Marco Travaglio
Davik
Davik

Marco Travaglio | DeRank™: 0,00

The biggest scoundrel, unreliable, know-it-all, arrogant, pretentious, and ridiculous figure of Italian 'journalism.' Since he became a 'progressive count,' peddling simplistic propaganda for his national hero in his piece of junk newspaper for years (giving a warm middle finger to all the idiots who believed in 'direct democracy' and 'neither right nor left' or in 'politics as civil service for a period of time' and all the nonsense fired off by Grillo), he's almost made me reevaluate Sallusti, who has never sunk to such levels of subservience. No consideration or respect for those who still pay to hear this guy's nonsense in theaters or buy his books. more
Bauhaus -Bela Lugosi's Dead - The Bela Session
hjhhjij
A precious gem for those who adore Bauhaus like myself, an EP that finally brings together the first studio recording session of the band, dated January 26, 1979, and of course, from this came the legendary single that erupted onto the "post-punk" scene of the late '70s: "Bela Lugosi's Dead," which, even in an era of total experimentation in that "new rock and pop music," was something never heard before. The strong "dub" component serves as an exoskeleton, painted by Ash's irregular guitar strokes that certify their belonging to that sonic kaleidoscope of "post-punk/new wave," combined with the dark-gothic atmosphere marked by the essential, somber bass notes of David J, paying homage to the iconography of old black-and-white horror characters and figures, all with a singer who, as the cherry on top, has the theatricality of a glam rocker but all bent towards darkness. A sublime thing, a masterpiece; but with this EP, we also get the rest, the other gem of "post-ska-punk," "Harry" (first released only in 1982 as a b-side) but above all their more rock'n roll/glam side, their starting points. Without this record, we would have missed out on a bomb like "Bite My Lips," and what the hell, rock'n roll (vaguely post-punk) where Murphy the vampire unleashes his wildest glam-shamanic rock fervor. A masterpiece EP, just what we needed. more
Björk
Secche
Secche

Björk | DeRank™: 0,00

I still haven't figured out how to associate experimentation with Bjork. more
John Grant
boomerx
boomerx

John Grant | DeRank™: 0,00

A songwriter by apolide vocation, between the most inspired Elton John and Northern European electronic experimentation, an unprecedented mix excellently supported by the undeniable vocal and compositional talent of John Grant. more
John Grant -Queen of Denmark
boomerx
boomerx

John Grant — Queen of Denmark | DeRank™: 0,00

The album cover is somewhat misleading; it suggests a 70s punk artist, while once you listen to the entire CD, the image that comes to mind is that of an elegant and cultured guy with a crooner's voice and a pianistic style somewhere between B. Joel and E. John, enriched by classical references. The lyrics are innovative as they tackle themes from the perspective of a middle-aged gay man, a point of view rarely heard in music. more
Le Orme -Storia o leggenda
hjhhjij
hjhhjij

Le Orme — Storia o leggenda | DeRank™: 3,00

The Parisian album by Le Orme, which takes inspiration from the French capital where it was recorded, is reflected in the settings of the lyrics, the atmospheres, and, wanting to follow some clichés, in the melodic elegance that characterizes the album and its refined, melancholic mood, always present in the band but here truly at the center of gravity of the album. It is also the quintessential pop album by Le Orme, composed of songs—refined and never trivial yet still "songs" in every sense—highlighting a side of their music that has always been present even in the years '71-'74, the most "progressive" ones. Mazzieri returns for the artwork, five years after "Uomo di Pezza," and I rejoice because I adore these covers, and this one is even cooler than the previous one. "Storia o Leggenda" is very beautiful but, in comparison to the equally excellent "Verità nascoste," it lives less in high peaks, yet overall, it is more homogeneous and compact, perhaps just a bit too focused on the slow sweet-melancholic melody (but what melodies!)... Until the final rush of "Al mercato delle pulci," an electric instrumental, nervous and driven that takes you right back to the times of "Collage" and "Uomo di Pezza." more
Piero Ciampi
IlConte
IlConte

