R13570421
R13570421

Pino Daniele — Vai mo' | DeRank™: 0,00

A literally deadly album more
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R13570421
R13570421

Pino Daniele — Nero A Metà | DeRank™: 0,00

The first masterpiece, limited edition vinyl for the live at Arena n° 0855 more
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R13570421
R13570421

Pino Daniele — Pino Daniele | DeRank™: 0,00

The beginning of the metamorphosis towards Neapolitan fusion rock more
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R13570421
R13570421

Pino Daniele — Terra mia | DeRank™: 0,00

The most Neapolitan Pine there is more
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De...Marga...
It’s the hands of Scott Burns that produce and guide the still young Brazilians for their third album in 1989. Finally, the sound is worthy of the name: it amplifies and enhances a deadly work, which consecrates them as one of the most uncompromising, brutal, and fast bands on the planet. An acoustic arpeggio, reminiscent of "Battery" by Metallica, opens the album and the title track, bursting immediately into a hyper-violent wild Thrash-Death; then comes "Inner Self." We're just getting started... more
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De...Marga...
De...Marga...

Ozzy Osbourne | DeRank™: 6,43

"My Name Is LUCIFER Please Take My Hand"...N.I.B (Nativity In Black)...I don't need anything else for the vote. more
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Marco Salzano
Highly refined debut of the beautiful and talented (but criminally scarce in output) Beth Gibbons alongside bassist Paul Webb, who retrieves certain diluted post-rock atmospheres from the more experimental Talk Talk. The seductive Mysteries enchants with its folk purity while Tom the Model pays tribute to the "cold" soul of the great Nina Simone. more
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SilasLang
It's funny that the only album by the Decemberists that I truly liked is essentially a prog record. Because that's what 'The Crane Wife,' from 2006, is. Quite fascinating progressive-pop for me. I was listening to it again this morning. I still like it. more
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Marco Salzano
Meditative and shadowy project, signed by Jakszyk Fripp & Collins, built on the volatile breath of Fripp's soundscapes, on the discreet and elegant rhythms of Levin and Harrison, on the fluid, reverberated fingerpicking of Jakszyk, and on the sublime ripples of Collins' ethereal sax, which often and willingly shake the music from its lethargic torpor. Best tracks: Scarcity, The Price We Pay, The Other Man, The Light of Day. more
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Marco Salzano
From an aborted musical about a middle-aged rocker, it's the most mainstream album (up to that point) by the Tull (but the musical wouldn't have dealt with medieval mysteries) yet not lacking some subtleties (like the Beethoven quotation in the last track). The lyrics still bear Anderson's sharp style. Besides the acoustic Salamander, I enjoy From a Dead Beat to an Old Greaser, the title track, Crazed Institution, and The Chequered Flag. more
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Marco Salzano
Truly a beautiful album, in line with a revival of certain sounds from classical prog, featuring Steve Hackett as a guest, by the way. A track like Rider II is clearly the result of sleepless nights remixing "Lizard"... more
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Marco Salzano
Marco Salzano

The Beatles — Abbey Road | DeRank™: 0,00

A most dignified epitaph (which, given the state of affairs among the four, is almost a miracle that it was recorded) but under their best albums despite the excellent production by Martin. The medley is like a delicious leftover dish that skillfully recycles snippets, cuts, and off-cuts of the past. For Lennon’s sketches, however, it is quite clear why they remained in the drawer and why McCartney relegated them to the center only to reserve the majestic conclusion for himself. more
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Marco Salzano
Marco Salzano

Peter Gabriel — OVO | DeRank™: 0,00

Underrated concept as ambitious as “The Lamb” and – almost – just as successful. Usual stylistic melting pot, heavily influenced by the ethno folk of the Afro Celt Sound System. Luxurious guests including Richie Havens, Neneh Cherry, and Elizabeth Fraser. Touching Father, son. more
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Marco Salzano
With a different, and better, production (and frankly it didn't take a George Martin to do better than King) we would definitely have had an album that we wouldn't have to be ashamed of. Nevertheless, several tracks are not bad at all, and then Gabriel's voice, albeit a bit raw, was already there, which is not a small thing. Personally, after having worn out the LPs from Trespass to Wind, I occasionally return to those "modest beginnings" with a certain pleasure and satisfaction. It's only (Christian) Pop but I like it. more
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Marco Salzano
An attempt, only partially successful, to approach "classical music" with the long homonymous suite. Some of the credit also goes to Ron Geesin, for reworking the "Amazing pudding" prepared by the Floyd and for being the composer of the melodies and arrangements for the brass, the choir (with the great John Aldis), and the cello. However, the best tracks are the delicate, yet somewhat mannered, If and the nostalgic Summer '68. more
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Marco Salzano
Many covers and a handful of truly remarkable original tracks, from I'm a Loser (Lennon's first Dylan-esque song) to What You're Doing and Every Little Thing (later covered by Yes on their first LP): they hold their own alongside the best of "Help!" and "A Hard Day's Night." more
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Marco Salzano
Marco Salzano

Family — Fearless | DeRank™: 0,00

The best of the last phase characterized by the addition of John Wetton, who brings to the group his aggressive approach to bass and also, from my point of view, his beautiful voice, a pleasant alternative to Chappo's powerful goat-like vibrato. Best track: Spanish tide. more
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Marco Salzano
The second album by Family is less imaginative than the debut but much more cohesive, helping to define the new progressive song in that crucial year of 1969 with masterpiece tracks such as, for example, The Weaver's Answer and Observation From A Hill. more
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Marco Salzano
An absolutely original group, the Kaleidoscope of David Lindley, authors of an Eastern/Arabian psychedelia that has very few comparisons. This is particularly noteworthy for the two long jams, incredible "trips" into the psychedelic realm. more
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Marco Salzano
A pop album with a nostalgic tone towards late '70s American AOR and '80s British pop, not exactly the triumphant comeback I was hoping for, but at least it's a notch above EARTH MOVING. Mostly power ballads with monotonous arrangements (but with honest supporting musicians that were chosen...), here and there catchy (Sailing), but above all, Oldfield as a guitarist is still present and fighting alongside us with at least a couple of well-crafted solos in Dreaming in the Wind and the title track. more
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