“Waiting For the One” is the third and brand new effort for Sugarpie and the Candymen.
Why the title “Waiting for the One“?
As the exact meaning goes, “waiting for someone, something that really
makes a difference” it can be an event, a moment, a person … not waiting
for something to change but more of a hope and a promise.This album, in fact, represents a
further evolution in the sound and in the musical direction of the band.
The ‘Swing’ trademark it’s always there but the spectrum broadens with
new colours,styles and inspirations: the marching bands of New Orleans,
Cuban sound, Reggae, Nu Jazz, Rhythm and Blues of early 50′s, all of
these Sounds are here, and… why not? Pop as well!
The Record is equally made up by
originals songs and covers, as we have seen in their previous work
“Swing’n'Roll,” but here the tracking list is shuffled differently to
show that there are two sides of the same coin.
The original tracks range from the
traditional swing of “Blue About Love” to the french flavors of “Madness
in the Rain” from the Beatles pop sound of “Lil” to the battered and
Waits (Tom) sounding “Dusty”, from the progressive fairy tale of “QMV”
to the country manouche of “Warchild”…
While amongst he covers we find a number
of hits of the last decade (“Single Ladies” by Beyonce sounds like it’s
straight out of a Dr. John Album!, while “Toxic” by Britney Spears
winks at Buena Vista Social Club.
Catchy Hits of the ’80s like “Bad” has
kept the original dance beat with a bit of gypsy flavor, “Material Girl”
arrangement is inspired by Louis Jordan and 50′s Jump Blues”, Hard Rock
milestones like “Highway Star” by Deep Purple has received the “Count
Basie” treatment, but the most remarkable accomplishments of the Album
must go to the two Pop Symphonies, the evergreen and worlwide Hits,
massively known that go by the names of : “Bohemian Rhapsody” and “Good
Vibrations”.
In most of the tracks the Band has had
the pleasure to have special guests on them: a horn section with Gianni
Satta on trumpet, Rudy Migliardi on trombone and tuba and Gregory Agid
hailing New Orleans on clarinet and sax.
Daniel Richiedei is on violin and
Giovanni Colombo on the piano, the accordion played by Fausto
Beccalossi and the percussions by Riccardo Marenghi.
The same Candymen themselves, quite
often switch instruments quite freely. These to follow were quite in use
on this Recording (dobro, banjo, piano, organ, mandolin, glockenspiel,
kazoo and various percussions)
Special attention to production details were given and are clear to be
heard on the sounds, the arrangements and the performances are all at
the highest level!
The recording of the Album took place at
‘Elfostudio’ in Tavernago (Piacenza), and in various other locations
(often in their guests’ houses!).
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