Piero Ciampi | DeRank™: 6,00

"Recently 'listened to'... once I wouldn't have given it a thought, I didn't 'have time', now I 'have time'. I would have gotten along with him... perhaps too well; arguments between exhaustion and brotherly hugs right after, a few drinks away from everyone, adventures without being heroes... more
Antonio Albanese -Personaggi
Trofeo
Trofeo

Antonio Albanese — Personaggi | DeRank™: 3,00

The Italian madness seen through comedy, the masks, and the fantastic "monsters" of Antonio Albanese, from the beginning of his career to today. They are all there: the Minister of Fear, Alex Drastico, Perego, Epifanio, Cetto La Qualunque, the sommelier. more
Phil Collins -Hello, I Must Be Going!
hjhhjij
For me, Collins' best album, slightly above the previous one. It's a good pop record where Phil seems to remember he's a musician and not just a mere printer of complaints. Alongside him, the loyal Stuermer on guitar and, as in "Face Value," once again John Giblin on bass for some tracks, his rhythmic companion in Brand X or on Gabriel's "III." "I Don't Care Anymore" and "Do You Know Do You Care" are probably the best songs from Collins as a solo artist, with "In the Air..." and "Thru These Walls" right behind. "You Can't Hurry Love" is so perfect that it covers itself, while "Why Can't It Wait 'Til Morning," with its flutes, oboes, and horns, feels closer to certain pop Genesis from the years just before. Nice little record, a couple of avoidable tracks but the stumbles don't go beyond that. more
Phil Collins -Face Value
hjhhjij
hjhhjij

Phil Collins — Face Value | DeRank™: 0,00

Oh, I keep saying that Phil Collins as a solo artist started off well, with two nice albums of that pop-fusion-blue eyed soul-r&b that he loves so much, being a born entertainer. This first album is one of the thousand faces of Collins (in the same 1981 there was also “Abacab,” but during that time there were also Brand X, the collaboration with John Martyn, in short, the usual one, none, and a hundred thousand) and especially the first half I must say is a little gem, with at the top that standout track “In the Air Tonight,” of course; there are the ideas, like bringing back the dry drumming without cymbals due to the experience from the year before with Peter in “III-Melt.” The ballads/slow songs are sometimes really nice and other times they are a bit of a Collins whine but 10 times more enjoyable than the Collins whines that will come later. From the “marital crisis” sessions of '79-'80 came out some beautiful pieces, there’s groove here, a great rhythm section (there’s the buddy John Giblin, just to mention, you know...) a singer at the peak of maturity and expressiveness, a musician who hadn’t yet forgotten how to be one. Of course, in the second half it drops a bit but remains pleasant overall. And anyway, it's quite obvious that he reserved the leftovers of his own songs for Genesis, just think of “No Reply at All” on the contemporary “Abacab.” more
The Gun Club
bluesboy94
bluesboy94

The Gun Club | DeRank™: 0,00

Immense up to "Las Vegas Story." more
Le Orme -Collage
hjhhjij
hjhhjij

Le Orme — Collage | DeRank™: 6,05

Fabulous record, the first major work of another one of my favorite Italian bands (and as far as I'm concerned, one of the great names of the international prog scene of those early '70s). With this album, they truly made a leap in quality ("Ad Gloriam," for goodness' sake, was already a nice beat-pop-psych-rock album, but it doesn't particularly drive me wild); in my opinion, 7 tracks that range from good to excellent, whether they are the more "prog" and elaborate pieces (and here we have a stunning duo with "Cemento armato" and "Evasione totale") or those that stick closer to the song format (or are simply "simple" songs), of which Le Orme were true masters, always balancing between pop sensibility and that "progressive" vibe they were among the first to bring to Italy in 1971 with such maturity, skill, and awareness. And here there are gems like "Era Inverno" and "Sguardo verso il cielo," etc. There's the beautiful instrumental title track, which pays the toll (typical for many bands or artists of the time) of classical inspiration. A very complete album, there's electric power (from the Hammond) and strong bursts, as well as melodic delicacy and refinement. There are (few) sunny passages musically, and there’s (a lot of) darkness, especially in the lyrics, always very beautiful and so cheerful and optimistic that they make Joy Division seem like a New Year's Eve train ride band. more
Le Orme -Felona E Sorona
hjhhjij
hjhhjij

