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Yeah, I know collecting Reed now is a bit necrophilic, but who cares. Good album anyway, light and enjoyable. A strong 4, if nothing else for the title track and a couple of other songs. Also his last great one before the 1989-1990 biennium.

This is the first album in which Battisti places songs that already reach excellence ("Emozioni," which is the peak and center of the album, is one of the most beautiful songs in his vast repertoire, but there are also "Anna" - featuring 4/5 of the future PFM as the backing band - and the white blues-rock of "Il tempo di morire") and then others that are not far behind (recovered from the first album "Non è Francesca" with its second acid and instrumental part, then the pop gem "Fiori rosa, fiori di pesco," for example, or a hidden gem like "Era"); these are songs that, in terms of ideas, interpretations, vocal use, and courage, push Italian pop music beyond its usual boundaries. However, because of this, there is a clear distinction between the most excellent songs and those where Battisti leans into his more "pop-national" side with the ultra-famous pop and/or beat songs ("Acqua azzurra," "Mi ritorni in mente," "Dieci ragazze"), where Battisti deserves credit for his sublime ability to create refrains that are timelessly immortal and deeply rooted, as well as enjoyable—the least appealing song by Battisti still holds a ten compared to Laura Pausini, right?—which objectively do not keep pace with the album's highest moments. Even "Emozioni" serves as a great training ground for young talents: Radius, Baldan Bembo, Demetrio Stratos (on the organ!), and so on, with arrangements by Reverberi. Battisti's first true great album.

Great album. The first by Battisti and Mogol with their Numero Uno, which indeed leaves behind the era of "greatest hits" albums where various songs appeared on multiple different records (although "Amore e non amore" had already distanced itself quite well from this characteristic). This album precedes what I consider Battisti's "golden trilogy," his artistic zenith (Canto Libero/Caro Angelo/Anima Latina) and is an excellent example of his artistic versatility and open-mindedness: it opens with a classic that is as classic as it can get in Italian music, one of Battisti's pop masterpieces ("I giardini di marzo" how beautiful it is) and closes with an instrumental (aside from the choruses singing "UO!") that is psych acidissimo with electric guitar ("Il fuoco" the great twist of Battisti, a beautiful psychoromtronic piece although maybe not his tea cup of tea). In between, there is another of his most beautiful songs ("E penso a te" deserving applause), other experiments and inventions (the title track without words, only whistled and hummed, a beautiful melody), a sketch worthy of Sandra and Raimondo transformed into a song with a refined divertissement ("Innocenti evasioni") and a folkish, fairy-tale-like, and delightful allegorical tune ("Il leone e la gallina"). If the first and third tracks are two masterpieces, everything, in short, is more than of good level (also beautiful "Comunque bella" with Battisti in the finale in the dual role of woman/man and "Sognando e risognando").

Very nice, with some exceptional gems. It starts here, and will last for about a decade, the golden period of Dalla.

Not much to say here: my favorite Dalla, the album I would take with me to a Desert Island, maybe alongside "Il giorno aveva cinque teste": the first roversiano and the first singer-songwriter. Just a coincidence, who knows.

The striking self-titled album from 1979 (with the inevitable wrong cover of the debut) is the second piece of his exceptional "singer-songwriter" trilogy and, in general, yet another beautiful record in a sequence that began six years earlier with "Il giorno aveva cinque teste." This is a practically perfect album, with no flaws and a continuous inspiration in a series of great songs ("La signora," "Notte," "Stella di mare") punctuated by three particularly inspired tracks (rightly among his evergreens) that surpass even the high qualitative average of the album: "L'ultima luna," "Anna e Marco" (almost "Zavattiniana" in "Miracolo a Milano") and, of course, "L'anno che verrà." Immense Dalla.

Not bad for certain rarefied and dark atmospheres, plus a couple of pieces that are more than decent. However, I found the rest to be rather ugly, lacking truly valid ideas, quite boring, and with the aggravating factor of the horrible sound of that somewhat unbearable drum machine. A very immature and not too interesting debut from Lycia for me.

Nonsense lullabies, divided between boredom and existential malaise, sometimes pushing the limits of irritation ("Tied and Twist"), with that little voice of a twelve-year-old in the throes of sexual longing, which around the middle of the album fades into smoky and nocturnal swing-jazz-blues from a seedy joint, like an old song by a less-than-reputable crooner, where the girl becomes ironic, flirtatious, in her spoken-sung style ("Lady Scarface") or in grotesque cabarets filled with distortions ("Carnival Fat Man"). The contribution of the Billy Ver Plank Orchestra is crucial, just as Pat Irwin's contribution is essential for the entire album, in tracks that often feature instrumental outros when Lydia's lullaby fades away ("Cruise to the Moon" is even entirely instrumental, and it's one of the best). There’s also a nod to pop music, that '60s pop which the "Queen of Siam" has often shown a preference for; in this case, it's her personal version of "Spooky," one of the most catchy and fun moments on the album. The other cover, "Gloomy Sunday," which is not lively to begin with, is completely absorbed into the comatose lullaby mood of the first part of the album, a style that suits this song perfectly. This is surely a debut solo album that leaves a mark, and quite a significant one. A very beautiful record, especially considering that there are things in it that I appreciated even more.

