During the 70s, Zucchero nonetheless featured in a number of small Italian outfits such as I Ducali, Sugar & Candies and Taxi, and with the latter he won the Castrocaro Music Festival – an annual music competition which takes place outside Forli – in 1981. Encouraged by this early success, Zucchero made his first appearance as a solo artist at Italy’s Sanremo Festival (widely regarded as the inspiration for the Eurovision Song Contest) in ’82, and then at the Festival Dei Fiori in 1983.
These high-profile appearances rapidly kick-stared Zucchero’s solo career and, prior to his 1984 debut, Un Po’ Di Zucchero (A Little Bit Of Sugar), he signed a deal with his long-term label, Polydor. Fornaciari’s first major commercial breakthrough came, however, after he temporarily relocated to California, where he began a lengthy collaboration with Italian producer Corrado Rustici. After some negotiation, Rustici assembled a backing band, including highly respected Baton Rouge-born session bassist Randy Jackson (Jean-Luc Ponty; Journey), and together they cut 1984’s Zucchero & The Randy Jackson Band, which featured the smooth, soulful ‘Donne’ (‘Women’): Zucchero’s first significant Top 30 hit in his native Italy.
Recorded in San Francisco with a star-studded session line-up including Jackson, ex-E Street Band multi-instrumentalist David Sancious and drummer/producer Narada Michael Walden, Zucchero’s third album, Rispetto (Respect), offered a more polished American soul sound and sold in excess of 250,000 copies, but it was 1987’s Blue’s that made Zucchero a household name in Italy and ushered him onto the global stage.
Again produced by Corrado Rustici, the album featured contributions from The Memphis Horns, David Sancious and fellow E Street Band saxophonist Clarence Clemons. With no expense spared it was a lavish affair, with numbers such as the funky, soul revue-style ‘Con Le Mani’ (‘With These Hands’) and the heart-melting pop of ‘Senza Una Donna’ (‘Without A Woman’) acting as the perfect vehicles for Zucchero’s gravelly but emotive vocals. Blue’s instantly struck a chord at home, where it sold almost 1.5 million copies and earned Fornaciari his first gold disc. It also performed strongly around mainland Europe, especially in Switzerland, where it yielded a platinum certification.
Blue’s was launched internationally with Zucchero’s first major tour, on which he shared the stage with one of his long-term heroes, Joe Cocker, for an expressive cover of The Beatles’ ‘With A Little Help From My Friends’. With the accolades still ringing in his ears, Fornaciari and his band then decamped to Memphis to record 1989’s Oro Incense E Birra: another enormous success, which outsold Blue’s in Italy (where it was certified platinum eight times) and eventually sold in excess of 2.5 million copies worldwide.
Produced by Corrado Rustici and recorded primarily at Memphis’ famous Ardent Studios, Oro Incense E Birra’s title was actually a pun on the phrase “gold, frankincense and myrrh”, with the word “birra” (beer) replacing “mirra” (myrrh). The blues and soul-inclined music it contained, though, was often layered and opulent, with high-profile guests such as James Taylor, Rufus Thomas and Eric Clapton all contributing, and the Ardent Gospel Choir adding further colouring to ‘Madre Dolcissima’ and ‘Diamante’ (the latter being Zucchero’s tender tribute to his grandmother).
Though the album was again a runaway success, Zucchero had already set his sights on grander designs. Oro Incense E Birra became his last outing on which he delivered all his songs in Italian. From the turn of the 90s on, he set out to conquer the rest of Europe, starting as he meant to continue with 1990’s Zucchero Sings His Hits In English, which – as its title suggested – featured English reinterpretations of hits such as ‘Diamante’, ‘Wonderful World’ and ‘Senza Una Donna’ (‘Without A Woman’). Re-recorded as a duet with Paul Young, this latter title went on to become a massive European hit, shooting up to No.4 in the UK and earning gold certifications in both France and Sweden along the way.
His star very much in the ascendency, Zucchero recorded duets with a clutch of the world’s most famous artists, ranging from Sting to Elton John and opera superstar Luciano Pavarotti, between 1991-93, and his live performance in the post-USSR Russia was captured on his first live LP, Live At The Kremlin. He also gained widespread exposure when he performed an emotional version of ‘Las Palabras de Amor’ with the three remaining members of Queen at 1992’s Freddie Mercury Tribute Concert at London’s Wembley Stadium.
