Well, I’d say it’s pointless to say things like “it’s the best album by Litfiba” or “masterpiece!!!” because too many have said that already. I’ll just say that it’s not all roses and flowers: "Come un Dio" has the worst arrangement on the album (the live version from 12-5-87 is definitely better), "Cane" has always felt too chaotic to me, and the album as a whole leaves you tired... but satisfied; it’s not 66 minutes thrown down the toilet. Inside, there are some amazing tracks arranged in an incredible way (I think "Pierrot e la luna" is the best example to describe the essence of the album). Those who haven’t listened to it should give it a try; it’s worth it. more
Unique. At least in Italy. more
If it weren't for the last three tracks, it would have been just a good album, with excellent pieces like Generale, good pieces like Renoir or il 56, and some rather simplistic ones like Natale. Instead, thanks to the bitterness of La campana, the joy of Raggio di sole, and the evocative images of Due zingari, this album leaps into the realm of masterpieces. So, after all this, I call upon you @gino, enlighten me. more
I have a contemporary gaze. But I don't have the ggell. more
sincere more
no-strani more
Genius. Experimental. Necessary more
Reading that I am the English version of Air makes me smile. Each album is a little masterpiece. more
There are 2 versions. The IPR one is better. more
work of art. more
But really, is this the same person who composed abominations like "benvenuti in paradiso" or "il frutto amaro"?
An obviously wonderful album, a milestone in Antonello's discography. On the notes of "campo de' fiori" and "figli del domani," a tear always falls. more