Premiata Forneria Marconi
Miss Baker

Rush rush
Coke and cigarette
I burn myself like this
Always saying yes

"Time Time"

The '80s are frenetic, fast, and ephemeral. Perhaps no one will ever feel the need to bring them back in fashion, a terrible revival of synthetic pop, shoulder pad jackets, teased hair that makes the fashion of the '20s seem more relevant in comparison.

After a decidedly terrible work blatantly devoid of any interest, "Pfm?Pfm!", PFM returns in '87 with an album that greatly lifts the spirit of the fans but in fact does not prevent the ten-year hiatus the group decided to take. "Miss Baker" immediately stands out as an LP where the synth-pop of "Capitani Coraggiosi" completely disappears, replaced by a pursuit of fast yet refined rhythms in which the musical depth of the group is not lost. Mauro Pagani returns to composition and with the violin and the oud he plays in "Josephine Baker"; drummer Walter Calloni is confirmed, who finally manages in this album to break free from the rigid and sterile schemes of four years prior. The musical style shifts towards a jazz-fusion with Mediterranean and Latin influences, with a few nods to more compelling funky rock.

"Prima Che Venga La Sera" immediately outlines the new course, with a fast rhythm and for the first time a brass section led by Demo Morselli and a female choir, all very energetic, which is repeated in "Tempo Tempo". There are echoes of the more traditional Premiata in very beautiful and evocative tracks, "Un Amore Vero", "Josephine Baker" and the beautiful "La Chanson D'Un Aviateur". In this last track, Mussida opens with the acoustic guitar leading to Di Cioccio's vocals, initially rarefied atmospheres are interrupted by a sudden, very strong opening that then leads to the female vocal chorus. "Miss Baker" is not a great work, there is a lot of style and great executive capability to mask the physiological crisis, but there's also the will not to get lost again in blatant commercialism.

In the end, PFM overwhelmingly wins the comparison with the contemporary works of Genesis ("Invisible Touch") and Yes ("Big Generator") with an honest album that does not seek to deceive old fans and above all respects the history of this glorious name.