Max Gazzè
Tra l'aratro e la radio

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.