Although she was multifaceted, Raffaella Carrà, who has died at the age of 78, began to be popular as a performer of the songs that she incorporated into her television, film or theatrical shows. He published his first album in 1970, but it was from the middle of that decade, with the arrival of disco music, that he achieved his greatest successes. His popularity and his self-assurance in acting made the italo-disco it will enter the homes of half Europe. His musical career from the mid-eighties was not so interesting and disappeared from the charts.
‘Hot, hot’ (1981). “My body has been crazy for a long time, it’s on the loose and I can’t stop it (Ah, ah, and you can’t stop it).” If someone expected messages between the lines, they would not find them in this piece, which has been part of the song lists of LGTBIQ parties for years. Inevitably follow the song with the image of the singer, embedded in a narrow transparent red mesh and surrounded by a male dance corps, also with leggings (this time in pink). A disco song with the bass directing the bodies towards the dance.
‘In love, everything is beginning’ (1976). Musically interesting, with a constantly seething Latin percussion, he recorded this song first in Italian (You start making love) and then made the Spanish version, which he titled In love everything is beginning. The choirs, the Mexicanized winds, the percussive rolls … Everything, in two and a half minutes of effervescent Latin disco music. At the controls was Italian producer Danilo Vaona, a hit maker who worked for Miguel Bosé, José Luis Perales and even Bertín Osborne.
‘What a pain’ (1982). In the eighties, disco music loses its steam. The machines invade the recording studios. This song is an example, with an accelerated sound machinist to which many musicians would join. The letter, thick in outline, describes an infidelity discovered by the woman when she enters the house and looks in the closet. The good thing about popular classics is that we listen and dance to them without asking too many questions.
‘Fiesta’ (1977). In Spanish version, Fiesta It is a kind of disco rumba. This time produces Gianni Boncompagni, sentimental partner of the artist during the time of the recording of the song. One of the characteristics of Carrà’s record references is that he performed in several languages, especially Italian, Spanish and English. This theme, for example, occupied the top positions of the best sellers in Italy, Spain, Argentina and Canada.
‘You have to come to the south’ (1978). We are in the middle of the era of disco music and this song could have sounded perfectly in New York’s Studio 54. Maybe it did. The beginning is a classic of the genre, with the rubbery basses, the Latin percussions and the riffs guitar that Nile Rodgers enthroned for his Chic. In the middle of the song, some rumba rhythms emerge, pointing to the fever of this style that was triumphing in Spain, with groups such as Los Chichos or Los Chunguitos. The letter? Well, a waste of Latinism with the topics of hair on chest.