Martello

As Jac would say: aiomamma....

I believe there is a "tortuga" in every city in Italy. Then Venditti is quite expensive, I agree.

Well, in Arezzo there isn’t. The bar, the disco unfortunately is still there, left on a shelf collecting dust.

Immense crap. When I think about how much I loved it in the '70s and the amazing pieces it produced...

Oh yes. Then, in the same year, a live album came out with a cover featuring Venditti taking a selfie. Absolutely trash.

Marriavergine, I had completely forgotten about this one. Indeed, it’s one of the most trashy things ever. Moreover, when it was released, he himself called it "his best album" (!).

Venditti has lost his mind. Only Rome remains.

Exactly. Among other things, he also admitted it in a May 2015 interview, shortly after the release of this mess: "Everything comes, however, from the 70/80 tour, from having reinterpreted songs like Sora Rosa, Lilli, Compagno di scuola. They were too beautiful, too intense even for me who wrote them. How mature I was; is it possible that I've become an idiot over the years?"

HE NOT ONLY WENT DUMB, BUT HE ALSO MAKES A FOOL OF HIMSELF. VENDITTI, COME BACK TO YOURSELF.

Wasted words. He and Bennato are now people without hope.

Bennato recently released La realtà non è questa, which is quite nice. Come on, maybe it will make a comeback.

@company, but seriously, is it a joke?

..I mean that "have I become an idiot over the years?"

No, it’s all true Antonello Venditti: «Tortuga è il mio migliore disco»

Needless to say, his audience, the author himself is the first to admit that he’s a fool. Anyway, this thing about "Tortuga is my best album" reminds me of Lucio Dalla, who in an interview said that Lucio (the 2003 album, to be clear) is one of his best albums. In my opinion, artists who peaked in the 70s have all gone a bit daft (perhaps the one who fared the least poorly is De Gregori).

Some former greats like Venditti, Bennato, Daniele, and Dalla have really lost their edge. After a remarkable period of brilliant albums and stunning songs, and a less "sharp" but still valid period, considering their audience, they thought it was a good idea to milk them with a bunch of nonsense (respectively "Benvenuti in paradiso," "Viva la mamma," "Io per lei," "Canzone") and lost their dignity. To date, the last two have left us (rest in peace...), the first can hardly be distinguished from that idiot Eros Montenegro, while the second collaborates with J-Ax, Pezzali, and similar clowns. Staying true to oneself might cost in terms of "audience," but not that much: Guccini, Conte, Fossati, and even the mentioned De Gregori have always maintained their (high) quality standards, and yet they don't seem to be starving.

It's a pity that Guccini has stopped recording albums; from what I've heard, he is truly a giant. Then some have been luckier and died before they could screw everything up (Rino Gaetano, for example, faced this risk; instead, after his death, people started listening to him. I know it sounds harsh, but in the end, this is the truth).

Francesco Guccini - biografia, recensioni, streaming, discografia, foto :: OndaRock Oh by the way, Ondarock has some serious issues. A 5 and a half for Stagioni?! It doesn't seem plausible to me that according to Ondarock the quality of Stagioni is the same as that of Bugie by Lucio Dalla.

Fabrizio De Andr� - biografia, recensioni, streaming, discografia, foto :: OndaRock judge, gentlemen, judge

@[Martello] exactly. For example, if Venditti had died (or retired) in '83, today we would all be listening to "Compagno di scuola" with tears in our eyes, defining him as one of the greatest singer-songwriters ever and asking ourselves "who knows what he would have done in these last 37 years!" Instead, he stayed, and after three lesser albums but still with a few gems, there has been total emptiness. Copy and paste for Bennato.

@[Company] I'm overthinking, imagining how singer-songwriters who became disoriented over time would have looked if they had died before their decline. Like Dalla: if he had died in Henna, it might have been better for him and for us; he wouldn’t have tarnished his legacy like that. Battiato would have only lost out if he had died at Caffè de la paix, just like De Gregori would have lost if he had died during Amore nel pomeriggio. It’s perhaps interesting, definitely macabre.

After the triad "Cuore," "Venditti e segreti," "In questo mondo di ladri" (three lesser albums, but still salvageable), there has been nothing but lots of money and countless little songs worshipped and sold as masterpieces of the new millennium by Radio Italia & company. For me, his has been the most vulgar evolution in the history of Italian singer-songwriter music. Following closely is Bennato: after '87, he too converted to the pop song with a staggering emptiness, even if until '95 there are still a few good tracks to save, after which it becomes utterly useless. The same goes for Daniele and Dalla, both post-'93. A completely separate discussion is warranted for Vecchioni: until '84 ("Il grande sogno"), he was great. Then in the '80s, after a couple of somewhat lackluster albums and one truly horrible one ("Ippopotami"), he managed to return to excellent levels with "Blumùn" in '93. Others, like Graziani, have indeed shown a drying up of their creative vein, but they have never been particularly unbearable, demonstrating that even in his duller albums like "Nove," "Piknic," or "Cicli e tricicli," a few small gems can still be seen. The post-2004 Battiato seems a bit boring to me, but that’s just my problem: the only things I criticize are the experiments from the second half of the '70s (the self-titled album, "Juke-Box," and "L'Egitto prima delle sabbie" are invaluable to me; I would give them a 2 only out of respect for Battiato). Let's let De Gregori and Conte live, as they still have things to say. Fossati was THE ONLY one who had the dignity to retire when he realized that he no longer had anything to say, a matter for the few chosen ones.

