Mario Tessuto
Lisa dagli occhi blu

Who doesn't remember Lisa dagli occhi blu? Mario Tessuto, like many of his contemporaries, reached his peak of fame through a classic catchy song and a classic participation in a song event.

He began singing very young. By the age of 20, he had already collected a series of singles. His first contract came thanks to Miki Del Prete (at the time also a collaborator of Celentano), which brought him to a decent level of notoriety. It was during those years that our Mario Buongiovanni (real name, stage name Mario Tessuto) carved out his space, also thanks to a participation in the Cantagiro of 1966 with 'Teen agers concerto' and a subsequent cover 'Love Me, Please Love Me' by Michel Polnareff. Cover, indeed. One of the key points at the beginning of every respectable career in the light music field starts like this, publishing material not always original but that could provide that bit of notoriety necessary for the person in question to be accepted at various Sanremo or other events. What could be defined as true marketing operations, in a musical key, were also common back then. Two years later, in 1968, it was Don Backy who gave a song to our Tessuto, 'Ho scritto fine', sung at Settevoci.

The pivotal year for Mario Tessuto was undoubtedly 1969. As often happens, certain singers find themselves at a crossroads: to be remembered or not. It doesn't always happen, undoubtedly due to that song, which today we define as familiar, the kind of 'I must have heard it somewhere', which somehow transcends the real musical value of the artist. When Tessuto participated in 'Un disco per l'estate', 1969 edition, he could never have imagined how much success Lisa dagli occhi blu would achieve. Yet, perhaps, if it weren't for it, Mario would have completely sunk into the depths of anonymity. But let's get back to us. The song narrowly missed victory (which in my opinion would have been more than deserved), ranking second behind 'Pensando a te' by Al Bano. Surpassing people who at the time had more than success, like Franco I and Franco IV, Herbert Pagani (undoubtedly far from the pop song) but also Gigliola Cinquetti, Tessuto's song became one of the most requested on the radio at the time. Almost a 'cult' song of the Italian pop music of the late 60s/early 70s. The lyrics are quite clear. Lisa, a child from the past, has changed today, grown up, and lost the qualities that made the protagonist fall in love years ago (Lisa dagli occhi blu/ senza le trecce non sei piu tu).

From then on, releasing songs that reached everyone was much simpler. Not much time passed before Tessuto published two other important hits. The first, 'Nasino in su', which seems to somewhat anticipate the style of Toto Cotugno, a simple and easy-to-assimilate song, made particular by Mario's irreplaceable voice, and 'Tipitipitì', which participated in the Sanremo Festival in 1970. Winning when competing with 'La prima cosa bella' by Nicola di Bari is almost an utopia, but nevertheless it remains a cheerful and catchy song, sung in duet with Orietta Berti. Also from those years, 'Blu notte blu', written by Mogol and set to music by Mario Lavezzi (first with the Camaleonti and later with Flora Fauna e Cemento).

Many more hit songs followed. 1975 brought 'Rivoglio Lei' to the top of the charts, a wonderful Italianized arrangement of the hit by Eric Carmen 'All By Myself', extremely respectful of the original especially in the instrumental phase. From his first album, a series of excellent tracks, among which it is necessary to remember 'Concerto per un fiore', a song that did not achieve success, but according to me remains one of Tessuto's peaks: a beautiful song, catchy, genuine, and with a strong impact. A declaration of love all seventeen. Also beautiful is 'Il sole sulle viole', which very much recalls Alan Sorrenti, a carefree and cheerful song. Space also for melancholy, with the delicate 'Ho Scritto Fine'.

Mario Tessuto is alive and well, partially active. With adulthood, he also embarked on a career as a songwriter, for which it is essential to recall the collaboration with Bertè. It is only right to remember him as a piece of our song heritage.