Records/singles review: Lady Gaga with Tony Bennett, Julieta Venegas with trap and Babasónicos with the pandemic

Tony Bennett has had Alzheimer’s since 2016 and doesn’t know it. At 95, he recognizes his family, and still sings with the quality of stopping time between style and glamour. He did it last August on two dates at Radio City Music Hall with Lady Gaga, his companion since the release of the album. Cheek to cheek(2014). These are the last shows of a career that began in 1936, when he performed at the inauguration of a bridge in New York. As an epilogue, they publish this album recorded between 2018 and this year. Two Italian-blooded popular music giants from the Big Apple separated by six decades and reunited again, this time around Cole Porter’s songbook.

Love for sale contains the obvious elements: a royal orchestra and exquisite arrangements – the graceful Latin cadenza of I focus on you, among several examples-, by the Argentinian professor Jorge Calandrelli. What’s admirable is how the two care to carve out the uniqueness of each piece. Lady Gaga, symbol of aesthetic metamorphosis, directs different voices while Bennett plays with accents and intensities. If this is Tony’s last album, the farewell is great.

Tainy (32) is a Puerto Rican producer with a long career in the urban scene, recently winner in his category for the second consecutive year at the Billboard Latin Music Awards, and is about to debut with his first solo album titled DATA. He recruited Bad Bunny -they recorded the hits Callaíta and Calmly-, and Julieta Venegas for this advanced single in an unlikely, though not impossible, alliance. The Mexican singer has a long history of collaborations dating back to 2005 with the hit Nothing was wrong with Paulina Rubio and Coti, and urban flirtations in goal by Anne Tijoux and First day with Dante Spinetta. According to Julieta, she listens to Bad Bunny thanks to her daughter.

In a melancholic and seductive territory of reverberating and sidereal sounds, Julieta goes straight to the point. This chance meeting could turn into something more serious, but not before asking “don’t be afraid, dad, come give me more”. The urban star’s response sounds like a pachorra at first – ‘don’t try to make me fall in love or I won’t join you’, although he doesn’t engage out of fear ‘I already know how it goes finished, and neither am I”. I’m going to start “. A whole drama that only coincides in bed.

The new single of the Babasónicos, heralding an album that has had them in the studio since last month, is noticeably enhanced by the promotional video directed by Juan Cabral, collaborator of the group for many years. Adrián Dargelós plays a celebrity chased by cameras anytime, anywhere. “The night is an imaginary country”, says the text, “where the insignificant resembles a jewel enveloped in smoke”. The night, of course, is synonymous with fame. “(…) it sucks you in, drives you crazy and leaves you”.

The promotional information sheds light on the making of a long-formulated piece under the pandemic, with elements of investigation and experimentation. The left of the night offers two atmospheres. In the first one finds a soft cadence dominated by the classical Babasonic harmonies, where Dargelós does not let go of his course as a soloist, while the vocal accompaniments cross the melodies. In the second movement, the electronics enter with psychedelic sparks, a twist patented by the trans-Andeans. A song like this was impossible 15 or 20 years ago in the repertoire of the best Argentine band of the last decades. There are news.

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