“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!).