Pino Daniele
Come un gelato all'Equatore

Here I am. In the end, whether you want it or not (actually, I do want it), I find myself writing the review of an album that I really like, but that old-style Pino fans include among the records to disparage.

I don't care and I'll start.

The reviewer of "Bonne soiree" positively defined the 1987 turn. I would like to do the same for this 1999 Pino trend and to avoid gross mistakes, I put on this album so that the listening accompanies the review in real time. "Perfect Alibi" has just ended. A nice clean guitar riff opens the record pleasantly. The distorted electric guitar starts with a short phrase that, although not too original, is catchy and effective. The lyrics are cute, and even if the words of the chorus are from a smitten fourteen-year-old, the piece remains beautiful, also thanks to nice blues pentatonic phrasing to the voice. However, I would have given it one more metronome point. The second piece is "Thief of Love", a track permeated with electronics. Great sounds and really catchy. The percussion is beautiful. The female is the protagonist of the lyrics and Raiss from Almamegretta collaborates with a rap directly from the Spanish Quarters. "Snow in the Sun". The single. I remember the very colorful video. It's the obligatory hit that Pino had already accustomed us to listening to in "Don't Step on the Flowers in the Desert" and "Tell Me What's Happening on Earth". The Stratocaster solo is quite surprising. It's brief and essentially consists of Pino-like scales of sixteenth notes gathered in ascending and then descending triplets. "What Will You Think of Me" was another video that MTV played in rotation. It's a shame that Pino's singles are almost never the most beautiful pieces of his records. If only people had a bit more taste, they would pay tribute to an Artist who not only records tracks like this but also gives much more. The track is cute nonetheless, don't get me wrong. The riff is nice, and the choruses add a touch, I don't want to say class, but still characteristic. Following is "Yes Forever", the soundtrack of "Love at First Sight" by Vincenzo Salemme. I'm not commenting on it. Just listen to it. "Not Alone" strikes for the very bluesy phrasing in the verse. The subsequent title track can fit into the category that includes the already mentioned fourth track, but the chord changes are much more incisive. "Samba in my mind" in a critical ranking of the album's tracks, I would put it in the last place, but the atmosphere of the chorus isn't bad and neither is the melody. There is plenty of guitar in "The Good and The Bad", not just in the lyrics. Sure, the classical guitar solo heard on "Annaré" (1982) isn't here, but I don't think Pino's guitar fans will mind. We've reached the third-to-last track. The level rises quite a bit. There's no comparison with some of the previous tracks. These have a well-defined identity. The first is "Soldier of the Universe". The sampled drum is driving and gives the track a defined imprint from the start. The guitar riff is built on 2 octaves. Captivating and Arabic. "Journey Without Return" has a nice groove and is catchy. A fairly fresh piece, it was also often heard on the radio during the last year of the second millennium. The album closes with "Comet Star". It's the most captivating track on the album and after a relatively calm beginning, a very fat bass starts, on which the guitar riff will stand out here and there.

I "apologize" to all those who believe DeBaser should be some sort of virtual social center born to "discuss" racism issues, pollution, and the fate of the political world, and I "apologize" to those who see reviews like mine as useless and stupid (said politely). As for me, I try to talk about music, a branch of art that, as art, is debatable. So I describe it in my way, like physicists describe the world using numbers. It is not THE way, but A way to do it.

Take care, folks.