A fine novembre dello scorso anno Michele Anelli è salito sul palco durante il concerto dei Gang al Binario Zero di Milano per suonare insieme I Fought The Law.

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Three hits of horn announce the exploration of uncontaminated territories, where from the roots of most classical American folk rock comes the rough and romantic melodies of the Groovers. "That's all folks!!" is the synthesis of ten years of commitments "on the road", at the side of artists of the caliber of Tom Robinson, Dirk Hamilton, Loose Diamonds, with who the Groovers had the opportunity to play and from which they have certainly absorbed and increased their rock-romantic attitude made in USA. The record is enjoyable, it deserves a particular quotation the opening song "Search for luck", rich of poetry and pathos, but it is all the job that results very appreciable, in virtue of a sonorous search that has given excellent results, able to agree old rockers and music critics thirsty of novelty that won't come from electronics. Steve Wynn and Tom Waits belong undoubtedly to the listens of the "Groovers". They have their declared references also in Bruce "The Boss" Springsteen., particularly "the more confidential, the one of "Darkness on the Edge of Town" and "The River". And from these two album they have drawn the two covers of the record, "Factory" and "Stolen car", from which, however, it was legitimate to expect something more from a band that has been playing for ten years. On the contrary the two songs seem a pure exercise of style: the passages are equally played, with the difference that Springsteen is Springsteen (but I should perhaps say: "the E-Street band is the E-Street band") and the Groovers are the Groovers. I say this because I think that when you re-play a song there should be the intention of deconstructing it, twisting the song that you're going to re-play, or of giving a particular key of reading. Otherwise it is inevitable the comparison with the original, and inevitably the comparison defeat the re-maker. And that's why that, paradoxically, the presence of these two songs scratches, even if minimally, the value of an album however certainly valid.
JAM n.62 July 2000 review by Paolo VITES
Few years ago they started with the best hopes. The Groovers were depositaries of a veracious and bloody roots-rock, that didn't disdain to go out in sour electric rides like Neil Young (of which they did a beautiful cover of When You Dance at their debut), also if the primary comparison was (and is) with Bruce Springsteen and his blue-collar rock. Today they seem to have undressed these clothes, with a title that looks like a sad goodbye to the scenes ( "That's all folks!!" like the end of the cartoons of Hanna and Barbera) and a bare unplugged dress (with few exception, like the rough and electric How's gonna be the night and the beautiful Holdin' on, almost noisy in the its affect) something to say that the long ride of the dream of rock'n'roll has finished. However, the Groovers (reduced to the only frontman Michele Anelli, even if always with the faithful Paolo Montanari on keyboards and accordion, and few special guests on bass and drums), if it was their musical will, they would leave a beautiful memory, thanks to a handful of honest and pregnant ballads. The Groovers aims still and always to Springsteen, today to the "Guthrianian" of The ghost of Tom Joad, and they record a good cover of Factory and the ghost-track Stolen Car. They are histories about workers (just like them), about family, about the problems of the unemployment, true histories and above all honest, to be listened to. Vote: 6/ 7 Why: American ballads and histories of real life of the province of Varese.
Rockit review by Faustiko 07/20/2000
We never talked about the Groovers here on Rockit, even if several times we have written about groups like Cheap Wine, Sagrada Familia and Jungle Boogie, different bands with a same denominator: rock'n'roll - good rock'n'roll. Don't be surprised if the 6th record of this band headed by Michele Anelli is titled "That's all folks!!", because the choice doesn't look programmatic to the sound that you will find in the 12 tracks. After all it is rock music, of explicit American matrix, that takes sprouts from John Fogerty and Bruce Springsteen, as from the Uncle Tupelo and Steve Earle; this series of four names naturally is not enough to understand what the songs, signed by the vocalist and guitarist of the formation, are made of. But that's enough to understand that passages like Workin' mand revisited, I'm so sound, I wrote a song, confirm that the Groovers are one of the few Italian band who can compete not only with the artists of the Glitterhouse, but also to have done one more step forward using the splendid vein pop injected in these episodes. They don't fail in anger and Holdin' on is its confirmation, the lyrics too (Boys are playing new angry songs/ Tightening guitars like guns/ And their hearts are holding on/ In the land of the progress). However Michele Anelli opted for walking a road of definite songwriter accents, and there are good results in most of the episodes. All this just to talk about a honest record that we've been playing for more than a month and we will keep on listening, even if the times of roots-rock seem to belong to the past and Cheap Wine are probably nowadays the unique, worthy heirs of the Groovers, and not only.
Wolvernight n 07/31/ 2000 by Massimiliano STOTO

