In addition, in 1990 he took part in the third edition of the musical Add a seat at the table by Garinei and Giovannini, in the part of Toto, the impotent village idiot. However, it is with the fiction La piovra 4 that he obtains his greatest success as an actor, which is followed by the two mini-series Classe di ferro and numerous other television works, up to the “committed” roles in Una Famiglia per Case and Rita da Cascia. The first film he starred is A tu per tu by Sergio Corbucci (1984), followed by Rimini Rimini (1987) and Rimini Rimini – A year later (1988). He is thus hired for roles of “tough” or “bad”, but also lends himself to interpretations of a typical Italian comedy. Some film producers begin to notice his unmistakable physical appearance and his interpretative strength, offering him to act in commercials, or in real films. The lyrics of the latter album are written, under the pseudonym Vanera, by Pasquale Panella, who will become the author of Battisti. In 1982 he resumed his collaboration with a Lucio Battisti who had now retired from the public scene, who produced his subsequent works Immersión (concept album dedicated to the sea and inspired by his passion) and, the following year, Oh! It was time. Ricominciamo will be his workhorse and is included in the following album Never leave me never (1980).
RITA PAVONE SERIES
After a series of unfortunate recordings – including Ai my sons che dire, cover of Knockin ‘On Heaven’s Door by Bob Dylan – the success returns in 1979 with Ricominciamo, announced in the previous summer by I want her, where his skills as a freediving diver are also highlighted. In the same year he took part in an Italian tour together with the very young Umberto Tozzi. In 1975 he moved to the Italian RCA and released the third album Mi just so. But the artistic side of the swap was tragic and even the economic side didn't pay in the end.The following album California no, produced by Claudio Fabi, was released in November 1973. Apparently Rita & her soon-to-be-husband manager were given some monetary advantage. No one in their right mind could understand such a blatantly wrong career move. In late 1967, just after Rita had won Cantagiro with ' Questo nostro amore' and had followed it up with ' Non dimenticar le mie parole' - which I still think one of her best recording ever - we received the news Pavone had left RCA Italiana and signed with Dischi Ricordi. Brazilian radio had changed dramatically in the last 3 years. Even though the film itself was a hit the songs didn't play on the radio. In June 1967, 'Rita, o mosquito' (La zanzara) was released all over the country and Brazilians could finally catch up with a new Pavone. So all through 19, I spent a lot of dough to keep abreast of what Rita was doing in Europe. arrived in Brazil 3 months later but in those pre-digital years that was good enough. As I was a dedicated fan I found out Brazilian newsstands started importing Italian youth magazines as of late 1965. It took more than a year for RCA to release a new Pavone single which unfortunately was cacophonous 'Supercalifragilistic espiralidoso' which needless to say went nowhere.Īs they say 'out of sight out of mind'. Maybe it had to do with bad management from RCA Victor that did not even bother to release ' Lui' - a great track - as a single. The fact is that Rita Pavone records just disappeared from the market as of June 1965. Maybe Brazilians had enough of Italian music and were diversifying into Anglo-American music but mostly into the indigenous rock made by Brazilian young men. Rita was back touring Brazil in late April 1965, which made her name a great sensation all over again. In early 1965, Pavone's records were still played on most Brazilian radio stations. 'Datemi un martello' was #1 in the country and Rita was the best selling recording artist for the year 1964.
RITA PAVONE TV
I had been fan of Rita Pavone since 25 June 1964, the night I saw her on TV Record in Sao Paulo. It was a 4 year-contract but at the end of the 2nd year everyone knew Rita's career was in Skid Row and never would she reach the top again. When Rita Pavone left RCA Italiana and signed with Dischi Ricordi in October 1967, did little she know she was signing her own 'death sentence'.
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