2023-04-20 22:05:58
Forty-five years without appearing – except in the historic live studio in 2001 immortalized first on the web and then on DVD – but always present even if only through the voice. A game to which Mina lends herself through enigmatic covers, improbable shots and records that can be placed in and out of time. A bit like in this latest recording effort outside the logic of the majors – the Pdu travels alone – but by now the border between liquid and physical music is increasingly blurred – barely touching what is the logic of radio friendly.
I love you like crazy – shot close-up of the diva superimposed on that of the (unknown) dark handsome. A bit – the press releases of the album out today also remind us – like in the old photo novels of the past, the historic Boleros with a very young Sophia Loren or those of Franco Gasparri’s Launch. And the title as well as the pieces are modulated, with irony, on the melodrama.
The editors recommend:
Mina, an ageless divaTWELVE SONGS in CD format and ten in vinyl distributed in various formats, with gadgets galore because by now the (physical) record market survives thanks to collectors. And the lady has several to whom this salad of flavors is directed. Yes, because Mina has a somewhat varied modus operandi: vintage monographs, author’s sorties – as in the (magnificent) album of duets with Fossati – or divertissement smashes the charts with the ‘accomplice’ Celentano. The duet with Blanco, pop and melodrama and tributes to the repertoire of Enzo Avitabile and Sergio Cammariere
I love you like crazy focuses on pop and songwriting declined in various solutions. With Throw away the love – already known, it was the theme song of the serial adaptation that Ozpetek gave last year to his ignorant Fairies – we even turn to broken hearts: «You tell me what’s left of us», a dramatic showdown of a broken relationship. And Mina plays with the serious and rough tones of a voice inevitably made more fragile by her age, but which is precisely for this reason exalted in pathos and authority. Amorous skirmishes with lighter traits even in Like the moon by Garilli and Rustici, which opens with a gospel refrain. The surprise comes with the third track, one of the two covers on the album: Don Savedò, pearl extracted from the repertoire of Enzo Avitabile who won the Targa Tenco in 2009 – a secular prayer, an invocation once morest the injustices and ugliness of our times that Mina sings with a painful voice and giving the piece an even deeper and more dynamic sound. The other foray into already known repertoires concerns Sergio Cammariere who, like few others in Italy, has been able to combine jazz with the songwriting of the sixties: from his songbook Mina takes up All that is a man who finished third in Sanremo just twenty years ago. A very respectful version of the original, leaving the text in male and the jazz atmosphere well blended by Ugo Bongianni on the piano.
THE GHOST by Fellini – longed for in the sixties when, in vain, the master from Rimini asked Mina to join the Mastorna project – hovers over the best piece of the album Zum pa pa, text by the Tuscan actor Alessandro Baldinotti who died in 2012 and music by Riccardo Del Turco, who arrived in Lugano in recent months and added to the already closed album. Mina’s carnal voice becomes ethereal in this almost cinematographic story, as if it were a daydream of Gelsomina from La strada. More glamorous and jaunty Mina in the fil di voce de The GardenMatteo Lezi’s ode to vegetables that he himself presented on X Factor in 2018: cuteness that fades if we compare them with other Mazzinian forays into brilliant territories, such as My dearà (1977) between the orchestras and ocarinas of Gianni Ferrio or the protorap in the supermarket of lust by But who is that there (1987) by Pino D’Angiò.
THE GAP of the disc – an operation between marketing and generational experiment – is the duet with Blanco. Michelangelo’s piece is built on various moments, the falsetto vocal entry of the rapper from Brescia, the enveloping voice of Mina on a dramatic passage up to the implacable refrain, almost an Acqua e sale 2.0. But most of all, A bit of joy it is a meeting point between a contemporary artist and Mina who knows how to immerse herself in a world that is only apparently not hers. Moreover, an incursion already attempted eight years ago with the Mondo Marcio project On the mouth of the tiger where Mina, filtered between samples and samplings, dominated imperiously. On the other hand, these are always the – timeless – years of the Tiger…
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