One of my favorite Purple albums, let's say a wooden medal, immediately after the podium. There's stylistic variability and plenty of imagination, along with shivers from melodic inspiration. Two masterpieces, however: the title track, which stands among their perfect hard rock, and "Fools," which is one of the best songs that Nerodipiù, Lord, Glover, and the gang have ever composed, wonderfully varied, with those beautiful "stop and go" moments, the hard-rock-blues structure of the vocal part, the delicate intro, and the central solo by Blacky (one of the most beautiful and evocative in his repertoire, with great melodic sweetness, almost sacred in tone, or between the sacred and the ancient minstrel-electric, but we know that Blacky is fixated on certain things), simply stunning. For the rest, the average quality of the tracks makes me prefer it to the next one, in addition to the greater variety (the slightly exotic-psych atmospheres of the beautiful "The Mule," and may Lord be blessed, the classic rock-blues but with a slower-melodic insert by Nerodipiù in "No No No," and even "Anyone's Daughter," another experiment far from the main coordinates of Marco Due, but which I consider a delightful diversion). Truly a great album, the only thing that sucks here is the cover... more
The acoustic (and folk) side of the Tortoise. Pleasant, but not essential. more
They compose catchy and straightforward tracks in a clear AOR style but distinguish themselves from their peers by enriching them with solutions of clear progressive origin, the latter being so massively present that they almost challenge their status as an AOR band; they appeal to both factions, pleasing true rockers as well as proggers. more
After Man and before God there is their music. more
Stuff for super-obsessive, ultra-completist Genesis maniacs. In the first disc, amidst tracks that I couldn't care less about and a few obvious aggressive garbage (the utterly detestable "Peiperleitdemmerda"), there are, however, some interesting gems, most of which provoke heavy swearing for not being included in those damn albums that, without some excess nonsense, could have been at least decent records... Visible Shit foremost. Imagine that disgrace of an album with a couple of its songs cut out and with "Feeding the Fire" and "Do the Neurotic" in it, especially the latter, a good instrumental, incredibly PLAYED (considering they barely even bothered with that), fun, engaging, damn it, but even back in '86 they recorded decent music (not that they're masterpieces, but they’re pretty nice). Also interesting are the "Naminamu/Submarine" which should have formed a suite with "Dodo/Lurker" on Abbacabbo. In the second disc, various live tracks of massively schizophrenic quality (ranging from a gem like "Ripples" to the infamous queen of #illegalsongs), making it entirely pointless (there are other live/bootleg recordings that contain the same songs). In the third, more useless live tracks and at least another nice gem: "Open Door" by Rutherford, from the 1980 sessions, one of his best songs, when his melodicism was sweet without crossing into the overly sappy. more
A beautiful representative of our local romanticism. With Giulio, he has written beautiful things. I feel sorry for his personal situation, but he remains a talented singer-songwriter. more
When the unreleased tracks are better than some originals more
Great Band or Ghost Band?
To future generations the difficult verdict more
In my opinion, one of the best albums of the 20th century. more
Coldstronzi, who are as much bastards as you can get.
What fucking faces they have! more
Do we have good AOR? more
Rock is not art but merely an expression of human misery and depravity. more
Too useless and insignificant to be defined. more
Vasco Stronzi, more Stronzi than this is impossible! more
The best! more
Together with Maneskin, the biggest. more
The best! more
That latrine that Putin wants to bring back to the world more
Third novel in the trilogy of The Friend Who Was Found, which is effectively a continuation of the first story: Hans – who in this version is called Simon Elias – now aged and disillusioned, returns to his hometown and meets with his old classmates who still carry, beneath their manners and polite formalities, the seeds of Nazism. For me, it’s somewhat the same discussion as 'A Not Vile Soul': it’s a "sequel" that honestly didn’t seem necessary considering that The Friend Who Was Found ended with the bitter reflection of the adult Hans, who had effectively repressed the years spent in Germany and the memories tied to them; this story merely expands on this theme, but the result, in my opinion, is frankly rhetorical, at times repetitive. I repeat, the strength of The Friend Who Was Found lies precisely in its succinctness: in just a few lines it adequately touched upon all the present themes, and being such a brief story – almost symbolizing the transience of the friendship destroyed by Nazism – guarantees a considerable emotional impact. "Less is more": the two subsequent stories were probably only useful to Uhlman to exorcise the traumas of his own past. more
This rereading of the events in 'L'Amico ritrovato' from Konradine's perspective is cute, but in my opinion, it remains fundamentally unnecessary, nothing more than a (superfluous) appendix to the moving original story. The problem, in my view, is that Hans and Konradine are practically on the same wavelength character-wise and intellectually, so the feelings and emotions recalled by Konradine regarding his friendship with Hans and the happy school months spent with him are virtually the same as those of his friend, which makes this novella nothing more than a pale imitation of the original. Even the theme of remorse stemming from his uncomfortable position—being the son of Nazis with a Jewish best friend—which would be the "unpublished content," appears redundant, as it is already very much perceivable in 'L'Amico ritrovato.' I don't know; to me, it's a piece of writing that adds nothing to the original material and, in fact, only emphasizes its incisiveness and beauty. more