Three monumental albums, but then he got carried away by an embarrassing ego...
Such a shame, because he really knows how to play the guitar and has undeniably created a unique sound.
For the record: it's a pity about those promises, honest but big. more
An album that is more than thirty years old, yet still today can capture our attention, still today can be analyzed with passion. And for this reason, I believe it deserves a spot in our "hall of fame" of essential albums. more
every time it spins on the turntable, it’s a party! more
Undoubtedly not at the level of the stunning "Energie", compared to which "Vox" seems to me, overall, although very pleasant, decidedly less inspired in its songwriting, which here is more in the hands of Russo and Sisini, perhaps "held back" and limited by the demands of the record label. Giuni's vocal performances, while still excellent (and at times, really spectacular here too), are somewhat less flashy and dramatic than what was heard in "Energie". That said, the remarkable voice of Russo remains the added value even in the less successful songs (like those by Battiato, who here reduces his compositional contribution compared to the previous album and achieves results that convince me much less), and still delivers absolute fireworks in the more inspired and slightly freer tracks ("L'oracolo di Delfi" and "Oltre il muro" above all). more
Literary Prize more
Top 3 in the best Italian albums of all time more
Two words: masterpiece + essential. more
In reality, they make (in the sense of "used to make") perfectly normal music, as it should always be: free from constraints, based on the willingness to be tempted by an idea and finding the best way to throw it in. And this applies to any other band of the experimental, avant-garde, and prog genres. It’s everyone else (pop primarily but not only) who plays non-normal music, based on canonical structures created solely for the radio but that, in nature, do not belong to them... more
Mythical figure of the Italian library. Wife of Remigio Ducros, she is the author of several noteworthy works that encompass all genres, often winking at experimentation. She passed away prematurely at the age of 42. more
French composer, active since the 1950s, he has dedicated himself to both the teaching of classical music and its composition. A winner of several international awards, he is also known as a composer of soundtracks for film. more
A worthy conclusion to a brief but intense career! more
I won’t pretend that Mark Shelton was my idol, but he embodied everything I loved about metal, and what I no longer found at a certain point in metal. The ability to have a vision and to fully immerse oneself in it, he was the quintessential bard. This made metal alive, human, even brilliant, beyond its flaws and, indeed, precisely because of them. It’s something I no longer recognize in current metal, frankly mannered, lost among triggers, guitar technicalities, and overly polished singers. Goodbye, Mark, and thank you for everything you’ve given me. more
rock! period. more
when 2 monsters meet!!! more
Rock'n Roll will never die, someone said, and rightly so. At most it dies for a few years and then rises from the grave, more rotten, more macabre, more wicked, more decomposed. Like here. Psychobilly (excuse me, it’s the most beautiful name ever given to a music genre) in all its filthy splendor. Rock'n Roll and Garage from the '50s and '60s, rotten with the years, turning into a bacchanal of almost "tribal" ferocity. Most of the tracks are by the Cramps themselves, but there are excellent covers too (with "Strychnine," a cover by the Sonics, one of the toughest and wildest garage bands of the '60s, the Cramps hit the jackpot) like the fantastic duo that closes the album: "Tear it Up," the wildest and most psychobilly song on the entire record, and "Fever," which is instead a sublime, hallucinatory, passionate, and unexpected slowdown, a finale that deserves applause. An amazing record. more
The master of Italian noir, not only for the "milieu trilogy" but also for "The Cop is Corrupt." Less successful, but not trivial, are his excursions into other genres. more
a bit of Wind, so much And then & Duke....the latest prog bullets, probably leftovers from the Genesis production. more
Considered by many as an useless album. Considered by me as a very good album of wonderful covers reinterpreted in a jazz style with the stunning voice of Michael, very comfortable in the crooner version. Directed by Phil Ramone. more
When Rock Made History more
Brutal chaotic, unpleasant in the good sense. more