Le Orme — Felona E Sorona | DeRank™: 3,00

What can you say. It closes the triptych of masterpieces by Le Orme, it's the deepest album, where the very cheerful themes and the joyful lyrics of the band take on planetary dimensions, literally. The unmistakable optimism in the lyrics, the themes, and the style close to those he expressed, had drawn admiration and appreciation from Peter Hammill, none other than him, who translated and adapted them into English for the anglo-speaking version of the album. High-level lyrics, even better music, instrumental passages and melodies, sung and unsung, are the peak product of the serenest trio, although—I must admit—I'd personally prefer at least "Uomo di Pezza" for sure and perhaps even "Collage"... Maybe it's because "Felona e Sorona" transmits too much anguish at times; but it is a masterpiece, of incredible beauty, depth, and maturity. more
Mel Brooks
Martello
Martello

Mel Brooks | DeRank™: 0,00

Whoever hates it is a jerk. more
Mario Biondi
Poldojackson
Poldojackson

Mario Biondi | DeRank™: 0,00

WHAT IS IT FOR EXACTLY? more
Banco del Mutuo Soccorso -Io sono nato libero
hjhhjij
Last of the excellent triad (but certainly not the last worthy album of Banco) from the Roman/Lazio band. As mentioned for "imprinting" with the group, my heart tells me that Salvadanaio is their best album; however, my brain would argue this one, the record of definitive maturity, probably the most complete and eclectic of the three: from the 15-minute prog of Canto Nomade to the BMS, which reveals itself as perhaps an excellent songwriter like never before, pure and linear songs of the highest quality, with the splendid "Non mi rompete" (legendary title, even just that...) and then Gianni Nocenzi pulls out my other favorite Banco song, the surreal and restless madness of "La città sottile," pure wonder with a taste for the theatrical and the absurd, what a fabulous piece. So much variety in this album, in style, atmospheres, lyrics ("Dopo...Niente è più lo stesso" closes the circle uniting classical prog and the anti-militarist and "political" lyrics of Canto Nomade). Among other things, besides a very theatrical Di Giacomo and the keys of the Nocenzi Bros, it is precisely in the album where the handover between Marcello Todaro and Rodolfo Maltese occurs that we find the most beautiful guitar parts and intertwining I have ever heard in Banco. more
Tom Waits -The Heart Of Saturday Night
hjhhjij
Almost as beautiful as "Closing Time," this second chapter of Tommaso that Awaits's career dives much more decisively into the realms of Jazz—swinging Jazz, Jazz from a Jazz Club. Even when the "folk" songwriter song peeks out (like in the stunning title track, with its nighttime, intimate singer-songwriter vibe, almost a bit Fred Neill-esque), it’s a moment and it immediately becomes a classic. The slow crooner sound that comes straight from the debut album isn't turned down either, with equal quality ("Shivers Me Timber" especially); however, Jazz overflows, and it’s quite enjoyable, both in the ballads ("Drunk on the Moon") and in explosive and exhilarating tracks like "Fumblin' With the Blues" or "New Coat of Paint." The melancholic, at times explosive and touching, nocturnal stroll we undertake with the young old 24-year-old passes through an impeccable series of beautiful songs, with no chance of faltering—music, melodies, arrangements, and lyrics. Waits's first two albums would already be worth a career for a "classical" singer-songwriter, and for him, they were just the appetizer of the appetizer. more
Paolo Belli
Yftcfuf
Yftcfuf

Paolo Belli | DeRank™: 0,00

Leaving aside the choice to set (to) certain trivial football anthems to music, the Fred Buscaglione of the third Millennium. more