve Ferrone and Tony Levin stands out above all, making every single note vibrant. If also on guitars there are people like Phil Palmer and Steve Farris, things get even more interesting.

The album is packed with "euphoric" and "sparkling" moments as in "Non c'è più fantasia" (almost a self-confession "...and you too, saint of Author, who shot down from your altar, don't know what to say anymore, the words are almost over.. especially the fake ones") and "L'ultima rivoluzione" ("Before trying to heal the world, there's a need to change ourselves first"). There's great romanticism in "Favola" and "Un'altra te", while "Un grosso no" with gospel accents is one of the most intense moments of the entire album. There's room for a good dose of nostalgia with blues cadences in "Nostalsong", with the beautiful sax solo by Brandon Fields, and animalist themes are touched in "Silver e Missie", with Ferrone's drums and Farris's guitar taking charge. "Esodi" feels the influence of contemporary war events (at the time) in the former Yugoslavia ("Among the ruins, an old man remained there - with his almost stale sorrow because - too many tears have already fallen - create emptiness inside").

Objectively speaking this album can be considered the end of a (positive) chapter in Ramazzotti's career with the separation from Piero Cassano as co-author. From there, the slow decline of an artist who could and should have given something more (even though the premises of "Dove c'è musica" were very good), increasingly caught up in gossip and sentimental affairs that did nothing but ruin his image and creative drive. Amen