Edoardo Bennato & the fair of shit, part 3. The previous two parts were taken from the unspeakable piles of garbage from 1998 and 2003. And let’s remember that this is still the same guy who sang “Io che non sono l'imperatore”… more
Hackett in Brazil (part one). Having exited the "Defector" tour stressed and overdosed on aspirin, Stefanuzzo decides to take refuge with Kim in her homeland, Brazil, and relax nicely for a few months, maybe writing some songs between drinks, a swim, and some lovemaking. And yes, this first Brazilian album of his (no musical influences, it was conceived and written there) isn't great. You can tell it’s the typical ultra-relaxed album of an artist making music during a serene time without putting in too much effort, just casually. Kim was also on vacation, no painting for the cover, just a photo she took of her husband, where Steve's expression reveals the vastness of how little he cared about putting effort into composing at that moment. But this kind of light-light pop doesn't suit him well, and the album is filled with very dull little songs (the nicest is "Hope I Don’t Wake Up," even if it sounds, to put it mildly, reminiscent of Yes, from around the same time, of course). Steve sings it solo (horrible choice), and indeed, the instrumentals save it: "Air-Conditioned Nightmare" is nice and the already typical classical guitar piece ("Cradle of Swans") raises the level of an album among his absolute worst. A couple of tracks could have been better, perhaps, but they weren't; the rest is mediocre pop with horrible backing vocals and sung parts. more
It's unfair! You hate him regardless for those campfire songs like "La canzone del sole," but as soon as you dig deeper, you discover gems like "Anima latina," "Don Giovanni," "Umanamente uomo," "CSAR," "La sposa occidentale," "Una donna per amico," "Il mio canto libero," and you end up loving him like crazy... really Lucio, you're such a bastard... AND PIGNOLO! more
Is it possible that it's a great record? I say yesssssss!! more
He who kept Italian singer-songwriter music alive during the challenging nineties. more
Swedish goliard group with predominantly dance sounds. A non-rock version of the Bloodhound Gang without the possibility of understanding the lyrics. The highest sings, often in falsetto, the lowest raps, the blond one I didn't understand what he does, and DJ Hunk, the one with his shirt off, makes the beats. A lot of attention is also given to the videos, which feature the most famous Swedish raw material. more
a step back from the extraordinary "the discipline of the land," but still amazing. quattremmezzo, "there's time," and "the kiss on the mouth" are the masterpieces of the album, without a doubt. more
what a crappy one this is too! a somewhat unpleasant "putipù". the rest should be avoided like the plague. more
- Good and handsome
- Points of view more
One who writes good songs, not too modest but also not overly self-important. Ah, all is well at home. more
Re-evaluated, nothing particularly shocking but still a "bearable" album. Clearly better than all the other albums of the last thirty years. 6/6.5 more
"Jazz" has three things: "Don't Stop Me Now" (sticky like honey, damn it, a bomb of a pop song that devastates the charts), "Bicycle Race," and "Fat Bottom Girls." Three perfectly spot-on singles. The rest, forgive me, ranges from horrendous to unbearably boring; I can't listen to this album except for those three. Three perfect singles, but the album itself is rather ugly, the first ugly one by Queen. more
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
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
A piano, a cigarette, the smoke filling the room. A whisky, as the music begins and Tom Waits' voice caresses, scratching, the air. more
I'm going around (and around) with Baglioni. more
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
"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
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
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