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THE REVIEW
Let's be honest, there's no point in beating around the bush and shrugging it off like a snob: Sanremo represents a major opportunity. No matter how much we criticize the event, no matter how much Pippo Baudo might annoy us, and no matter how they resurrect a forgotten glory (?) of Italian music each year (this time Toto Cutugno, straight from Sharm El Sheik, judging by his tan), for artists like our Max Gazzè, Sanremo is a chance not to be missed to reclaim the spotlight with the general public.
And if you go to the Festival with a song that, along with Tricarico's, was the best in the competition, then Sanremo is better than Botox and Viagra for a great comeback. Don't believe it? Try taking a look around: just fiddle with the car radio a bit to find "Il Solito Sesso" on almost every station, and that can only be pleasing. Yes, because "Il Solito Sesso" is truly a great piece, a soft swing that doesn't stink of mothballs like Michael Bublé's, with a smooth and intriguing lyric.
But you know, you can't survive on singles alone, and so good Gazzè delivers in the album, scoring a couple of solid hits. The opener "L'Evo dopo il medio", for example, in a duet with Carmen Consoli (who also plays electric guitars); "Siamo come siamo" (very new-wave), and "Mostri", typically à la Gazzè.
The sound is always that of the Roman bassist: pop-rock with a bit of electronic, halfway between Battiato and the New Order, although much more "organic" than before. Other noteworthy tracks are "Crisalide", with a very 80s synth intro, and "Un ultimo cielo", a slow-paced ballad perfectly suited to Max's voice (not extraordinary). In conclusion, a good album, well played and well produced, but to be completely honest, there's an overall impression that it lacks another strong single like "Il Solito Sesso." Peace.
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Summary by Bot
Max Gazzè's album 'Tra l'aratro e la radio' shines with the hit single 'Il Solito Sesso,' making a solid comeback through Sanremo. The album mixes pop-rock and electronic influences with standout collaborations like Carmen Consoli. While well-produced and performed, it slightly lacks a second hit on par with the leading single. Overall, it’s a strong and organic effort from the Roman artist.Tracklist
Max Gazzé
Italian singer-songwriter and bassist from Rome. In these reviews he’s repeatedly described as a refined, idea-rich pop-rock author with a strong focus on arrangements and lyrics often co-written with his brother Francesco Gazzé, and as an artist frequently seen as underrated by the mainstream.16 Reviews
Other reviews
By Precog
"The song performed at Sanremo not only stands out enormously among those competing in the Festival, but also remains one of the two best tracks on the album."
"A good album, varied and well-structured. Very well-crafted arrangements, the instrumental parts, and as Gazzè usually presents, the pieces are equipped with very refined and cared texts."
