Eugenio Finardi
Anima Blues

First and hopefully not the last blues album for the Milanese singer-songwriter who took his first steps in the vibrant local scene with a band called “Il Pacco” precisely through blues.

“Anima Blues“ has the merit of being an album of original songs and the happy realization by the reviewer to rediscover that simple, sometimes a little naive Finardi of the early days, who doesn’t hide his passionate love for this or that, without too much concern. Eugenio Finardi, who has by his side the great Pippo Guarnera on the Hammond organ and piano, a musician who makes a difference, Massimo Martellotta who shows so much sensitivity, and Vince Vallicelli on the drums doing his job, moves within the realm of classic rock blues, without the pretension of having to rediscover some root or unknown sound. The singer-songwriter’s voice does the rest and especially the writing of the songs that seek and frequently find original outlets as in “Pipe Dream“ with its unusual melodic line. Imagine John Hiatt’s path and – for those who don’t know Finardi and his music – the comparison might serve as a fitting one.
But more fitting would be to now listen to the early albums for Cramps by the singer-songwriter to try to rediscover more than terms of comparison with others (more could be made) that self that Finardi had long sought in blues, a music he has never forgotten (we recall him in 1980 performing live “Hoochie Coochie Man”, elbow to elbow with his hits of the time and Bob Marley’s songs).

There is a very positive atmosphere in “Anima Blues“ and for someone like Eugenio Finardi who started making records very early, this is also some good news worth mentioning.
From the Gospel to Ry Cooder’s style in “Holy Land“, to pleasant solutions like in “Long Way Home” with its West Coast flavor, up to the Waits-like “Estrellita” in “Anima Blues“ you won’t find innovations but good music. Don’t forget to also listen attentively to the beautiful instrumental piece by Martellotta “Marta’s dream“ which highlights the qualities of the multi-instrumentalist who puts a lot of energy into the album.
In “Anima Blues“ by Eugenio Finardi, followers of Italian blues will find answers as to why there is flatness and incongruence in certain Italian blues records. The difference - and “Anima Blues“ explains it excellently - is made, in every musical genre moreover, by the songs, by the original compositions, a theme often addressed in the pages of “Il Popolo del Blues“ whose solicitations reach local blues lovers also from important international Blues figures such as Marshall Chess.
Finardi took the suggestion to heart. Rather than endlessly repeating someone else’s repertoire (also because there are artists like John Hammond who do it excellently, always finding new angles), he has carried forward his music with consistency. In the notes accompanying the album, Finardi states that "Anima Blues " is the album he wanted to make for forty years, and we are happy he has finally succeeded.

An album like this would have done even more good for Italian blues a decade ago but it’s never too late, and let us hope Finardi has the courage to take it around even in the most underground situations, where there is more need for artists of his caliber to make their presence seen and heard, just like Muddy Waters did in the golden years, alternating the big European festivals stages with the smoky juke joints of the Southside, always sure of carrying out an operation that would help Blues grow in authority and respect: just imagine if this blues has an Italian soul!