Fornaciari’s next studio album, Miserere, also appeared during 1992. Darker in hue than his previous work, it was divided evenly between Italian and English vocal performances, with Elvis Costello providing the lyrics for ‘Miss Mary’, Bono supplying the title track and, intriguingly, The Blue Nile’s Paul Buchanan penning both ‘The Promise’ and ‘Povero Cristo’ (‘Poor Christ’). Strangely, despite the quality on show, the album performed well, if not as seismically as either of its two predecessors (though it topped the Italian charts and earned a second platinum for Fornaciari in Switzerland).
Misere was promoted by another lengthy worldwide tour and, in 1994, Zucchero became the only European performer to grace the stage at the 25th anniversary Woodstock Festival in upstate New York. He was quickly back in action on record with 1995’s Spirito Di Vino (Divine Spirit): a New Orleans blues-influenced set featuring the towering hit single ‘Il Volo’ (‘My Love’), which became a pan-European smash, earning 10 platinum certifications in Italy alone and selling over 2.5 million copies.
Polydor’s well-timed The Best Of Zucchero “Sugar” Fornaciari’s Greatest Hits collection promptly followed in 1996, hurtling into the Top 40 in most European territories and topping the charts in both France and Italy. The CD version was available in both Italian and English, and the tracklisting included three freshly recorded songs, among them the hit single ‘Menta E Rosmarino’ (‘I Won’t Be Lonely Tonight’). Another heavy touring schedule promoted the record, with Zucchero playing rapturously received European shows and also making inroads into the US for the first time with sold-out club shows in New York and Los Angeles.
Fornaciari recorded one more pre-millennium album, 1998’s Blue Sugar, which eschewed the N’awlins blues influences of Spirito Di Vino in favour of a more mainstream rock sound. Long-time producer Corrado Rustico again assembled a crack team of musicians, with Santana bassist Benny Rietveld, ex-Nine Below Zero harmonica player Mark Feltham and ex-Traffic frontman Steve Winwood all contributing, and Bono writing the lyrics for arguably the LP’s stand-out track, the slow-burning ‘Blu’.
Zucchero’s first post-millennial release was 2001’s Shake: another accomplished blues-rock spread made all the more poignant by the inclusion of the ballad ‘Ali D’oro’, which featured blues legend John Lee Hooker’s final vocal performance prior to his death in June that same year. Zucchero and band took to the road with a purpose following the album’s release, their shows criss-crossing Europe, Canada and North America with an itinerary that found them in hotel rooms for much of 2002 and ’03.
Though not a brand new studio album as such, 2004’s Zu & Co repeated the multi-platinum success of Spirito Di Vino. Comprised of the many duets Fornaciari had recorded with international stars such as Sting, BB King, Sheryl Crow and Solomon Burke over the past 15 years, the album also reprised several of Zucchero’s key hits (not least the Paul Young version of ‘Senza Una Donna’ (‘Without A Woman’) and also included a newly minted Italian-language cover of The Korgis’ dreamy ballad ‘Everybody’s Gotta Learn Sometime’, which appeared as ‘Indaco Dagli Occhi Del Cielo’.
Fornaciari premiered the release with a gala performance featuring many of the album’s guest stars at London’s prestigious Royal Albert Hall in May 2004. Zu & Co subsequently did serious business around the world, earning a quadruple-platinum certification in Italy, platinum sales in Germany, and even peaking at No.84 on North America’s Billboard 200 run down.
After appearances at July 2005’s Live 8 charity concerts in both Rome and Paris, Zucchero returned to the studio with former Bob Dylan/Rolling Stones producer Don Was. The resulting LP, September 2006’s Fly, was long on introspective balladry, though it also included the irresistibly catchy, folk-rock-flavoured ‘Cuba Libre’; the shuffling, slide guitar-assisted ‘Un Kilo’ (‘A Kilo’) and ‘L’Amour E Nell’Aria’ (‘Love Is In The Air’), which – with permission – took the groove of Feeder’s ‘Broken’ as its backdrop.
