Patti Smith
Banga

All right, it can't even remotely compare to either «Horses» or «Radio Ethiopia», for obvious reasons; nor is it worth as much as «Easter» or «Wave», lacking tracks like «Because The Night» or «Rock'n'Roll Nigger» or «Frederick» or «Dancin' Barefoot».

However, we are still facing the new Patti Smith album, after the rather bad «Trampin'» and that «Twelve» which was slightly better but didn't warm the heart at all.

Instead, the latest «Banga» decisively revives Patti's musical fortunes, placing itself a step below «Easter» and «Wave», which is quite an achievement considering that over thirty years have passed since the splendor of the Smithian tetralogy.

I like to think that this was significantly contributed to by the collaboration with Tom Verlaine, who illuminates «April Fool» and «Nine», the best tracks on the album; especially «April Fool», a pop gem with a crystal-clear melody that, given proper support, could climb the charts, not by chance chosen as the lead single of the album.

And to say that «Banga» doesn't start in the best way, with that «Amerigo» where Patti tries a bit too hard to be the Patti of the good old days, overemphasizing the usual alternation between sung and spoken parts which today makes little sense.

A more or less similar discourse applies to «Constantine's Dream» (featuring the Arezzo-based Casa Del Vento), which suffers from out-of-place hieratic moments, as if it were «Birdland» or «Radio Ethiopia»: in short, that of the punk priestess is an old story, dead and buried.

Fortunately, though, everything else flows along as a pleasure, starting right from those «April Fool» and «Nine» which set the groove.

And the groove is that of a pleasantly pop(ular) album, extremely well-played in every single episode, from «Fuji-san» to «Mosaic» to «Tarkovsky». There are very few rock accelerations, like «Pumping», only in the title-track, which, as commendable as it is, appears slightly off-focus compared to the overall context of the album.

What strikes the most are the tributes.

Firstly, those to those no longer with us: «This Is The Girl», dedicated to Amy Winehouse, and perhaps the most beautiful song she never had the time to write; and «Maria» for Maria Schneider, immensely moving in its bare form, highlighting Patti's voice.

And then the indirect tribute to the alive and well Neil Young (and may God keep him), with the splendid rendition of «After The Gold Rush», offering a message of hope and secular faith in better times than these.

Truly a great album, this «Banga», even if the revolution has failed and what remains is the old age to approach with quiet and serenity.

PS: And thankfully, Captain Schettino hasn't managed to deprive us of the joy of listening to a new Patti Smith album...