|#||Release title||Total tracks||Type of release is||Imprint date||Label|
|1||Le Più Belle Canzoni||16||Audio||1990||CGD|
|4||Un'Estate Al Mare||2||Audio||1982||CGD|
|6||Un'Estate Al Mare (Remix 2000)||3||Audio||2000||Extrarecord|
|7||Un'Estate Al Mare||2||Audio||1982|
|8||Snobbery & Decay / Adrenalina||2||Audio||1987||Ricordi|
|9||I Miei Successi||14||Audio||2004||D.V. More Record|
|10||Un'Estate Al Mare||3||Audio||1995||Itwhy|
|12||Un'Estate Al Mare / Good Goodbye||2||Audio||1983||CGD|
|13||Cercati In Me||12||Audio||2008||Edel|
|14||Energie||12||Audio||2005||Warner Strategic Marketing|
|15||Un'Estate Al Mare (Remix 2000)||3||Audio||2000||Extrarecord|
|19||Everything Is Gonna Be Alright||2||Audio||1975||Basf|
|23||Vox / Mediterranea (2LP In 1CD)||20||Audio||2012||Warner Music Italy|
|24||Ragazzi Al Luna Park||2||Audio||1987||Bubble|
|25||Un'Estate Al Mare / Limonata Cha Cha / In Alto Mare / Oh Oh Oh||4||Audio||Italian Dance Graffiti|
|27||A Casa Di Rubinstein||8||Audio||1988|
|29||Energie||8||Audio||2013-01-29||Warner Music Italia S.r.l.|
|30||Sere D'Agosto||13||Audio||1987||MMI (2)|
|32||Se Fossi Più Simpatica Sarei Meno Antipatica||9||Audio||Radio Fandango|
|33||Alghero||12||Audio||Replay Music (2)|
|34||Voce Prigioniera Live||15||Audio||1998||NAR International|
|35||Il Meglio||14||Audio||2000||D.V. More Record|
|37||Un'Estate Al Mare / Good Goodbye||2||Audio||1982||EPIC|
|38||In Trappola / Lui Nell' Anima||2||Audio||1975||GHiBLi|
|39||Le Più Belle Canzoni||16||Audio||CGD|
|42||Rhino Collection||16||Audio||2011||Warner Strategic Marketing (Italy)|
|43||Il Meglio Di Giuni Russo||26||Audio||2011||Edel|
|45||Una Vipera Sarò / Tappeto Volante||2||Audio||1981|
|47||Napoli Che Canta||29||Audio||2004||Columbia|
Giuseppa Romeo - aka Giuni Russo - was officially born 10 September 1951 in Sicily, Italy. More likely, her real birthday was 7 September 1951. The night between 13 and 14 September 2004 Giuni Russo died of cancer in her home in Milan.
Renowed for her amazing vocal range covering almost five octaves, she would blend musical and composing skills with an unique vocal interpretation. The mix of all of these qualities makes Giuni Russo one of the most interesting and unique artists ever in the Italian and international musical scene.
Busy by several familiar matters (Giuni already has 9 brothers) her father Pietro Romeo registered his new born baby girl Giuseppa 3 days later.
Playing and studying weren't as important as singing to her and she was continuously requested to do that at school. Her teacher offered her own desk to Giuni to be used as a stage but Giuni was so shy she'd prefer to perform hiding herself behind the classroom's door.
A first try to come out was on the little stage of Music opposite to the Politeama Theatre in Palermo.
Her family didn't know what was going on and no one of them knew she was taking singing lessons from Master Ettore Gaiezza, paying him with the money earned during her first nights shows.
At the age of 15 she sung for the Castrocaro festival of the new voices, reaching the semifinal.
The following year she won the festival, with a plebiscite of votes, singing 'Hurt' by Timi Yuro.
In 1968 she's at the Sanremo Festival, where she's forced to sing a song called 'No Amore',
definitely not appropriate for her young age and talent, despite the 'hidden' sign of a young Paolo Conte.
After her partecipation at 'Disco per l'Estate' with the song 'Onda', she recorded the cover version of 'Smoke in your eyes' in 1969.
In 1969, Giuni moved to Milan, where she was to spend most of her life. There she met Maria Antonietta Sisini, a musician who would share with Giuni a 36 years long career and friendship.
A very long 'ranks' began for the 2 girls, it would only end at the beginning of 1980.
The '70's began with several partecipations as chorist for many artist's publications.
