degregorius Banned

first album in which Guccini puts music a bit more in the foreground with pop-rock arrangements that he will maintain in the following years (less so in Signora Bovary and Ritratti). Trash like Milano, Lager, and Antenor contrasts with Bologna, Venezia, and Bisanzio: beautiful ones.

vaguely psychedelic record with hints and musical effects that are quite strange and not Guccinian. minimalist and gaudy arrangements. Asia and Un altro giorno è andato the pearls

disk with almost absent music (only guitar and some background "effects"). stories of everyday reality with Prague Spring, see dear and summer day a notch above the other songs.

Guccini is an honest puppeteer of words, as he himself defines. A conversational album with "Lettera" and "Vorrei una spanna" above the other songs. "Cyrano" is too pompous.

an essential and sober album with tracks like "amerigo" and "eskimo," two of the most characteristic songs from the Guccini universe. For the rest, "libera nos domine" is original but a bit kitschy.

baroque and exceedingly gloomy and pedantic professor's record. The interludes are not enough to make this album more palatable, which, fortunately, has not been re-proposed even live.

Nice but not a masterpiece because some songs are not that great like spiritual, barbara, la morte, la stagione del tuo amore: inconclusive.

masterpiece

one of the masterpieces of De André along with Creuza de Mä, La Buona Novella, Non al denaro, non all'amore né al cielo, and vol.3!!! vol.8 is beautiful because it is touching, graceful, and captivating like the great Francesco De Gregori, who collaborated on this album giving it a decisive and significant imprint, so much so that there is also Le storie di ieri which was later included in RIMMEL! If DE GREGORI hadn’t been involved, this record wouldn’t be as beautiful! In fact, if De André hadn’t always collaborated with others for his albums, he wouldn’t have produced all these great records by now!!!!!! Much is the work of Bubola, Pagani, Fossati, Bentivoglio, Reverberi, not to mention the countless covers. BUT DE GREGORI WAS THE ARTIST WHO CONTRIBUTED THE MOST SIGNIFICANT IMPACT BECAUSE? VOLUME 8 IS MORE DE-GREGORIAN THAN DEANDREIAN....

too political and subversive of a record. De André wasn't balanced when he talked about politics and protests. After all, he was anarchic... but Bentivoglio and Danè didn't help him make a record more focused on human themes than on revolutionary ones.