dosankos

It's my favorite album by Dalla. A milestone in his discography and in the singer-songwriter scene of the 70s. As mentioned in the excellent review, after years of "subterranean" work, he plays Rischiatutto and hits the target. The album is the perfect cocktail of commitment and an attempt to break into the masses. Disperato erotico stomp, Quale allegria, Il cucciolo Alfredo, and Barcarola are anthems of anguish and loneliness in various shades. Treno a vela and Corso Buenos Aires provide amusing metropolitan interludes. The epochal title track, in my opinion, remains his greatest creation; an extraordinary metaphor for 2000 years of humanity's inner malaise. Masterful music and arrangements that still feel fresh after almost 35 years.

After the illusions of '68 with "Storia di un impiegato," 17 years later De André lays on the table (for the first part of the album) the disillusionments of the turn of the century, ideologies collapsed on themselves and replaced by a fictitious and conventional freedom of the masses, the offspring of capitalism. Faber perceives something raw and abnormal that is darkening the system and indeed, with his free thought, he inadvertently anticipates by a couple of years the seasons of tangentopoli and the mafia attacks. In the second part, yet another tribute to his lands. Genoa and Gallura. Excellent music, almost at the levels of "Creuza de ma."

I don't consider it a transitional album. I believe "VOL.8" is the one. "Rimini" is an excellent and energetic product; it marks the beginning of the Bubola cycle and the change in the sound of the "Faber brand." The album is a result of the courage to change and keep up with the times. PFM will take care of completing the "dusting off." Lyrics and themes are always refined and elegant, as per script. It would be a 4.5, but I don't feel comfortable giving it a 5, which I reserve for other masterpieces.

Monumental!!! An album that evokes unique emotions every time you listen to it, even for an atheist like me. De André approaches such a delicate theme as religion with a unique sensitivity. He manages to bring to the forefront of the debate between good and evil the human experience, the flesh, suffering, and humility, rather than gratuitously inserting the divine or devotion. "Ave alle donne come te Maria, femmine un giorno, poi madri per sempre." Moving and extraordinary!!! Musically, it is definitely a few notches above everything that had been done up to that point. Sparks of ethnic and progressive influences.

It’s the ideal sequel to VOL.3. However, there’s very little De André flour in this sack. A collection of tracks released on 45s in the '60s, with added covers and music taken from other classical masters, some from centuries earlier. I venerate De André, but I give this rating for the lack of new ideas from Faber during that period. The only thing I acknowledge is that he paid tribute to interesting products that were not his own and brought them to the wider public.

I have defined De Andrè's "VOL.8" as a watershed. This is undoubtedly the case for Lucio Dalla. The rating for the album is more of a 3.5. However, a 4 would have been too much! After the chart-topping hits of the previous four years, here comes the mid-range sedan "1983," which, despite not achieving the success of its predecessors, stays at number 1 on the charts for about two months, a sign that Dalla still has something to offer. I have the vinyl. I rediscovered it not long ago and I must say honestly that I didn't mind listening to it again. "Perla" is the title track and there are a few reasons not to overlook it listening to "Camion" and the grotesque "Stronzo." Most of the lyrics are still up to par. Of course, it is not on the levels of "Lucio Dalla" from '79, "Com'è profondo il mare," or "Automobili," but it remains a work of considerable respect. It marks the beginning of Dalla's somewhat electronic and alternative turn, as he sheds certain singer-songwriter conventions and solidifies himself as a stage monster. The '90s will then lead him to a slow eclipse.

Nothing to add to the excellent review. Conte's absolute peak. I have the double vinyl, and every time it’s unique. N.12: buried to the core of the earth!

Well, what can I say? Being able to still do outstanding things at this age is not for everyone. Conte seems to have entered a calm phase of his life. His jazz flair certainly never wanes. But it’s clear from Elegia onwards in 2004 that the pieces are much less elaborate compared to the periods of Aguaplano or 900. A sublime relaxation. A kind of inner balance. In the 80s and 90s, I picture him sarcastic in a tuxedo on a big stage with his piano. Now he's in a dressing gown on an armchair, with a portable keyboard and a glass of Barolo. The karma of Conte.

Ten years of Bennato's thought culminate in this masterpiece, which has the extraordinary ability to present eight tracks across eight different musical genres. The irreverence and sarcasm of the lyrics are exceptional. "I give you time, in fact, I am time..." Stunning!!! The double jab is the album's release just a few weeks after Uffa Uffa, another irreverent work made for the occasion! From here, one can understand the greatness and genius of an artist. A genius that will gradually fade in the following decades. The final flourish will come in '89 with Abbi Dubbi, then, in my opinion, only attempts at recycling.

The musical structure of VOL.8 is the ideal partition that separates the earlier, more minstrel-like and sparse De André (excluding Non al denaro... from '71) from the more "Pop-Rock" De André of the late '70s and early '80s. Here, as in other works, he relies on another creator of emotions, namely De Gregori. However, the intimacy of Faber is evident in tracks like Giugno73 and Amico fragile, perhaps never before surfaced in previous works aimed at conveying other types of messages to his audience. It doesn't reach the levels of other albums, but it remains a good, honest handcrafted product, neatly packaged.