Simply Red
Simplified

THE REVIEW

And with this umpteenth puzzle of historical songs (to avoid saying "always the same"), our Mick Hucknall, wine enthusiast naturalized Italian, the sole ruler of the Simply Red brand practically forever, had the brilliant idea (!!) to reinterpret his tracks in a Latin-pop style that brought so much luck to Santana 3 years ago.

The songs, if it wasn't for the millionth time we've heard them, would actually be good, I mean, of good quality relative to the genre; it's just that the general mood is lacking. In short, little soul and lots of craft (you can feel the absence "of the group," understood as "a cohesive spirit of musicians with a common project" in favor of an assembly of musicians/session players, technically skilled but with little soul - a problem always felt in our man's productions -). As the album shoots its bullets, you get the impression of listening to a cruise ship piano bar band (luxurious, for goodness' sake!) with the classic antics from the "music that the rich adore" repertoire. The single "Perfect Love", now heavily overplayed by Italian radios, is the classic hit that our man inevitably churns out year after year: pretty, catchy, somewhat Latin, with the easy and memorable chorus that, coincidentally, matches the song's title (you might not remember the name of the band, but during purchase, it's easy to sing to the cashiers, and they get it right away...). Here and there, sweet overly sentimental and romantic ballads, in perfect seasoned crooner style, see "Your Mirror" or the formerly danceable "Fairground" now turned into a love song à la Earth, Wind & Fire. Here and there, scraps of jazz, but not too much, for heaven's sake, crumbs of pop & soul, but not too much, remnants of salsa and Latin-pop, just enough to make it all seem renewed. In short, changing, arranging, playing to make everything seem like before: already heard and, moreover, played slickly by a good professional. The soul and R&B soul of the beginnings is a distant memory; we're left with this future piano bar singer, also good at stylishly interpreting these tracks (listen to the bland version of "Everytime We Say Goodbye"), following in the footsteps of Bublé & Co., which everyone likes and which makes even the bejeweled elderly matrons in the audience tap their time at concerts (in theaters, of course). What's the next step? A future role? Perhaps conducting the orchestra of a Rai1 program, a bit like Paolo Belli, and becoming a character between the pathetic and the nostalgic. Bet on it? Take it or leave it.

Absolutely dispensable.