Let's be honest, until a few years ago, trying to play authentic rock in Italy was a bit like expecting to hear pizzica in the squares of Bolzano. Except for Litfiba, it was hard to go beyond Battisti and sell even a single record. And Timoria had the misfortune of finally appearing on mass media (happily forgetting about their appearance at San Remo in the early eighties) during their most artistically troubled moment. I also remember, after the release of this album, going to see Timo in concert. I was completely unaware of the lineup change that had occurred within the band. I drew two opposite conclusions from it. First of all, Francesco Renga is an excellent singer, despite his sad decision to leave and enter the magical world of Italian pop music; he poured his soul into the pieces. I console myself by thinking that in this way, at least, he achieved the notoriety he deserved. Then, Omar Pedrini should absolutely not sing. A celebration bell would be more in tune.
“Eta-Beta” is the last album featuring the brilliant Friulian singer. We’re not at the level of “Viaggio Senza Vento”, but this record is undoubtedly enjoyable to listen to. Twelve well-played pieces and a cover, very catchy as always (after all, we remember that they started with pop), lyrics never too banal, and sounds that, considering the era and the band’s budget, we could define as anything but monotonous. It starts with “Sono Qui”: rhythmic verses, broad and engaging refrains. “Faccia Da Rockstar”, a piece for which I admit I have a particular fondness, tells us about the vicissitudes of a poor swashbuckler dealing with his Yoko Ono. Actually, it's a song without particular pretensions, but with sure impact. Of the same kind are “L’Isola Del Tempo” and “Bella Bambola”. More serious tones in “Il Giardino Di Daria”, where electric and acoustic guitars set the pace of the strings, which occasionally appear to give intensity to the piece. “Cerco Di Te” also offers us intense atmospheres, emphasizing that it is not a De André album (perish the thought). Beautiful too are the ideas in “Alleluia”, where hefty riffs and slaps border on metal; the contrast of these aggressive verses with the melodic refrain is striking. I’ll skip over the slightly more “trendy” episodes of the album: given the reviewer’s aversion to reggae and all hip hop, better not to express judgments.
In conclusion, “Eta-Beta” will not enter the history of a genre, but it is definitely worth getting if you also appreciate rock made in Italy.
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