JpLoyRow

It can be said that he gave everything in this sensational double album, considering the scarcity of "genius" that will affect him from this point onward ("I just called to say I love you" included). The tastes are like those of an ice cream parlor, every palate is satisfied: from the sharp "Village Ghetto Land" to the party of "Sir Duke," from the love for his daughter in "Isn't she lovely" to the 8 minutes of "Black man," and let's not forget (actually, let's talk about it) the softness of the 7 minutes of "As" and the contagious joy of "Another Star" (my favorite track). I’ve only mentioned a few, but there are also "I Wish"; "Pastime Paradise"; "Joy Inside My Tears"; "Saturn." Wonder. accontentato:

They go to Sanremo with "Tutti i miei sbagli" and suddenly, half of Italy knows them. Their second album soars in the charts thanks also to good quality and a very high rate of potential hits ("Colpo di pistola"; "Liberi tutti"; "Discolabirinto"), even though their manifesto (cultural and existential) is "Il mio DJ." Electronics at an excellent level, with contributions from Morgan, Daniele Silvestri, and DJ Coccoluto.

Farewell step of one of the most influential bands of all time. With their spirit cast in the 1980s, they string together one gem after another: "King of Pain"; "Every breath you take"; "Mother"; "Wrapped Around Your Finger", but (perhaps) the spontaneity of their early days has been lost.

They’re back, after almost a decade. Years go by, and so do trends. They, after all, have never really been fashionable: here they are again with an (almost) classic album featuring some subtle experimental streaks. Nothing major, but all very enjoyable. stati:

Extremely light (almost ethereal) pop that, surprisingly, works like clockwork: "Due destini" and the title track are huge hits on the radio and, as a result, sell like hotcakes. At Sanremo with "Strade" they hold their own: well done, bravo, encore. orologeria: sfigurano:

Third work by the artist from Latina, the first not produced by the Salerno/Maionchi duo. The previous album ("Nessuno è solo") already sounded like a step back compared to the r&b that characterized the first two albums (Canova's production helped a lot), this one is an unbearable whining in which our guy tells us, through music, all his little and big existential dramas almost as if the audience were his psychiatrist. There’s Fossati ("Indietro"), there’s Battiato ("Il tempo stesso") but there’s (a lot) little substance, only the curious "La traversata dell'estate" and the big single "Il regalo più grande" save the album. Not much, Mr. Ferro.

Miracle: the album isn't bad. Weakened by an illness that forced him into a long hiatus, he returns with a sorrowful, definitely autobiographical record. Nothing exceptional, but it's his best since 1993. Miracolo:

The "new" Vasco is a bundle of fury and anger, but he channels it in a confused way. The album, one of the artist's most famous best-sellers, is too long and inconsistent. "Stupendo" is a generational manifesto that leaves its mark; "Vivere" is the track that moves, and surprises, the fans. But there is also a lot—too much—of unnecessary clutter and here and there there’s a bit of self-pity. The mountain has labored and brought forth a mouse.

Now resigned (or satisfied?) to the joys of home life, he loses his anger, inventiveness, and anarchy (but, truth be told, he had already lost them some time ago). He calls Polanski (parbleu) and has him direct the video for "Gli angeli," but his aura does not cross Italian borders. "Sally" is a masterpiece; what revolves around it is (much) less.

It's a sales record: Vasco seems to be totally in sync with his (inexhaustible) audience. But the album is one of the worst in his discography: as monotonous as a flatlining EEG, needlessly frivolous (and stupid) at many points, exhausting in its obsessive quest for any kind of chorus ("Un senso"). It dominates radio and TV, commercials and billboards. But it (seems) to have nothing left to say. vendite: discografia:

Vasco, having shed the guise of the anarchic rocker from the mid-'80s, is (by now) a serene gentleman, satisfied and "intoxicated" by his newfound family happiness. His songs reflect this, sometimes predictable ("Io no"), sometimes "paracule" ("Quanti anni hai"). The delicate "Laura" is spared, but there’s little substance otherwise.

A compilation of already well-known tracks plus an unreleased song ("Gli sbagli che fai") of very light (to say the least) craftsmanship. He stars in a TV series, "Il supervissuto," which tells the story of his feats and legends. Despite everything, he’s still going full throttle.

In all likelihood, Capossela's best album, a sort of summa of his work over the past ten years (1990-2000). The first part is more accessible, while the second is more challenging, yet fascinating.

It seems unbelievable, but Zucchero’s best-selling album of the last twenty years is this one: dark, moody, sad, reflective, with very few ironic digressions ("Vedo Nero") and prestigious collaborations, from Guccini to Brian Wilson. questo: