dosankos

Unripe and sparse. But it already gives a sense of what it's made of.

Album of rebirth, but not the best of his new artistic vein. The title track is a masterpiece, and "Tema del soldato eterno e degli aironi," "Tommy," and "Piccolo pisello" also deserve worthy mention, as well as the nice piece with Nuti. As for the rest, I notice musical voids, electronic effects to be digested, and some lyrics that don't measure up, which together create a medley of tracks lacking soul and unable to take off. All while waiting for the excellent "Blumun" in a couple of years..

Vote reception

The first true artistic peak of Vecchioni. We really begin to sense the character's introspection. Compared to "Il re non si diverte," it's a step, or rather a giant leap. A bit unnecessary and grotesque, "Tutta la vita in un giorno" is frankly difficult for me to interpret, but it doesn't lead to any decrease in rating.

A difficult-to-find album overwhelmed by total bad luck. The cover of the great PAZ has two versions. The first and rarest one (visible next to the review and which I also cherish) features a naked Vecchioni, leading to censorship and removal from stores. The LP is immediately replaced by the second version, which has practically the inner cover of the censored first version—namely, a woman’s face with very long hair resembling sea waves, in which Roberto navigates in a small boat, all set against a cream-white background. Naturally, the naked Vecchioni becomes the inner cover of this new version. Then there’s even the incident with the destroyed masters… In summary.

As for my assessment of the album, the rock shift is clearly noticeable in the energetic "Montecristo," "La strega," and "L'anno che è venuto," which perfectly alternates with the ballad style of "Canzone da lontano" and "La città senza donne" or the long and rhythmic "Ciondolo." Overall, another successful work.

A bit of a mess, Vecchioni and co. have created this with arrangements and the cover (the ugliest and least effective of all). They badly distort all the standards developed in 15 years. Only "Sogni d'oro," "Indiscreto," and the sarcastic lyrics of "Ippopotami" are worth saving. A review done with heart, trying to rescue the album, but the 5 is out of place.

How about a 4 for the review??? Come on, don’t be shy, at least for encouragement. This is the second one I’ve written. I’ve seen 4s and 5s given for much worse. It’s not easy to create a somewhat lackluster soul to the disks... I swear, I’m done with Vecchioni for a while.

A lively debut, Roberto immediately gives the idea of what he stubbornly intends to say. After four decades, the arrangements sound clearly outdated, but for the time, it was a good job (done in record time). The album is still enjoyable to listen to. The tracks that truly deserve recognition are the titular "Io non devo andare in via Ferrante Aporti," "Lui se n'è andato," and of course, "Luci a San Siro."

Epoch-making. "The last possible masterpiece" (as quoted in a passage in the subsequent "Calabuig").

Courageous album, Vecchioni starts to leave behind that annoying quivering voice that characterized some tracks in the first three albums. It’s not an album that drives me crazy, but there are some gems that deserve to be praised. First among them are "Ninna nanna" and "Sabato stelle."