Grasshopper

I completely disagree with those who say that a review like this is useless, to the point of giving it a 5 for this reason, even though they consider it slightly inferior to the standard that JohnOfP. has accustomed us to. Talking about culture in a country of tendency towards illiteracy is never unnecessary; in fact, it is a duty, however you choose to express it. Regarding the interpretation, I am convinced that a symphony like this can convey deep emotions even when performed by the Ljubljana Symphony Orchestra conducted by Anton Nanut (to name one). Personally, I prefer the old Berliners with Karajan or the New York Philharmonic with Bernstein, but when one hears the Allegretto, if they’re not completely indifferent, they will be moved to tears even if it is played by the Pippolese of San Lorenzo, the historic band from Florence.

Some say he was a precursor to Paolo Conte. As much as I try to find similarities, I always encounter an abyss between the two. Beautiful review.

A little advice from someone who debuted back in August 2004 making the same mistake you are making, which was sending as many as five reviews of Fabrizio De André's files (in my case). You risk achieving the opposite effect of what you intended: someone will likely be ready to say, "This Peter Gabriel is such a bore," and we know very well that Peter doesn't deserve this, just as De André didn't deserve it back in his day. In short, if you can, diversify on a broader front.

I agree with the previous comment: the best album by the postmodern and sgalambrian Battiato, even preferable to "L'imboscata," which also had a gem like "La cura." It opens with a perfectly successful nightmare (Shock in my town) and closes with another nightmare (Shakleton) that takes us into a horrifying world of ice. Brrr.. Stuff from Edgar Allan Poe!

Ouch ouch... I had meant to review this first true masterpiece by Neil Young myself... No big deal: great review even though a mention of "Requiem for the rockets," a song of incredible sadness, almost like Leonard Cohen, wouldn't have hurt.

It’s Stevie Wonder’s masterpiece, in my opinion more or less on par with "Songs in the Key of Life," and anyway light-years away from the sugary sound of "I Just Call to Say I Love You," which will come only ten years later. Remnants of Motown soul, but above all, great melodic inventiveness: a magnificent blend. A review that lives up to it.

A fundamental album for Peter Gabriel's shift towards that "ethnic" sound that will flourish in the Fourth album and then reach levels of absolute excellence in "Passion" and "Us." To risk being boring and repetitive, I think you focus a bit too much on Peter Gabriel's personality (which clearly fascinates you) to the detriment of discussing the musical aspect. A pity, but it's still a good review.

Captured, heard, mastered (can we say that?). Now I can also confirm that the end of times won’t be so bad after all. I completely agree with the two "extended" movements, which are truly astonishing in their beauty. For someone like me, who usually doesn’t venture beyond Stravinsky, it was also a rare but delightful foray into contemporary music.

Finally, I have filled the gap, also thanks to this review, and it was worth it. Not exactly with this record, but with another collection of Piero Ciampi, who truly deserves to be celebrated, because he was indeed a great artist. This, of course, does not take away even a bit from the greatness now established (or if you prefer "canonized") of De André and Guccini, both of whom are highly esteemed, especially the former, even by the poet from Livorno.

I had a version of these 30 jewels by Wolfgang Rubsam, who is not a dog but a good-level pianist. However, ever since I found this version by Glenn Gould, poor Rubsam is just gathering dust. Glenn Gould, even though he played many composers, reaches the sublime with Bach.