Finally, in 1974, the german label Basf gave her a discographic contract and in 1975 she realized 'Love is a Woman', singing in english because the label intended to hit an international market. The Basf artistic director asked Giuni to change her name: Giuni Russo became Junie Russo.
Enrico Rava, participated to the album. During the same year Giuni recorded the Italian cover version of 'Everything is gonna be alright' and an italian single 'In Trappola'.
The last album recorded as Junie Russo, 'Mai' was released in 1976 '45 for the Durium.
In the meantime, Giuni and M. Antonietta are appreciated as music composers for other artist's songs.
In the 1978 Giuni recorded a single with Wea, 'Soli Noi', surprisingly hitting the french market, opening to Giuni new interesting prospects.
Unsure about leaving Italy for good, Giuni sadly decided to go back to Italy, a lucky choice,
infact in 1979 they met the Master Giusto Pio and Franco Battiato.
Thanks to this 'poker of aces', a milestone was born in Giuni's career and the italian music: the album 'ENERGIE' for the label CGD.
Eight extraordinary modern tracks that sweep the stale national musical situation and anticipate what it will be the specificity of the Artist Giuni: vocal experimentation, daring sound and contamination between genres. In one word: Border music.
The people involved in the work were unprepared to the novelty, having to renounce to the italian bad habit of labeling the artists.
In 1982 Giusto Pio and Franco Battiato made for Giuni what it will became the take-all ace of the summer (and of the autumn too) remaining forever into everybody memory, the famous 'Un'Estate al mare'. The song wins the festivalbar-discoverde , thanks to the delightfully dazing lyrics, that Giuni wanted to modify compared to the original one she's been given to.
What it would have to remain a simple episodic divertissement, became a constant desire of easy profit for the record company, betraying the original intent of the artistic director Alfredo Cerruti ('resigned' in the meantime) and of Giuni herself.
Here it comes 'Vox' , Giuni can combine the business demand without giving up her need of research.
'Sere d'Agosto' and 'Good Good Bye' hit the top ten chats, but in the meantime she indulges herself in a south American luxury with a pearl as 'Buenos Aires'.
1984 we have a double business goal, the single 'Limonata cha cha' asserts itself in the juke box while 'Mediterranea' will be the most sold album during the CGD period.
But apart from the business satisfactions, the album has songs of extreme elegance as 'Le contrade di Madrid', rich of languid Iberians quotes.
This album sign the end of the contract with the CGD, because of incurable contrast with the major manager of the record company who, later on, using a blind and senseless politic with all the artists of her own company, will be forced to give up the entire catalogue to a foreign label, the Wea.
It's the beginning of a fast decline of the national discographic industry.
Forced to leave the milanese environment because of unheeded offers from two important record companies, 'persuaded' to step back, Giuni finds in the publisher Claudio Bixio and in his small label, a new artistic 'home'.
Giuni returns the trust received, achiving an extraordinary business 'goal', 'Alghero', dedicated to her adoptive land, strongly aiding the turistic luck of the Catalan town and, at the same time, it becomes one of the most popolar song of the summer 1986, staying in the hit parade for months. The album is simply called 'Giuni', and marks a decisive change of the artist look.
1987 is the year of the first duet in Giuni's career: 'Adrenalina', performed with Rettore, this song will become one of the most loved song even by artists far from Giuni's musical universe. The LP's cover, 'Album', is noticed for the extraordinary graphic solution.
The turning point of Gini's career is in the 1988.
Using the artistic and human experience achived during the previous years, Giuni made, from a Maria Antonietta Sisini's idea, the first Italian experiment of border music. Not surprisingly, such an innovative move is not welcomed by a big major, always against any explosive idea, but by the small, newborn L'Ottava of Franco Battiato.
Here we have 'A casa di Ida Rubinstein' and exactly like in the Russian classic dancer's rooms, it become a real place of musical delight.
Respecting in the singing score, the V. Bellini, G. Donizetti and G. Verdi chamber music became stronger with a new musical lymph.
With courage and respect, with azardous but with taste and limit Giuni Russo is strongly became the forerunner of the border music, anticipating of a decade what it will later become a world strand much appreciated and remunerative.
This operation is followed by a long tournee, which brings Giuni to the temples of classic music, inaccessible for ' pop music' artists until then.
So, slowly, Giuni's music and her look evolve in the same time.
In 1992, the CGD now called Warner , proposed a double album to Giuni, made by unpublished songs and an anthology.
