Why Sanremo is Sanremo...
Or, why even Giovanardi graces that stage
Indeed... for non-enthusiasts like me, for the over-thirties so out of the commercial loop they seem almost ninety, for those like me who are more inclined to appreciate the retro sound of Nina Zilli than the grandiose echoes of a group like Modà, for those who would rather watch a Muse concert on DVD a thousand times over (classical music played electrically) than spend a single evening watching the quintessential Italian festival, for those who categorically refuse the presentations by the likes of Baudi, not to mention the flirting from the showgirls, for those who are like that, in short, it's not hard at all to imagine how I might feel, that evening, tuning into "mamma rai" (perhaps due to a lack of affection from my own!). And yet, even a skeptic like me, quite by chance, gets struck when, after a couple of songs (so anonymous they only confirmed my certainties) the usual presenter or showgirl of the moment announces La Crus, with the song "Io Confesso". But wait, I think, hadn't they broken up? Anyway, I'm so thrilled by it that I optimistically think they might have reconsidered and decided to continue their collaboration.
No, as it turns out, that's not the case. The next day, I understand that in reality, Giovanardi, Mauro Ermanno, is actually the former singer of La Crus who decides to present his first solo album by taking the stage at Sanremo, with the participation, however, of his old comrade in arms, Cesare Malfatti. I get it.
It's no coincidence, then, that he decides to infuse the sound of his track with western film rhythms, presenting himself as a solitary musical cowboy. Black. Strictly black. I like it, though. The Sergio Leone style suits him, elevates him above Sanremo standards, and makes him appreciated by critics, at least by me. "Io Confesso" seems to me to be such a good song that it doesn't miss even the echoes of maestro Morricone. It features soprano Barbara Vignudelli, who applies the teachings of the great Italian conductor. In the album's tracklist, there are also two covers from '66, "Se Perdo Anche Te" sung by Morandi (but by Neal Diamond) and "Bang Bang" by Sonny Bono for Cher, reinterpreted among others by Dalida and Equipe '84 and now duetted with Violante Placido. Notable are also "Desio", "Un Garofano Nero", "Neil Armstrong", and "La Malinconia Dopo l'Amore" (feat. Syria). Giovanardi's deep and mysterious voice is highlighted throughout the CD. The arrangements are custom-made. The quality of Italian singer-songwriter music is kept high by this album. A nice surprise, therefore, even if La Crus is no more. The day after that festival, all day long, I inevitably wondered if I had dreamed too much the previous night.
Listen to:
I: Io Confesso
II: Desio (Il Rumore del Mondo)
III: Neil Armstrong
For me:
Well, it's clear... before knowing Giovanardi, I knew La Crus and I liked them. I first listened to them in the car while going to the store. The group immediately seemed particularly adept at skillfully blending musical genres. Songwriter music with hints of electronic, we could say. For me, their last live album "Io Non Credevo Che Questa Sera" is still a good starting point for those who don't know the band to enter the world of La Crus.
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