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Listen up. I find it really difficult to give a musical judgment on this album just like I do with his other albums. It's pointless to hide behind a finger; the human weight of tragedy and self-destruction that lies behind this character with a grotesque life is too evident. Certainly, his music can send shivers down your spine, and this is precisely the aim, in my opinion, of this purely commercial "musical" rehabilitation of his. I must say that certain tempo changes in his pieces convince me and make me think of a musician with a direction and a "poetics" that is more or less shareable. One simply cannot separate his music from his life, and this stays with me more than anything else. It must be admitted that this is a commercial product... this is what saddens me the most about the whole affair. "Passare ogni limite" is a commercial product. And that's why I don't like it.

The only thing I blame Bubola for is not having written enough songs both on his own and with others. One thing I blame the music world for is completely ignoring him. Get his solo albums.

I can't wait; I think I will definitely buy it. It has been the soundtrack of an entire year with "for emma." Bon Iver is a genius, an extraordinary artist.

how much I can't stand this adele... the more people talk about her the less she is listened to!

Nice little record. However, let's not exaggerate. Jarrett has better works. I don't think it's worth four stars; we should take a look at the seventies. It seems to me that this album was released during a phase of fatigue for the musician, and in part, it really is... chronic tiredness that was excellently exorcised with just the piano. But guys... have you ever heard Petrucciani playing solo piano tackling standards? This album is not on par with the best work of the musician.

I respect the reviewer, but frankly, three stars are a disgrace. This is the album of my love... I believe it is one of the highest points of Wings, along with the live performances. It's pointless to draw from these albums if the Beatles are the only standard of comparison.

Allow me to express a somewhat peripheral viewpoint, then I will remain silent forever... Caparezza and his art of "captioning" are quickly becoming anachronistic in his ongoing pursuit of supposed satire on stereotypes. In this case, the music, although well-supported by his talent as a songwriter and performer, is taking a back seat. In the music world, being able to say something biting and original and doing it well is extremely difficult and cannot be a profession. Few isolated geniuses, to whom this intelligent author is inspired, like Frank Zappa, preferred to let the instruments and the musicians do the "satire" with notes, not with lyrics, leaving the latter marginal and deliberately "obscure" without trying at all costs to make a prosaic critique of modern times. In this case, the lyrics lose effectiveness, and I find a parody like warning people not to "eat yellow snow," from Zappa's memory, far more "political" than writing lyrics about social networks (e.g., Badoo), which after a couple of years it's already clear are just passing fads. This is my personal viewpoint, which can be summarized as follows: to make satire in music, it’s better to play with the notes that evoke emotions rather than to stand as a champion of criticism against the "malady of existence" with lyrics that, albeit irreverent, are merely a moralistic photocopy against the "bad habits" of the country.

the most beautiful album by the genesis. We are not talking about peter gabriel, an undisputed but solitary genius, who lent his creativity to the band, nor about phil collins, a top-notch musician, who provided his voice and unconventional drumming. Here we are discussing the Rutherford/Banks composition at the highest levels achieved. The melancholy that pervades the album is a source of inspiration for generations of musicians across all musical genres. I think that the indie scene, which considers itself so "snobbish" and out of the box, has borrowed from these albums for the mainstream audience (because that was Wind and Wuthering) the study of chords (sevenths, suspended chords, open voicings, and vocal harmonies to evoke a sense of distance and inspiration) both in America and in Great Britain and in Italy with all the so-called "prog."

And so, after several years... we continue to ignore the genius of Andrew Bird. Dear friends who love him and know him as well as I do... please contact me via private email if you find out about any of his concerts in Italy. Not to be missed.

I keep skirting around the productions of Tibet without ever getting too close; it seems to me he has had many, perhaps too many, great ideas. Is there something of his to listen to, perhaps before this pretentious trilogy?