If there's a Lynyrd album that I feel deserves a perfect score, it's "Pronounced". An exceptional debut, a handful of really great songs ("Poison Whiskey" is one of my favorites) and three masterpieces ("Tuesday's Gone," "Simple Man," and "Free Bird") blending Southern, Blues, and Rock'n roll. Beautiful, let's say a solid 4.5 rounded up. I couldn't find the "magic" of this album in the following ones, which, while still good, just don't match it.

Excellent second album for the Skynyrd, although, as I said, they don't grab me as much anymore like they did on their debut. Still, the album is always tight and enjoyable; for the masterpiece of the record, thanks to J.J. Cale (their version is excellent), and "The Ballad of Curtis Loew" is beautiful too. But all the tracks are a very pleasant listen (I especially mention "Don't Ask me no Questions" and "Swamp Music"); then there’s the super-classic "Sweet Home Alabama," which has never been one of my favorites from the band.

9.5

An unforgettable epic. 9.5

Not everyone can debut with a double concept album sung in an invented language. 8.5 for one of the boldest debuts ever.

The suite is something incredible, the other two pieces are excellent. First masterpiece from this original Kobaian... erm, French band. 8.5

9.5

A river of overflowing emotions. A whirlwind of ideas and infinite inspirations: Spain, Dark-Wave, the crooner ballad, theater, cabaret, opera, musical, pop, grotesque Industrial, Peter Hammill, even a bit of Birthday Party blues, all blended together by the overflowing personality and undeniable talent of a truly genius and inspired Marc Almond who, with Marc and the Mambas and this double album in particular, reaches the pinnacle of his brilliant career. And then the collaborations (Smith, Severin, Foetus) and his extraordinary band of loyalists around him (the great Annie Hogan leading the way). Not to mention the presence of Matt Johnson (The The) on guitar, a true member of the Mambas and not just a simple guest. In short, a masterpiece in every way.

No jokes. Bud Spencer and Terence Hill, the story of Italian comedy in the '70s. "Altrimenti ci Arrabbiamo" is one of their best, most inspired, and funniest films, free from vulgarity but rich in brilliant gags. Over the years, their movies became increasingly repetitive and banal, but here they were at a level of excellence. Laughter in abundance.

After the debut EP, this beautiful album by Marillion follows, their first full-length release. To this day, it remains one of my favorites and most listened to (even though it’s one of the most derivative and heavily indebted, particularly to… well, we all know which band I'm talking about: the Cugini di Campagna, of course) from a band that I appreciate but don’t quite adore (this applies to almost the entire "Neo-Prog" scene, which certainly includes some valid works). I find it a beautifully compact, homogeneous album, with six very nice tracks, even if I wouldn’t label any of them a masterpiece, and the cover art is stunning as well. Musically inspired, this is where the best side of the devotion (at least the most evident) to the band shines through, which was still active that same year with masterpieces like "Illegal Alien" (but that’s another, sad story). For me, the worst part remains Fish: guys, he's good, yeah, great voice, excellent frontman, but damn, his blatant "Gabriel-ism" sometimes crosses the line from inspiration to pure imitation (and that’s not okay); it’s not just the tone, it’s the style, the accents he puts on the words—it’s... too much. He becomes a caricature when he overdoes it. Oh, and then the Cugi... I was saying, Genesis are not the only muse; listen to the intro of the title track: an apocryphal gospel from the more melodic VDGG, it’s incredibly obvious.

One of Totò's best films, an exceptional comedy, with the prince in splendid form, a truly great mask of comedy. Countless hilarious scenes. Among the most beautiful comedies of all time.

Thanks to an extraordinary, ruthless, bitter, destroyed, incredibly intense Alberto Sordi, Monicelli directs his last great masterpiece, one of his best films. A film that completely shifts into drama after the death of the protagonist's son, featuring a Sordi in top form. A cruel and bitter film, truly one of Mario Monicelli's most compelling works.

One of the masterpieces of Italian cinema. It was a time when our cinema rivaled American quality, and "La Grande Guerra," the apex of Monicelli's career, is one of the most striking examples. Divided between irony and drama, it presents a wonderful snapshot of World War I. Alberto Sordi and Vittorio Gassman deliver two exceptional performances, further exalted in the marvelous finale. An absolute masterpiece.

One of the high points of Italian comedy. A stellar cast with Gassman in top form and the appearance of the immense Totò. An incredibly funny film, packed with memorable and hilarious scenes, one of the greatest comedies of all time.

Another great film by Mario Monicelli. 5 outstanding performances for the last masterpiece of Italian comedy, a fast-paced rhythm, hilarious situations, legendary gags (La supercazzola, the slaps to the passengers on the departing train) and a touching yet bitter ending that still includes some irreverent jests. The first sequel is good, but this first chapter from '75 remains unmatched.

Excellent adaptation of the unparalleled work by Marjane Satrapi. Matching the quality level of the comic was an impossible task, and indeed the film falls short, yet it is still excellent. Absolutely a must-see.

10/10

9/10

3.5/4. Quite a nice film, incredibly funny at many points. Sam Rockwell is outstanding (the best for me here), Walken is known for his charm, Harrelson does well too, Waits with the rabbit is like a god, and the last scene is all his as well. A lovely dark comedy.