The Groovers stay in the category of those who not only believe in what they do, they also want to get somewhere. It would not make sense of the big job otherwise done for "That's all folks!!", fourth record of the group driven by Michele Anelli. It's a mature, brave and for some verses innovative record. I don't believe I'm too exaggerated saying that there isn't a record of the kind in the past of any Italian band close to roots-rock. This because Anelli have taken risks on a solitary road, painting brief episodes (3'37'' the longest) and assembling to the maximum text and music. He realized a record "alone", but that alone is not, (as usual Paolo Montanari is at his side), with the spirit extremely thin, but that develops electroacoustic solutions in which the job of the keyboards of Paul is fundamental, as well as the job of the leader on the interpretative part (listen to the two covers of Springsteen, for instance). The new songs wear special clothes, but hide ancient feelings in the depth, and their particularity lays in the being small sketches in which the pop part stays in prominence, stressed if you want and then combined with the sounds and the style of the classical roots-rock. The new job moves unexpectedly in the same direction of the project of groups like Eels, Gomez, Sparklehorse. Only that the Groovers don't search for an original sound like the Eels, for the winding rhythmics of the Gomez and they don't have the sick ingeniousness of the Sparklehorse. Here there is only a research that wants to redraw first of all the boundary of the music of the Groovers, without denying the past. From these new frontiers they bear pieces like "We still keep doing what we believe in" a piece that transmits a notable tension; or "How's gonna be the night" as sweet as ready to explode in the tauttest piece of the record; or "Holdin' on," sour and vibrating, to which the spoken words give an austere note, and that it has his opposite in "I wrote a song", very calm and sonding so Lennonian (both are daughters in different ways of "Inside me" on "Soul Street" and of "Cast iron radiator blues" on "September Rain"). If "Search for luck" and "I'm so sound" are the pop-songs that wink at Eels, "Not sad" and "Working man revisited" are the exact contrary, intimate and dark songs, that leave a tear in the soul. Finally "I'm waiting for you" is a sweet ballad and "Like us" is the almost acoustic honky-tonk that will make jump the live shows. Even the rimake of the two pieces of Springsteen, "Factory" and "Stolen cars," are faithful to the coordinates of the disk, in both the instruments are so essential on the voice, which remains in first plain, very hot in "Factory" and strongly impassioned in the second, that starts with the recited of the text of the song that develop in a cold and attenuate atmosphere. A big version.

"That's all folks!!" is not the "Nebraska," neither the "The ghost of Tom Joad " of the Groovers, don't let you be mistaken by the marked acoustic structure that the songs have; juxtaposing the two records in black and white of Springsteen, the records of the Groovers paint an imminent ransom. In the two records of the boss the crucifixion of a hope were set on the scene, a hope that not even the "reason to believe" would have been able to ransom, we are present to the resurrection of the hope itself, a hope that develops not only in one text, but it is the central theme of the record. The hope, that is also the refusal of defeat and surrender, lives in the invitation to raise again and to don't ever stay in "Search for luck", in the solar and impudent declaration of "We still keep doing what we believe in" where "every night they steal some of our dream/ but don't they know that in the day/ we work to gain new ones", it is in the unfathomable dreams of the babies that sleep in "How's gonna be the night?" to which a father grabs on to go ahead. In "Workin' man revisited" there are the questions of a worker that "in every hard working-day he wants to fly high/ free like a bird/ because he doesn't want to work and die in this place" and search for a way-out; the theme of the escape there is also in "I'm so sound," where the protagonist doesn't clear up the ideas, but he doesn't surrender, as a matter of fact he concludes saying "maybe one day I will arrive where I want to go." "Holdin' on" has the concept of the album itself in the text, "in the land of the progress/ the rich has become a drunken King/ while the poor man hasn't lost his hope/ and his heart is holding on" and in "Not sad" the awareness of having lost everything don't destroy the protagonist who on the contrary says "I'll burn everything that I will find on my way/ without looking back/ I'm not down neither sad." "I'm waiting for you" is love that saves you and that gives you the hope, because "every Man/ Woman needs someone to tell his own dreams," while "Like us" and "I wrote a song" bear from the same matrix, the one that says "I wrote a song for everyone I've met/ here's one for the dreamers/ here's one for you."

