Googoosh
Ejaz

Generally, I don't like these overblown comparisons, but just to give a clearer idea of the character in question, saying Googoosh in Iran is a bit like saying Cher or Barbra Streisand in America, or Mina in Italy. Born Faegeh Atashin, in 1950 to emigrated Azeri parents in Tehran; singer, actress, fashion and costume icon, Googoosh was already an established film diva when she debuted in 1970 with the album "Do Panjereh" and quickly achieved true superstar status thanks also to a powerful voice and an uncommon interpretative charisma; her repertoire largely consists of intense and often sorrowful orchestral ballads (not a coincidence given the flourishing Persian symphonic tradition) that may sound a bit dated today but with undeniable charm. Her career was abruptly interrupted in the fateful year of 1979, as the enlightened spiritual guides of the new Islamic "republic" did not look favorably upon women in show business, least of all if they were beautiful, charismatic, successful, and potential models of emancipation.

For a short period, Googoosh moved to California, but her longing for home was stronger than the prospect of a luxurious golden exile, so she soon returned to Iran, where she was categorically prohibited from recording albums, performing in public, or even giving interviews; only many years later, thanks to the partial reforms of President Mohammed Khatami, was she able to fully resume her artistic life which, starting from 2000, continues to this day at a regular pace. "Ejaz" from 2012 is her latest album, and it has two great added values: the most important is surely the fact that Faegeh Atashin, like a true Lady of substance, hasn't altered the style that made her famous in the slightest to chase some new trend (which aligns her with another first lady of Pop like Agnetha Faltskog with her "A") and with the passing years, her voice has become even warmer than it already was, more "experienced", even more unique and fascinating. The songs have an acoustic soul adorned with high-quality orchestrations, enveloping and evocative, contributing to creating an intense and timeless atmosphere; the title track is a perfect archetype of a Googoosh-style ballad, and the vocal performance is so intense, rich with soul and pathos, that it relegates the sumptuous accompaniment to the background, which instead stands out superbly in episodes like "Behesht" and "Hayaahoo" giving life to highly cinematic atmospheres, quite fitting given Googoosh's past as an actress.

"Nazanine Bigharar", on the other hand, is a more rhythmic episode, with great impact and brilliance, marked by a Spanish-like arpeggio and a particularly elegant and passionate interpretation. Among all the songs, it is the one that stands out most along with the equally fascinating "Baraye Man", an impeccable orchestral chanson with a more crooner-like and intimate vocal, which highlights the warmth and beauty of Googoosh's voice. Ten songs that perfectly synthesize all the best characteristics of an entire career; listening to "Ejaz", it becomes immediately clear why two decades of enforced inactivity have not in the least dented the popularity of this singer. Faegeh Atashin is not one of many, she has the talent and stature of a true Diva, in the '70s as well as today, and she also demonstrates it by using her popularity to openly denounce the repression of dissent and the limitations on personal freedoms of the ayatollahs' regime, which is no small feat given her glamorous image as a strictly pop artist, without political connotations in her work. Essential? In absolute terms, I would say no. Innovative? Not at all. Modern? No, and she doesn't even care to be, yet Googoosh certainly deserves attention and admiration, she is a piece of history, not only musically. Her choices do her honor.