Many singer-songwriters who emerged in the nineties, however, have what we might call a reflective mirror: at the beginning, they made some missteps, but then they grew and became great artists. Examples? Niccolò Fabi. At first, he sang silly things like "Vivo sempre insieme ai miei capelli," but later he matured, creating beautiful albums like La cura del tempo and Una somma di piccole cose.

He could continue writing for others. Singing, no. I heard something from his latest live performances, and it was evident that he couldn't do it anymore. Maybe this is also felt in the last "tule," I don't remember.

@[snes] if you're referring to Venditti, he really should RETIRE. He still has the voice, but his way of singing has changed completely (now he barely sings). And the lyrics he's been writing for at least thirty years (with the exception of a couple of scattered things) are truly indefensible. At most, let's leave him to the piano to accompany the "colleagues," at least that quality has still remained with him.

Gartano was truly discovered by people and given the rightful place it deserves only after the year 2000, decades after his death. Gaetano's lyrics, in their simplicity, were too advanced for a generation accustomed to parlor singer-songwriters. And it's perfectly true that quitting quickly helps to create a legend, as Van Basten teaches us.

Sorry. I can't stand Venditti, I was referring to Guccini.

Ah, got it. Yes, we can let Guccini just write. He, and a couple of other colleagues like Vecchioni and Battiato, no longer have a voice.

Poor Franco, he can't take it anymore. He has done so much, really so much. He deserves retirement.

The Tortuga bar isn't even in Nuoro... then I don't know.
As for the album, it's quite bad but in my opinion it doesn't deserve just one star; otherwise, what do we give to Frutto amaro, Goodbye Novecento, or Unica, which were (in my opinion) far worse?.. for me it should be 1.5 rounded up to 2, just like "Che fantastica storia è la vita."

@Mauro you’re kind, for me all those you mentioned are a straight 1 ("Tortuga" included).

No! Tortuga is merten liquefatten! Like the previous one and most likely also the next one (since Antonello is back in the studio, let’s say).

Is he back in the studio? Help...

But he can't do like all seventy-year-olds, that is, make a little vegetable garden, pick the onions, prune the vines... instead, no.

If he were to retire, maybe alongside Vasco, Bennato, and Mr. Fornaciari, our ears would greatly benefit from it.

Completely out of the blue, it occurred to me that even Berlusconi should retire. On the day of his retirement or passing, I promised myself, I would invite people over and celebrate his departure.

Absolutely #maybe

I would have been more curious to read a review of Prendilo tu... written by Korn.

Incredible crossover

Eeeeeeh!? I didn't know that...

Then poetical. Of the series "I am Antonello and this is my brother."

And there was also "Nonc'èmaleeee, non c'èmmaleeeeeee, mi seeento verameeente utileeeeee" (but at least he hadn't written that)..
If we really want to be honest, the only decent lyric from that album was "Lacrime di pioggia" (THE LYRIC, better not to comment on the music).

It's those paradoxical things. Like when Canzone per me by Vasco won the Tenco.

..you are making me aware of so many things that perhaps I would have preferred not to know..

As far as I'm concerned, even this alone could have made an impact; it would have been enough for two lives. An absolute masterpiece.

It's a shame it has lost some of its charm over time; this one is an absolute masterpiece, among the 15/20 records in the Olympus of Italian music.

It’s Venditti’s “political” album, along with Ullàlla... it can indeed feel a bit heavy after several listens but it definitely deserves the missing ball, come on!

Mh... it's an album that I actually haven't listened to much and haven't revisited in years. The limit lies in certain arrangements, which oscillate between the pathos of the brown bear (obviously less exaggerated) and the acoustic style of Le cose della vita; it's a pity that certain arrangements in Le cose della vita appear at the most inconvenient moments, specifically in tracks that even stretch to 6 minutes long (Figli del domani, for example, has beautiful lyrics but a piano-only accompaniment for 6 minutes can get quite boring, or even Piazzale degli eroi, indeed). This is probably my own limitation.

Come on, it deserves a 5 star. Not completely full, but it deserves it.

The subsequent "Venditti e segreti" isn't bad either, perhaps slightly inferior, but quite similar in substance.

By little? There's an abyssal difference between the two according to ME.

Now I listen to them!

Last great album by Antunello. Then the next two, still pretty good albums, Paradiso an almost sufficient album, then the abyssal void.

*hem*bittersweetfruit*hemhem*goodby enineteenhundred*hemhemhemhem

Today this little disc is thirty-six years old. Happy birthday!

🥂

My father has the original, unfortunately.

Well, it's hard to remain indifferent in the face of masterpieces like the title track or "Tutti all'inferno"...

For me, the highlight is the rhyme from the title track "love come here on the sofa, please don't stop your hand."

@[nangaparbat] you are confusing it with the other masterpiece "Welcome to Paradise"

@[nangaparbat]: pure poetry.

Oh, this is starting off great, with the rhyme "every time I talk about you / you are part of or not part of me."
Masterpiece!

If I think that this is the same as Lilly and When Will Christmas Come, it makes me want to cry... not even Piero Pelù in his darkest times sank this low.
Oh my God.

And anyway, we have to blame Venditti not only for these failures but also for the fact that many – not all – indie singers refer to him and especially to this period of his career, one name? Tommaso Paradiso.