"That's all folks!!" is the most sought-after record of the Groovers, the more binding one, the one that at the end leaves the more marked imprints. It asserts like a bare work, thin, but on the contrary it is a record rich of sounds and solutions. It makes me think to an endless challenge with that fate that looks like it never want to reward you, an odd challenge in which you always have to overcome yourself. The Groovers with this record have overcome themselves once more, carrying their music a little bit forward, reaching a thrilling result and acquiring a new dimension. I must tell that sometimes it surprises me to see how the passion, the devotion, the faith (only for rock'n'roll, I mean) are able to push you over your limit, to refuse the surrender, to cross new roads that probably won't give you nothing but dust. "One thousand band. One microphone. There's not money for the show. No place to stop. No place to go. It's just like live in the middle of the road. Sometimes everything seems so hard and you'd like to give up all. Then we go back in the basement just to play another song." PS.: "That's all folks!!" has been devoted to all the people that have lost the life on the job. I wanted to remember it just to remember the victims of the harbour of Dover. Somehow they have lost the life for the job too. With so much anger I'm thinking about all the promises that don't come true.

Wolvernight n. 32 november 2000 live review
THE GROOVERS - Pombia 14/09/00
During these ten years WN have never talked about a live show of the Groovers, we had to be present to the best live show that the undersigned remembers to talk about? No, I don't believe that However the performance played in Pombia was really on a high level. Pathos, safety, rhythmic power, creative energy has dressed and invested new and old songs of the group, bringing on the discourse that is the backbone of the last record. The new songs brand the show for presence and for influence, it is a successful amalgam, as the wonderful "George & Lenny" joined with the debutante "Search for luck" and with the historian "Sad town", while "Workin' man", more and more reference song, ideally unites them all together. The first song holds the ammaliante sound of "Search for luck" that prelude to the wonderful combination of "We still keep doing what we believe in" and "Not enough to kill", two bursts that immediately take the draught up and that put in evidence a rhythmic thick section that, after "George & Lenny", spread out again with "T.V.Breakdown" and "Where my daddy is". A short-circuit between past and present is what we have to expects for when they play one after the other "Workin' man" and "Sad town" (sparkling in his new suit), and then "Another song for America" take the tension up again, concluding the first part of the show with a cathartic final. Just few minutes to settle down and Michele and Paolo present an acoustic set with guitar and accordion playing "Black river", one of most beautiful songs of the Groovers, "I'm waiting for you", the song of Woody Guthrie "Jesus Christ", and "Factory" by Springsteen. With "Homebound road" we dance again, and I must tell that play "Wild flowers" by Tom Petty and "I'm so sound" after this, beyond to be an appropriate choice, it is also an invitation to appreciate the substance and the round sound with which the band plays certain songs, the boys play so good, and it is an inevitable consequence LASCIARSI ANDARE (also because in the meantime the wolvernighters had drained a lot of beer), then "Soul Street", to calm the more excited. With "Like us" and "Mr. E Beautiful Blues" by the Eels, the end is a enthusiastic crescendo toward the more genuine rock'n'roll, for the first has born like a song for the show, as you can easily understand after few listening to "That's all folks!!", while the seconds is an amazing SPLINTER OF JOY AND FUN, drawn out from the cylinder of the special covers. The closing is the ballad "September rain", a classical that closes an intense evening. The new live set of the Groovers convinces, the formation of four pays in terms of essentiality and it can count on a wonderful combination of bass and drums (Evasio on bass supports the principal scaffolding with technique and substance, while Antonio "The Incredible Hulk" hardly beats on the drums), the job of Michele and Paolo designs the loom around the motor, they gave birth to "Sad town" and they design its new suit for this season. The cohabitation of past and present of the Groovers on the stage was an insidious trap that Michele Anelli had to overcome, "That's all folks!!", from this point of view, could represent a dangerous boomerang, but I think Michele has been able to avoid the trap and with the validity of this performance he centerd an important target in his career of musician. Great concert.













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