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Rating: Pino Scotto, like it or not, is a cult figure in the Italian hard'n'heavy scene: followed and praised by a large portion of Italian rockers, he has achieved media success in recent years thanks to the show "Database" airing on RockTV. In this program, good old Pino shares his views on the world, politics, and many other topics in an approachable manner and, above all, with no holds barred, often telling those he disagrees with to go to hell, to screw themselves, or more often to set themselves on fire. But what interests us most today, perhaps the most important side of our Pino, is his musical one.
Only the most absent-minded won't know that Pino was, in the roaring '80s, the frontman of the legendary Vanadium, and is currently one of the members of Fire Trails. Between these two significant experiences lie over 10 years during which the Neapolitan singer, adopted by Milan, has produced 4 works. This is probably the least known phase of his career, and perhaps that's why Pino has decided to release (a good 8 years after his last solo work) an unusual greatest hits of his solo career; unusual because each of the 12 songs on the album features collaborations with other Italian artists.
'Datevi Fuoco (lo scotto da pagare)' opens with the earth-shaking 'Come Noi', the most powerful track on the platter, featuring Tommy Massara and GL Perotti of Extrema and, a true surprise, J-Ax of the defunct Articolo 31. This is followed by the cheerful (and unfortunately current, as the song aims to highlight the enormous difficulties Italian bands face in making rock in our country) 'Il Grido Disperato di 1000 Bands' and 'Dio del Blues', in my opinion, the best track on the album, which, together with the compelling Francesco Sarcina of Vibrazioni, takes us on a journey to painful and melancholic atmospheres, amplified by excellent guitar solos. More blues atmospheres follow, but this time warm and heated thanks to harmonica player Fabio Treves, in 'Piazza San Rock', while 'Segnali di Fuoco (nell'Agorà)' returns to purely hard territory, with lyrics that urge one to fight for their rights. The journey continues with 'Le Stelle Cadenti' and 'Guado 3000' leading to two beautiful ballads: 'Disperanza', truly excellent, with a chorus that gets stuck in your head and won't leave, and 'Predatori nella Notte', with the extraordinary participation (in every sense) of Enrico Ruggeri, a slow and atmospheric singer-songwriter piece with prominent piano and keyboards like never before.
The restless and tense 'Nunù' and the bluesy again 'Code di Cometa' do not lower the album's level, which peaks again with the final 'Gamines', a sweet track with just voice, piano, violin (by Mauro Pagani), and acoustic guitar dedicated to all the poor children in the world.
In conclusion, a good album, better in the melodic episodes than the rock ones, which are less original and inspired, once again showcasing the almost sixty-year-old Pino Scotto's desire to continue making good music.
SCORE = 7.5
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