Papa Roach
If you take away "Infest," they're worse than the Pope himself. more
(Hed) P.E.
"I just want your company, I just want you to comfort me, just come with me" more
Abba -The Album
Thanks to my Rosaspina! (26/08/2022) more
The Offspring
Negligible from "Splinter" onwards more
Red Hot Chili Peppers
Chilies gone bad after 1999 more
blink-182
Already somewhat uninteresting in 2003 more
Green Day
Only the works from the nineties are saved. more
Led Zeppelin
There are Led Zeppelin a hundred spans above. Then there's everything else. more
Woody Allen -Love And Death
"Boris, do it for our children"
"We don't have children"
"For our parents"
"They don't have children either" more
Woody Allen -Stardust Memories
Art will probably die because of the public, but it will be beautiful to see how long it lasts. more
Woody Allen -Settembre
I love a movie that becomes one in the last 20 minutes. more
Fotheringay -Fotheringay 2
The album "that never was" by Fotheringay, which Jerry Donahue has resurrected from oblivion thirty-eight years after its conception (in that same year 1970) and its aborted realization. In the end, this reborn "Chapter 2" of Fotheringay, which has obviously been completed with various "on-site 2008" adjustments by Donahue to finish what was left incomplete, recovering the old vocal tracks of Denny from back then, is merely a breath shy of the first. In terms of songs and performances, it’s truly a beautiful album: giving more space to traditional music (the fabulous electric folk of "Eppie Moray", to name one, when Sandy's voice joins in at the end...) some covers (the usual Zimmie, the Strawbs when Sandy was one of them, etc.) and only two tracks composed by Denny, which later ended up on his stunning solo debut: "Late November" and "John the Gun," the latter being the only one 100% completed during the original sessions and thus 100% "Fotheringay," which, for me, is the masterpiece of this album. A testament to Denny's talent as an arranger, composer, and singer-songwriter: the verses, which seem a modern song of the ancient English tradition, lead into a choral refrain of epic folk, dabble in the electric renewal of Donahue's guitar, and then out pops a sax solo (!) that is pure originality in that genre (played by Donahue's father, a jazz saxophonist). A masterpiece, from someone who was, for far too short a time, truly great among the greats. more
Fotheringay -Fotheringay
Among Sandy Denny's albums, I place this one just slightly below the works of the Convention and her two wonderful early solo efforts, but we are still on high levels, indeed. This first (and only, for many years at least) album of the new band led by Sandy and Trevor Lucas is a beautiful record. We are in the realm of folk-rock with electro-acoustic ballads that range from typically British-folk tones to those typical of American folk-rock (like the inevitable Dylan cover or "Ballad of Ned Kelly," which nonetheless has its own Englishness in Lucas's voice), well arranged, with splendid vocal harmonies in addition to Sandy's superb lead vocals. At times, the melodic Englishness and the inspirations from across the ocean (the early Joni Mitchell, contemporary to her, is a clear influence on at least a couple of Denny's songs) are one and the same. Some songs, with their British-influenced folk-rock, are not far from the path that her friend Thompson, Riccardino, would take shortly after. Many tracks, particularly the beautiful, intimate, and emotional folk ballads, are penned by Sandy Denny (wonders like "The Sea," "Nothing More," or "Winter Winds," etc.), while the rest are handled by Lucas (or collaboratively, as in the beautiful "Peace in the End") or consist of rare and excellent covers (I mention the splendid electric folk of "The Way I Feel" by Gordon Lightfoot). Inevitably, the peak arrives at the end with the typical British traditional, a chilling rendition of "Banks of the Nile." more
Fotheringay -Essen 1970
It could have been a rare live document of Fotheringay, but unfortunately the recording quality in "Asshole mode" makes it an inevitably subpar product, leaving no chance to truly enjoy the band's great repertoire. The best part is Sandy Denny joking about her terrible German; it's also the part that sounds the best, mind you. For example, you can sense some great performances of "Nothing More" or even "John the Gun," but with this audio quality, you have to take it on faith. To listen to a nice live show, with a decent recording quality, from Fotheringay, you have to go for the one in Rotterdam included in the collection "Nothing More." more
Family -A Song For Me
After the two previous masterpieces, at the dawn of the 1970s, the acclaimed company Chapman-Whitney, accompanied by the loyal Rob Townsend on drums, gifts us with another excellent album, despite the dual lineup changes (John Weider and John Palmer, the very skilled multi-instrumentalists, replacing Grech and King). For me, it’s a stunning album, perhaps not as wild and utterly uncategorizable as the debut, but still very varied and rich in ideas, insights, and spine-tingling performances. Palmer's acquisition is superb. "Wheels" remains the masterpiece of this third album, not so much for the majestic instrumental performance of the band, which is not particularly superior to those of the other tracks, but for Chappo’s interpretation, which I find absolutely sublime. more
Fabrizio De André -Non Al Denaro Non All'Amore Né Al Cielo
Just over half an hour of pure emotion. The finest Faber of the '70s. more
Fabrizio De André -Fabrizio De André in concerto vol.2
Beautiful like the first volume, of course. The pieces taken from "Rimini" flow smoothly and work well played with PFM (especially "Sally"), while "Verranno a chiederti del nostro amore" guarantees chills. In general, the same reasoning applies as for the first volume: it's a truly nice feeling, but it doesn't particularly improve the rearranged songs, for instance in the last two tracks (a real return to 1970 in an updated version, considering that De André's "backin' band" for these two pieces is the same that played sbarbatella almost 10 years prior to the studio album); the rocking version of "Il Testamento di Tito" is cool (also because the song would be stunning with any arrangement) but, in my opinion, with these new clothes it doesn't fully capture the phenomenal expressive power of the more bare version of "La Buona Novella." more
Woody Allen -Radio Days
"Time passes, but it leaves its marks." more