JpLoyRow

The Apocryphal Gospels are the foundation of the beautiful reinterpretation of the life of Jesus, man and not God, as portrayed by the Genoese singer-songwriter. The not-yet-famous PFM plays with him, and in the bigoted Italy of the ’70s, it was a strong, and healthy, gut punch. Perhaps a bit too raw musically (the first part is quite monotonous), but tracks like "Via della croce" and "Tre madri" are ones to memorize. It closes with the epic "Il testamento di Tito," an idyll.

A transition album, of covers, of already published tracks. From Cohen to Dylan, from Brassens to himself, with three unreleased songs. One of his least inspired works, but it’s still an album of the highest level.

To say, is it the most beautiful of De André after "Creuza de ma"? I vote yes.

The first of the two albums written with Bubola: this is the folk period, the most American one. Side A is a string of classics (“Coda di lupo” deserves a special mention), while side B, apart from “Sally,” seems like a collection of leftovers. But, in the long run, I even prefer it to Indiano.

Substantial "greatest hits" (33 songs) with the addition of two covers ("Io che amo solo te" and "Dio è morto"): it seems that he no longer feels like offering anything new and, as a defense, turns his gaze to the past (his own and that of others).

A beautiful album whose common thread is the nostalgia for a longed-for and definitively bygone era ("La leva calcistica della classe '68"; "Rollo & His Jets"). Great musical variety, lyrics worth memorizing: he is in a form never seen before, and perhaps, never repeated again. memoria:

More musically refined than the previous one, Guccini nonetheless does not give up minimalism. Poems, more than songs. Luxurious stuff, though: "Lui e lei"; "Al Trist"; "Vedi cara"; "Giorno d'estate"; "La verità". Serving as a crown, the combative "Primavera di Praga". I Nomadi, more popular at this moment, help him as performers of his songs; in fact, he still sells very little.

The slow dying of cities intersects with the slow perishing of the people who inhabit them: a record that is at times magnificent, sumptuous ("Bisanzio"), ironic ("Bologna"), narratively engaging ("Antenor"), goosebump-inducing ("Lager"), tear-jerking ("Venezia"). With some tracks hinting at filler material, but there's enough substance and plenty, plenty of meat. popola:

At the end of a long journey, the ship vanishes and even the memory of it disappears. Guccini's latest work leaves a mark, and it is his best album in many years: the title track, with its Arabian flair, works wonderfully, as does the fourth song, "Di notte" (definitive, commanding). The bitter sweetness of "L'ultima volta" portrays an existentialist and fatalist artist like no other in Italy, but what surprises most is the vaguely Fellini-esque excursus of "Gli artisti." Safe travels, Maestrone. qua:

A small change in the sounds (violins and brass come in), and hints of the Battiato to come, lost in distant galaxies and, indeed, "mondi lontanissimi." He self-quotes, sometimes tosses things off lightly ("Temporary Road"), but it's an album that's worth a lot, a whole lot.