Commercially, Fly didn’t hit the same heights as Zu & Co, but it was still a multi-platinum success in Europe, topping the charts in both Italy and Switzerland, and earning a gold disc in Austria. The subsequent tour included Zucchero’s debut performance at New York’s legendary Carnegie Hall and his first series of shows in Latin America, and he was barely off the road before Polydor released another big-selling anthology (the self-explanatory All The Best), which repackaged all his significant hits alongside several new tracks, including emotive covers of Black’s ‘Wonderful Life’ and PhD’s ‘I Won’t Let You Down’ (‘Tutti I Colori Della Mia Vita’).
Still relishing the road, Fornaciari and his band set off on another lengthy global slog in support of All The Best, their itinerary including shows at London’s Royal Albert Hall, a return to New York’s Carnegie Hall and their debut performances in Australia. A multi-disc box set featuring both DVDs and complete audio recordings of shows in Verona and Milan was later issued as Live In Italy, which quickly went quintuple platinum in Zucchero’s native land.
Though there’s since been another well-received live LP, 2012’s La Sesion Cubana, Fornaciari’s most recent studio album to date remains November 2010’s Chocabeck (Spirit Together), which was helmed by Don Was and ex-Pearl Jam/Red Hot Chili Peppers producer Brendan O’Brien. Loosely based on the concept of a single day (from dawn to dusk) in a small Italian town, it captured some of Zucchero’s most elegant vocal performances and included some remarkable multi-layered harmonies from special guest, The Beach Boys’ legendary Brian Wilson, on the spectral title track.
A highly pleasurable departure from the artist’s well-trodden blues-rock path, Chocabeck featured some old skool Zucchero (not least ‘E Un Peccato Morir’ (‘It’s A Pity’), which ushered in loud guitars and soulful backing vocals), but many of its best tracks – not least the hymnal opening trio of ‘Un Suffio Caldo’ (‘A Hot Breath’), ‘Il Suono Della Domenica’ (‘The Sound Of Sunday’) and ‘Soldati Nella Mia Citta’ (‘In My Town Of Soldata’) – were among his subtlest and most sublime recordings yet. The album’s reliably healthy multi-platinum performance in both Italy and mainland Europe, meanwhile, suggested fans were more than happy to stick around while their hero continued to evolve.
Blue Sugar was first released in 1998 and includes the tracks 'Arcord', 'Donkey Tonkey' and 'Back 2 U'.
Zucchero Fornaciari's fourth studio album, 'Blue's', was released on 15 June 1987. It sold an estimated 1.4 million copies in Italy, becoming the best-selling album internationally by an Italian. The album includes 'Pippo', 'Blue's Introduction' and 'Dune Mosse'.
Although not particularly well known in the United States, Adelmo "Zucchero" Fornaciari has been a fixture on the Italian rock scene since his 1985 debut. In 2005 he helped to introduce himself to the American public when he released Zucchero & Co., an album of duets with artists like Sting, Eric Clapton, B.B. King, and Sheryl Crow. The next year, with the help of producer Don Was, Zucchero issued Fly, a record that, though it is sung in Italian, has enough comfortable adult pop elements that it should probably appeal to foreign listeners as well as to his compatriot base. Zucchero's always been a fan of the blues, and this continues to be shown on Fly, a third of whose songs are interpretations of 12-bar-influenced white rock. "Un Kilo" -- rumored to be about Vasco Rossi -- while not exactly raw or gritty, shuffles along nicely and has some slide guitar, and even some anger, in it. The latter especially is a rare occurrence for the album, most of the rest of which is comprised of slow, introspective, lovelorn ballads that all sound like something Peter Gabriel would write if he were Italian. The only song that breaks from this pattern in the '60s folk-rock-inspired "Cuba Libre," which hearkens back to the Mamas & the Papas or Peter, Paul & Mary, and has the fantastically catchy chorus, "Mi piace la lasagna, e poi mi piaci tu" ("I like lasagna, and then I like you"). Food references aside, Zucchero is very much focused here lyrically on the idea of both nature and space. Fly as a title was not chosen haphazardly -- the word is mentioned numerous times throughout the album, as are ideas of birds and the sky. Nature here can distance two people, like it does in the Billy Joel-esque "È Delicato," but it can also heighten their feelings, like in "L'Amore È nell'Aria." The repeated references to the earth and stars and sun do mean that things can border dangerously on the adult alternative, especially on cuts like "Quanti Anni Ho," in which Zucchero approaches his vocals almost like Andrea Bocelli, holding out his notes and ignoring syncopation, and even the work of the Roots drummer ?uestlove on "Pronto" and "Let It Shine" doesn't quite bring it up to a rock level. Still, Fly is an expertly conceived and produced album, and Zucchero knows how to convey emotion without getting overly sappy, which means that it doesn't take a knowledge of Italian to enjoy it. Words: Marisa Brown
Zucchero's 'Respetto' was released in 1986 and includes the tracks 'Torna A Casa', 'Nella Casa C'era' and 'Nuovo, Meraviglioso Amico'.
Adelmo Fornaciari, otherwise known as Zucchero, broke onto the international scene with this 1986 album. Guitar work from Eric Clapton heightens the profile of this release, and underscores Zucchero's fondness for electric blues. But it is Zucchero's songwriting and emotive voice that really captivate, and that paved the way for his immense popularity throughout Italy and the rest of Europe in the late '80s and '90s.
Zucchero's voice is gritty and textured, but he sings with a great sensitivity and lyricism (at times recalling the quality of Peter Gabriel's voice), and these same qualities are mirrored in his songwriting. By blending blues, pop, and adult contemporary, Zucchero's music can be quite affecting. This self-titled album alternates songs in Italian with songs in English, making the artist's music all the more diverse and accessible.
Words: All Music Review
Zucchero's Spirito DiVino was designed as the album that would break the Italian star into the lucrative American audience, who had been ignoring the vocalist for nearly a decade. In essence, Spirito DiVino is no different than the singer's previous albums -- after all, this was originally released as an Italian album and in that version, it sold over a half million copies in Europe. Over immaculately produced, synthesized productions, Zucchero layers his gruff, bluesy vocals. Most of the songs aren't particularly distinctive, lacking immediate melodies or memorable hooks. Then again, they were selected as showcases for Zucchero's charisma and they do a very good job of demonstrating the singer's charm and sex appeal.
Words: Stephen Thomas Erlewine
First released in 2001 on Polydor Records, 'Shake' includes the tracks 'Ahum', 'Music in Me', 'Ali D'oro' and 'Dindondio'.
'La sesión cubana' was released on Universal Music (Italia) on November 20th 2012 and includes 'Nena', 'Never Is A Moment' and 'Baila (Sexy Thing)'.
Italian star Zucchero has coaxed a wide variety of fellow artists into the studio over the years, and those vocal duets and other collaborations are gathered together on this collection, covering a period of over 15 years. This is one of those albums on which, intentionally, the selling point is the laundry list of co-stars, which is formidable: Jeff Beck, Andrea Bocelli, Bono (as a songwriter), Solomon Burke, Vanessa Carlton (on piano), Eric Clapton, Sheryl Crow, Miles Davis, Haylie Ecker of Bond, Macy Gray, John Lee Hooker, B.B. King, Cheb Mami, Mexican group Maná, Dolores O'Riordan of the Cranberries, Luciano Pavarotti, Sting, and Paul Young. These luminaries join Zucchero to sing and play a batch of his songs (and sometimes co-write them), with many of the lyrics in English. Zucchero has one of those familiar gruff rock baritones, most reminiscent of Peter Gabriel, though it sounds at times like Joe Cocker and even ascends into a Sting-like tenor. The music is mostly also familiar, bearing the trappings of Euro-American classic rock balladeering in a manner that ruled adult contemporary radio for much of the 1980s and '90s. It's no wonder that the album is a co-production of the Concord label, known for its classy jazz catalog but lately branching out into pop, and Hear Music, the recording arm of the Starbucks Coffee company. It's easy to imagine this music playing at a low volume in the nearest Starbucks coffee shop and intriguing patrons who recognize the voice of Sheryl Crow or a guitar lick by Eric Clapton and wonder where it comes from. And that's appropriate, since this album is as much a marketing concept as it is a musical one. Words: William Ruhlmann