Jovanotti
Safari

THE REVIEW

Unfortunately, those who predicted this, I am now increasingly convinced, and I say this as a former fan of Jovanotti, were right. Why? Simple.

Even a stone knows that Cherubini has gone through a very particular evolutionary phase from the mid-'80s until today. From the beginning, under the wing of Claudio "fregatura" Cecchetto (the hilarious "Gimme Five", "La Mia Moto", and the like), he moved on to cheerful and fun rap, with some influence from other genres, thanks to albums like "Una Tribù Che Balla," "Lorenzo 1992," or "Lorenzo 1994." After the compilation released a year later, the turning point arrived. That turning point would split the audience in two. Those who still admired him and those who were starting to loathe him because maybe he was composing songs that were too childish or generic. A turning point that starts with "Lorenzo 1997: L’Albero" and ends (for me) with the excellent "Buon Sangue."

In January of this year, his new work, "Safari" was released. And it is disappointing. But seriously.

From the first listen, this shortfall is evident, due to the fact that in most of the songs on the CD, those extra touches that made Cherubini's works interesting seem almost entirely absent: a certain energy that sometimes spilled over into world music ("L’Albero," his only masterpiece, is concrete proof of this), the funky bass of Saturnino Celani (undoubtedly a musician with guts), or the class of drummer Pier Foschi.

But above all, what sinks the CD in question is exactly what I said at the beginning: trying a route that, in my opinion, does not really belong to Lorenzo, who now seems determined to become a real singer-songwriter. This is where it all falls apart.

Jova would like to try with pieces like the first single, "Fango" (with the good Ben Harper on guitar), "Dove Ho Visto Te", "In Orbita", "Come Musica", "Innamorato", and "A Te". Of these, the only ones that deserve more than one listen are the last three. Nothing transcendental, however. Not to mention the fake rock of "Mezzogiorno", a little song for two or three listens that is forgettable.

And then another question arises: why do I give three stars to this CD?

Well, there is still something salvageable, even if it's very far from the previous things. There's the ska-like "Temporale" (the song closest to the Jova that was), there's the title track which, all things considered, is not to be discarded, it’s quite lively, and strangely, even the ever-despised-by-me Giuliano Sangiorgi of Negramaro (second voice on the track) manages to handle it, there's "Punto", where you can hear echoes of samba, there's "Antidolorificomagnifico", which, even with a not entirely convincing chorus, has fairly catchy sounds, and there's "Mani Libere 2008", composed with African-American singer Michael Franti (the two had already collaborated for the excellent "Dal Basso" in 1999).

However, overall, the result is what it is, and it's obvious from a mile away that Mr. Cherubini has now almost completely thrown his ideas out the window, since this CD doesn't even seem like his.

Those who already considered "Capo Horn" and "Il Quinto Mondo" indecent (to me, anything but indecent, and surely not masterpieces) I believe will change their minds upon hearing this "Safari." Or maybe not.

It's appropriate to say: "No, Lorenzo, I'm not falling for it!".

I'll go listen to "L’Albero" again, then...