Banco del Mutuo Soccorso -Io sono nato libero
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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
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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
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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
The Smiths -Rank
JohannesUlver
JohannesUlver

The Smiths — Rank | DeRank™: 0,00

Thanks to my Rosaspina! (02/23/2023) more
Sparks -Kimono my house
JohannesUlver
JohannesUlver

Sparks — Kimono my house | DeRank™: 2,80

Thanks to my Rosaspina! (02/23/2023) more
Death -Individual Thought Patterns
JohannesUlver
Thanks to my Rosaspina! (02/23/2023) more
Brian Eno -Discreet Music
JohannesUlver
JohannesUlver

Brian Eno — Discreet Music | DeRank™: 0,00

Thanks to my Rosaspina!* (02/23/2023) more
Antonio Albanese
Trofeo
Trofeo

Antonio Albanese | DeRank™: 0,00

Antonio Albanese is an actor, director, comedian, writer, cabaret performer, impersonator, and voice actor from Italy. more
Anthony Phillips -Sides
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hjhhjij

Anthony Phillips — Sides | DeRank™: 0,00

The third album, if we consider the "PPP" series as a separate section of his discography, is overall a very beautiful record, but its quality is sharply divided in half. In the first half, there's an Ant who gives a bit too much to a light pop, perhaps with a hopeful eye on the charts, resulting in mixed outcomes (a couple of songs are frankly not great, especially "I Will Love You," a cheesy slow-pop number that's really far from his usual style, but others are quite nice, like "Um & Aargh" and "Lucy Will"). However, in the second half of "Sides," the level clearly rises; Ant moves away from hesitant "pop-rock" attempts and alternates between returning to his typical acoustic territories and experimenting with harder, fuller sounds ("Nightmare" is very Hackett, for example), definitely more electric and far from the pop songs of the first half. In this latter half, every piece is excellent, just great songs for Ant, which elevate "Sides" to an absolutely valid album, with just a couple of throwaway tracks at the start. As always, Ant plays all the guitars and keyboards, but here, except for a few songs, he often hands the microphone over to various other singers. Ah, the cover with the foosball is beautiful. more
Grinderswitch -Pullin' Together
Kopalsky
Kopalsky

Grinderswitch — Pullin' Together | DeRank™: 0,00

I can't compete with certain comments, so I'll keep it to a minimum. Solid southern rock band, nice album, with at least a couple of truly remarkable tracks. more
Anthony Phillips -Wise After the Event
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An album that has grown in my esteem over the years. From being a very valid work, it has become, for me, a stunning piece, imbued with all of Ant's particular sensitivity, his intimate melodic, harmonic, and compositional delicacy; Ant's style in this album reveals itself more than ever as a child of the great POP melody Masters of the '60s and '70s, as well as of British folk in general, yet all of this is filtered through a highly personal and immediately recognizable style, the same one that indelibly marked the early phase of Genesis' career. Ant is so unique in his classical essence that on certain occasions, in some of these beautiful songs, the melodies, his singing, the touches of shy, discreet notes sound so fragile, so ephemeral almost, that they frighteningly remind me of the delicate and often painful melodies of much singer-songwriter or folk-pop "indie" (let's say...) from the '90s and '00s, something I hadn't noticed before but now sounds quite evident; not always, but sometimes it emerges strongly. Ant, who here begins to skillfully navigate keyboards and piano in addition to his mainly acoustic guitars, and who lends his voice—perfect for these songs—to the entire album, creates a masterpiece of intimate songwriting with a melodious sense that is simply sublime. Stunning. more
Metallica -Master Of Puppets
gaston
gaston

Metallica — Master Of Puppets | DeRank™: 0,00

The most reviewed album of the realm more
Bee Gees -Bee Gees' 1st
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hjhhjij

Bee Gees — Bee Gees' 1st | DeRank™: 0,00

First of all: this "1st" is an album that lies knowing it's lying, since it's not the first at all, but the third; sure, it's the first sold outside of their homeland, and the first two real albums are remembered only by a couple of dingoes and some poisonous snakes out there, but whatever. Seriously though, the international debut of the Bee Gees is the first of many pop gems they would produce in the following years. Following in the clear wake of the Beatles and fully integrated into the pop/psych-pop scene of the time (just look at that perfectly sixties cover), it reveals their talent for writing memorable pop songs, with a personal touch mainly given by Robin Gibb's quivering tone and melodramatic melodic sensibility. First among these pop songs is "To Love Somebody," an impeccable evergreen that will enter the repertoire of many giant artists (in versions that surpass this original, which nonetheless remains a flawless pop song); then there's "Holiday," "New York Mining Disaster 1941," "Turn of the Century," "Please Read Me," and so on. The quintessential beautiful pop album of the '60s. more
The Bee Gees -Idea
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hjhhjij

The Bee Gees — Idea | DeRank™: 6,92

Great album, the best of the BiGis after "Odessa." I adore songs like "In the Summer of His Years," "Idea," and "I Started a Joke," but overall there's a string of beautiful pop songs and inspired melodies that stick in your head, following one after another with admirable continuity, with very rare "minor" or poorly executed moments. Truly excellent. more
Bee Gees -Main Course
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hjhhjij

Bee Gees — Main Course | DeRank™: 0,00

For me, the last valid album by the Bee Gees. They're starting to peek into more danceable rhythms (see "Jive Talkin'," which is a good piece in its own right) or approaching more R&B sounds (the pleasant "Wind of Change" above all), but especially it introduces Barry's infamous falsetto, particularly in the closing track "Baby As You Turn Away," a song I would have gladly done without. Instead, I've always had a soft spot for "Nights on Broadway," and I also like "All This Making Love" and the piano-voice ballad "Songbird," which has a bit of an Elton John vibe. However, the masterpiece comes with the last "old-school" sting from the Bee Gees, the beautiful "Country Lanes," a gem where Robin's trembling voice takes center stage again with their typical melodramatic and melancholic melodies. The country ballad "Come on Over" is also nice, a classic from the "old Bee Gees," later covered by Olivia Newton John (Eh...). more
bee gees -trafalgar
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hjhhjij

bee gees — trafalgar | DeRank™: 0,00

Once it was my favorite, now it’s no longer. I love "Lion in Winter" and especially "Israel" with Barry's incredibly awkward yells that make it sound like he’s being choked in the studio. "Walking Back to Waterloo" is the only one that comes close to the best pop gems of "Odessa" or "Idea." The title track is nice too. The rest of the album is filled with ballads that are frankly a bit too monotonous and cloying, some are beautiful, others definitely less so. Nevertheless, here are some of the most beautiful things from the trio, like Barry's incredibly awkward yells in "Israel," #falsettostocazzo. more
Bee Gees -Spirits Having Flown
hjhhjij
hjhhjij

Bee Gees — Spirits Having Flown | DeRank™: 0,00

I used to kind of like it, but after listening again, almost out of "curiosity," I couldn't even make it to the halfway point. It just proves how the Bee Gees, for me, end after "Main Course" (and their true golden period actually ends even earlier, in the early '70s). Unfortunately, this genre is so far from my taste; even in "Disco" or whatever it is, there are things I appreciate more. "Saturday Night Fever," although I don't like it, is undoubtedly a milestone beautifully crafted around the film of the same name. This album, on the other hand, represents a side of "Pop-Disco" (totally random terms, sorry) that I can no longer digest. I hear bad taste and harmful tackiness everywhere, good only for listening to a piece of trash, in my ears. That falsetto, those overly polished sounds, those damned little screams, oh my... I know it's an important album in the genre, but to me, it's garbage. Sorry. more