But the initial project is reduced to only a disc and just two new songs survived:
'Amala' and 'Alla spiaggia dell'Amore'. This last song, because of a ridiculous technical mistake and poor musical attitude of the artistic direction,
is published with a wrong speed, too slow, causing a deep sorrow in the artist.
1994: is the year of 'Se fossi pi' simpatica sarei meno antipatica', the most kaleidoscopic of Giuni's work.
The title is inspired by Ettore Petrolini's monologue 'Il Fortunello', the CD is noticed for what it will be the artistic manifesto of a more mature Giuni, 'La sua figura'. Here we find, for the first time, S. Teresa d'Avila and Giovanni della Croce.
Beside some 'easy' songs, there are shining tracks like 'Strade parallele' in which Giuni face her mother tongue, Sicilian, 'Oceano d'Amore' and 'La sposa'. This album signed the return of Giuni to the Emi which it was her first record company.
After two very much appreciated participation to the 'Premio Tenco', Giuni published the single 'Il Gabbiano', with the label Nar, a cd was supposed to follow but that never happened because of different point of view of the label manager.
In 1998 Giuni celebrates 30 years of career with her first live 'Voce Prigioniera' (Nar), in which Giuni performs in a different way songs from her catalogue and of the beloved chamber music,
often turning upside-down the musical arrangements.
In the meantime, concerts go on, the most expressive, congenial and favourite condition of Giuni.
The result is a second live, published in 2002 by the SonyMusic, 'Signorina Romeo'.
An emotional way through classic and unpublished songs, in which Giuni's spiritual research and the artistic and human evolution clearly emerge.
The following year, after 35 years of absence, Giuni goes back to the Festival di Sanremo with 'Moriro' d'amore', often not accepted in the past with silly reasons. Proving the lack of foresight of the previous failure, the song achives an extraordinary success of critics and public, as well as the following album, with the same title, including not only the sanremese song but also three unpublished tracks and songs taken from the last live album.
Significant that, already seriously ill , Giuni ironically said ' Only now, at the end of my life, I found the recording label suitable for my needs'.
2003 is also the year of 'Demo.de.midi', in which the actual president of Soni BMG, Rudy Zerbi in perfect agreement with Giuni, publish songs left for years in a draw and unpublished performances. The result is a very particular collection which shows a little know side of Giuni.
The year ends with an extraordinary performance 'Napoli che canta'. Mr Paolo Cherchi Usai, at that time director of the George Eastman House, restorer of the 1926 film, ask Giuni to compose a musical suite to be played along with the work of Roberto Leoni Roberti.
It's a live performance at the Zancanaro theatre of Sacile, for the Silent Film Festival. Giuni accepts the long courtship of Cherchi Usai after seeing images from the film, regarding it as great storic and artistic value. In the April 2004 the result is published in CD and DVD by Sonymusic.
Five months after that, Giuni, in her home in Milan, leave us at the age of only 53. The following year start the valorization of her immense artistic repertory, with the publication, by the Nar, of 'Mediterranea Tour', a 1984 concert, and the remixed and remastered 'A casa di Ida Rubinstein', which, in the meantime, became unobtainable on the market. The cd is, like all the previous and following works, produced by Maria Antonietta Sisini and is the best selling product of all the charts, staying on the top for many weeks.
After 25 years 'Energie' is back to the charts, the only case of the kind, reprinted by Wea and including three bonus tracks.
In 2006 Giuni virtually duets with various national and international artists in 'Unusual' (Radiofandango) in which Giuni's voice sings with Caparezza, Lene Lovich, Battiato, Toni Child and others, alternating original musical arrangement with brand new others.
During the same year, Maria Antonietta Sisini establish the Cultural Association GiuniRussoArte to protect the name and the image of the artist, she's Giuni universal heiress, and to promote new talents.
Something that Giuni herself had done with the English/Sardinian group The Mab, whom received great visibility in a moment in which the young artist have no space.
2007 is the year of three publications: the whole remastered reprint 'Se fossi pi' simpatica sarei meno antipatica', 'The complete Giuni', triple anthological cd, the only official one, and the Dvd Docufilm 'La sua figura' of Franco Battiato. Both works, published by Radiofandango, immediately hit the charts.
Maria Antonietta Sisini intends to carry on her forty years work, being absolutely sure of respecting Giuni's artistic choices, with whom she shared all the human and professional story.