dosankos

Seen live last night. Sweet and biting at the same time. Engaging and driven by a desire for perpetual punches to the power. Besides the classics, he presented this album and I had very positive impressions. Incredible band. Legendary artist, authentic, passionate, humble, pure. At the end of the concert, a handshake, a few words exchanged, and an autograph on the back cover of my "Diesel" vinyl. 5 even if he sang with duct tape over his mouth.

Almost after three years, I'm also writing a review of the Professor, so you can bother me too ;) A super unlucky record that is practically hard to find due to its never being released on CD, as the original masters were destroyed. Roberto moved to Philips in 1975, left it in '79 to record "Robinson" with Ciao Records, and returned to Philips the following year for "Montecristo," but Ciao Records sued and got the copies pulled from stores. Moreover, the album was censored for the cover deemed "obscene," due to the prominent phallus, and was put back on the market (due to the short time allowed before the court ruling) with what was previously the inside cover, depicting a woman's face, a work (like that of the first cover) drawn by Pazienza.

I disagree with the harsh criticism. Guccini in the seventies had the merit of "discovering" and working closely with L'Assemblea Musicale Teatrale, which invented "Venezia" and sang his "Lager." In 1981, Francesco takes back "Lager" (as happened with some pieces written for the Nomadi) and pays homage to L'AMT by reintroducing "Venezia." What's the problem? And then there are two monuments like "Bologna" and "Bisanzio," where I get goosebumps every time I listen to them. The cheeky and fun "Black out" and "Antenòr"... No, I don't agree. Besides, this album also has meticulously crafted arrangements. It sounds wonderful. It's not at the level of "Guccini" (1983), but it remains a high-quality product.

The "Trilogy 1983-1989" tour, which some might say was a gimmick to rake in some cash (according to the detractors) or a way to bring back the old songs that have been out of circulation for nearly twenty years (according to audiophiles), I really enjoyed. I attended the show in Villafranca di Verona last July and found a splendid Piero with the vigor of a twenty-year-old and a band in great form. A truly impressive live performance. Then "Luna" and "La preda" always have a certain effect when performed live. Excellent choice to resurrect them and great decision to reissue the single.

Epic <3

An LP with 10 gems one after the other. After all, as I already mentioned, except for a few brief waves of boredom in "Saldi di fine stagione," between '71 and '84 it doesn't miss a beat. A small note: "Un discorso non diverso da quello fatto in 'Sogna ragazzo sogna', più di trenta anni dopo"... Thirty is a bit too much; it’s more like over twenty. "Elisir" 1976, "Sogna ragazzo sogna" 1999.

Very impressive them. Proudly returned, together with others, to the revival carousel of '70s prog for a few decades now.

A flashy live performance, propelled by a pretentious single. The little good that Antonello produced between '84 and '88 is wasted in this mediocre live show. At the time, it really annoyed me. The only bright spot is the talented Centofanti on piano and keyboards, along with a handful of guest appearances by Gato Barbieri...

I liked the writing, but I completely disagree with "overrated." Overrated in what way? Maybe musically, yes, but when it comes to content, I believe that someone who tackled social issues with such an open and frank language in 1972 cannot be regarded as overrated. Perhaps in fragments, slightly and wisely populist. I believe he was the only true singing artist capable of analyzing and psychoanalyzing the masses and raising fundamental questions about Italian society for three consecutive decades.

If I had known you were passing through Bergamo, I would have offered you a handcrafted grappa from the farmers, at 75 degrees, and we would have kept drinking until dawn.