Queen -Queen
The beautiful debut of Queen. Kitsch pastiches, hard rock, pop, glam, ballads—a bit of everything—but they were a fun band that knew how to write some great songs, as long as you can digest the mix. And the choirs. Like "Fairy King," how excessively gaudy is "Fairy King" at more than one moment, yet it's beautiful; I like it a lot. That's the way the Queens are—they took from here and there, never truly original but so personal, positively or negatively, you decide, as they are among the most recognizable bands after half a note of any song. Oh, and Mercury's voice, well. I think this album starts with a bang and then drops off over distance, but it’s a solid debut; there are spot-on singles ("Keep Yourself Alive" but they rarely missed with the singles, even in the worst years), tracks that are a bit too cluttered and heavy even for their standards ("Liar"), and one of the absolute coolest songs of the band, "Great King Rat," the standout of this self-titled debut album. But... "Fairy King"... what a marvelous kitsch. more
Antonello Venditti -Tortuga
Speechless... a rare atrocity. And he himself has even called it “his best album”... a slap in the face to all the Giulia, the Canzoni per Seveso, the wounded Stambecchi from throughout his career... not to mention that this is his ABSOLUTE low point, and I don’t need to tell you which one it is. Unfortunately, the database won’t let me give it a perfect zero, so I'm forced to assign a generous one... more
Tom Waits
A piano, a cigarette, the smoke filling the room. A whisky, as the music begins and Tom Waits' voice caresses, scratching, the air. more
Claudio Baglioni -Gira che ti rigira amore bello
I'm going around (and around) with Baglioni. more
Francesco Guccini -Guccini
A pleasant continuation of Metropolis. Autogrill is an immense masterpiece, a notch below Gli amici and (I hope you won't bash me for this) Shomer ma- Llilah. But despite half of the album being genuinely excellent, most tracks are less inspired than Metropolis and don't grow on you with repeated listens. For instance, in Metropolis, the more I listened to Black out and Milano, the more I appreciated them; here, I've listened to Argentina at least 10 times and I still can't fully appreciate it. Only the good Gulliver and Inutile remain, which are essentially nice and meaningful tracks that definitely add to the album but ultimately lack the overwhelming impact of Autogrill or Gli amici. It's a shame, it could have been a great album, even though it still remains at more than decent levels. more
Vasilij Grossman -VITA E DESTINO
"The war had reached every department of the Tractor Factory. But the living were still alive."
The Nazi aberration and Soviet totalitarianism defeated by the goodness and heroism of millions of men and women. more
Enzo Carella -Sfinge
C-A-P-O-S-L-A-V-O-R-O. A beautifully fresh album, divinely produced with nine stellar tracks, each more beautiful than the last. For the skeptics, go read the lyrics of Riflessione finale and then we’ll talk. more
Scarabeo -Pour Ellae
Debut album of Milanese singer-songwriter and lyricist Scarabeo. 12 tracks of various genres, each dedicated to a different girl, in a mix of Italian, English, and French. The album was produced by Paolo Faldi and recorded at Overdrive Studio in Milan, and published by GRecords. more
Amedeo Minghi
He did something nice ('1950', 'When Summer Comes'...), but honestly, for some strange reason, I've always found him incredibly annoying. And then after that period when he was marketed as a great author of Italian music, when everyone called him 'maestro', he became even more unbearable to me. Anyway, 2.5 but only out of kindness... more
Oldfield Mike -Ommadawn
I also have the vinyl; the first side is his best composition, in my opinion. more
Enzo Carella
He did little, but that little he did perfectly. Ah, Sphinx is a masterpiece. more
tony banks -still
A record not to be thrown away, it's a disaster on one half but the other half is good. "Still" is somewhat the little sibling of "We Can't Dance," both for the year of release and for the knack of mixing horrible songs with ones that are decidedly more dignified. We see Totonno on the cover, sitting in pose, in his best imitation of Baglioni, thinking of a way to climb the charts even without Phil. He tries everything, like releasing it the same year as the album with Genesis, but nothing works. Hence the disastrous collaboration with Nik Kershaw on three tracks, all of which are strictly bad, one ("I Wanna Change the Score") is simply awful. Then there's the other collaboration with Fish. I have to say it feels strange to see Banks playing with Gabriel's cosplay, but anyway, from this come two tracks, one nice ("Angel Face") and the other, the most elaborate and progressive of the lot ("Another Murder"), which is a pretty good piece. I also like "Hero for an Hour," which Totonno sings solo. But my favorite is "Water out of Wine," with the soothing voice of Jayney Klimek and Banks' fluted keyboards; it's the jewel of the album. Oh, it's a song I've always been in love with; I find it beautiful. Klimek, for fairness, also sings in that piece of garbage "Back to Back," an awful chart-climbing track (or so it was intended...). In short, half-crap and half-good, it's a decent record, the best after the debut. more
Jo Fedeli
In addition to singing memorable songs, he also played in the International. It's well known. more
David Gerrold
FS writer, excellent especially in the field of adventurous FS. He has also worked on some episodes of ST: I, Mudd - The Trouble with Tribbles (mythical) - The Cloudminders. more
Yes
1 and 2 to Yes, but step aside. Only "Fragile" and "Close to the Edge" guarantee them a lifetime 5. more
Rino Gaetano
To all those who call him "overrated," I would like to point out that he didn't just write "Gianna"; between 1974 and 1977, he released three of the best albums of Italian singer-songwriter music. I give it 4 and not 5 (which would ultimately be the classic 4.5) only because of a few tracks that are a bit below par. more
Francesco Guccini -Stagioni
A fantastic testament, an inexorable and unfair passage of time. Two great masterpieces: Don Quixote and Goodbye, the first epic and disillusioned, the second the one I would want at my funeral. In between, excellent tracks like the gritty Ho ancora la forza, the 50s jazz vibe of Inverno 60, the melancholy of Autunno... and then there are the title track and E un giorno, which, while excellent, have a few small flaws (the first is too celebratory of Che, the second a tad rhetorical). Only Primavera 79 remains, a so-so track that nonetheless encapsulates well the passage of time that permeates the entire album. In conclusion, a carefully crafted record, with excellently studied arrangements and lyrics that are melancholic, disillusioned, and pissed off, reminding one a bit of that disenchantment of Via Paolo Fabbri, albeit in a less existential manner. more
Amedeo Minghi
Who knows why Pasqualino Panella decided to write lyrics for this mollusk... more