dosankos

Definitely, here comes Mr. G, he's starting to get really pissed off. Stimulating review.

I join Syd.

I really liked the writing, but in my opinion this time the double doesn’t fit, because “Parabola” unlike “Saldi”, I consider it a concept, I find a remarkable connection between all the pieces. Taken together, the two LPs don’t have much in common, except for some recurring themes dear to the Professor, the lyrics, and his "trembling" way of singing, which I don’t always appreciate during that period. I agree with Iside: “Parabola” is immense, almost a masterpiece (4.5) and “Saldi” is inferior (3.5), but at the same time interesting.

Nice proposal. An excellently inspired album, released after a very long transition that lasted about 15 years. Tagliapietra's voice has never fascinated me as an interpreter, even though he remains the historical icon of the group in the popular imagination. Here, he also performs excellently as a sitar player. It's a nice plus for the band in this new spring of theirs. I saw them live in March 2013 in a town along the Adda River between Bergamo and Milan. Of the founding members, only Dei Rossi remains, accompanied by Bon and Trentin. The three of them seemed like octopuses; their hands were everywhere. They looked like six on stage! I've never understood Tagliapietra's departure in 2010 and his arrogant demand to force the other members not to use the name "Le Orme" anymore. Fortunately, the ruling went against him. Anyway, it's a good album, a solid 3.5, almost a 4.

In what I defined a couple of weeks ago as the trilogy of the journey "Amerigo," "Metropolis," and "Guccini," the latter is, in my opinion, the best and the one I feel most connected to, among the 3 LPs composed in that five-year period from '78 to '83. "Inutile," "Argentina," and "Autogrill" are enough to sing the praises of this extraordinary album. Before these 3 records, we were confronted with a character who had a strong fear of facing the world and was a victim of a realistic yet paradoxically nihilistic inner unfulfillment. Since 1978, Guccini's alter-ego dares to "step out" metaphorically from Emilia, only to return in 1987 with "Signora Bovary," resurrecting atavistic melancholy and characters from his past: Canzone di notte n°3 (nocturnal existential reflections on life in the province), Scirocco (the tortured end of a love story in downtown Bologna), Van Loon (memory of his father), Keaton (Claudio Lolli's former drummer), Culodritto (dedicated to his daughter)... and so on.

The 13,000 lire worst spent of my adolescence. It would have been better to invest them in Indian hemp.

A record that isn't as bad as claimed or as I remember. It's a Venditti not yet completely devoid of energy and substance. Listened to again after about 10 years... still pleasant and not overly aged poorly. Degustibus. Well, a 3 feels right.

Great album, 4.5. Nice comeback. Rece is a bit subtle, not bad, but I was more engaged by the one written by @VoodooChild in 2007.

3 at Bovary? Mmmhhh, no... This is the best after "The Island" and "Roots."

I agree on everything. The last album is either a 9 or almost a 4.5 (debaseristic) from the first period (1971-82) of Prof. Primo (epoch-making and prolific), a period that I would distinguish into two acts: 1971-76 and 1977-82.