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We’re roughly the same age and come from the same part of the world; we probably have other things in common as well. Obviously, the story is incredibly funny and takes me right back to the atmosphere of those years: the radios, the girls, the friends. I too had my Catherines and Jacquelines, and I also had the friend who betrays you in your moment of need. For this reason, five stars for the review came almost automatically.

As for the album, I was a huge fan of Joe Jackson; I found Night and Day to be a milestone and the subsequent albums one better than the other.

So I remember precisely, as if it were yesterday, the crushing disappointment I felt after purchasing this album. But this, in my opinion, was not just a hiccup, an accident, so to speak. It was something more, so much so that it marked the end of a contractual relationship. Let me explain further.

The greatness of Night and Day, which dates back to 1982, was its ability to capture all the trends of those years: Jackson had sensed the direction things were going and had brilliantly produced a compendium of an era, all in a single work. In Night and Day, you can breathe (even today, listening to it again) all the magic and expectations of that early decade. In pop/rock music, anyone who does something like this lights up all the flipper lights and TOCK, wins a game.

Blaze of Glory, from 1989, lacks exactly these characteristics: it’s an album by an artist who didn’t realize that the wind had changed. That everything was going in another direction. I remember a river of music, here and there not too bad, but so far removed from what could have interested me in 1989 that I could never manage to listen to it all the way through.

With this album, Jackson had "lost" himself artistically. Macho, what happened to you? Do you still see him?

the review is unclear and gets lost in personal and questionable judgments, forgetting to provide the essential data about the work in question. The original "burattino senza fili" may not be to everyone's taste, but it is an album that made history in Italian music. If, as I understand it, this is a reworking, a reinterpretation of the original work, rearranged and expanded, I agree that it is definitely not the event I was waiting for my whole life.

Great review. As for the movie, I'm curious and that's why I'll go see it, but I agree with those who wrote that this story, one way or another, has been told countless times, and the sad and miserable page of history represented by the decades-long saga of Berlusconi, with his crowded and grotesque circus, has already been understood by those who wanted to understand it a long time ago.
In short, I understand and share the sentiments of those who said, "enough, I can't take hearing this anymore," those who want to look forward and breathe, if possible, clean air.
Moreover, I don’t forget that the country hasn't completely turned the page yet. He is still there, taking the stage, increasingly resembling the puppet in a tuxedo from Dario Argento's Profondo Rosso.

A review containing valuable unpublished content about an artistic adventure that has always been shrouded in almost total secrecy.
Of the records in question, I only know Don Giovanni, an opera that I appreciate.
In my opinion, these records leave an important warning to all pop music artists, now more than ever. Battisti, with these works, speaks to future generations, to artists, but also to the public, and seems to say: "stay true to yourselves and keep going straight even if you have the most original ideas! Don't be afraid, dare!"
The warning to never conform to the laws of the big market and to the banality towards which they push you is a precious and important concept.
Congratulations.

Dire Straits had worldwide success with the zenith at the release of Making Movies. I remember attending one of their concerts at the time, I believe in my city, Turin, and I recall the stadium literally overflowing with people. Then came an inexorable decline with the twilight of the 1980s. Too inexorable. But why?
On this occasion, I did some zapping through their most famous songs. I’ve always loved the piece Brothers in Arms, with that slow solo filled with great atmosphere.
However, this album (and, I think, even more so Live Alchemy) highlights their flaws and I believe explains many things. A very pleasant music, of stunning elegance, but lacking in depth. Something that gives you a few moments of sugary harmony in laminoremimaggiore, but that slips away without leaving traces, reflections, or reconsiderations. Everything is delightfully, elegantly, virtuously repetitively inconsistent. I liked them a lot back then, but today I don't particularly miss them.

I have owned this CD for a couple of years, then I lent it to someone and... goodbye. It contained the best of the group's history, refreshed in its arrangements.
I have always thought that the Nomadi have been, in the history of Italian music, a case apart. Essentially, a strictly musical evaluation does not do justice to them: I agree with Bromike that they have written memorable things and some really subpar ones, but on a strictly technical/musical level, they have never particularly stood out and do not hold up against many other Italian bands and beyond. However, their songs have contributed to shaping the imagination of many teenagers during the '60s and '70s, becoming a piece of Italy's history. This, however, is not solely due to their music, but to the characters they were (especially Augusto Daolio), their way of relating to the audience, and their sensitivity that always found a way to communicate powerfully. I remember their concerts as great celebrations where everyone present felt they belonged wholeheartedly to a large tribe, the tribe of the Nomadi. Anyone who has been to one of their concerts can attest to what I'm trying to say. Daolio found a way to make the audience the true protagonist. Their strength was not the music itself, but their way of being in the world and their ability to empathize with those in front of them.
For this reason, none of their albums is truly a masterpiece. Perhaps this collection is the most advisable for those who are unfamiliar with them and wish to delve deeper.

Well done. Thank you for piquing my interest in an album I’m not familiar with. They created formidable music for several years. At least three stellar albums and several others that are all good. A band that was a war machine, and I envy those who had the fortune to see them live in the '70s. Their official live album is splendid.
Anyway, I remember listening to one of their albums from the '90s that was more than respectable. Great Little Feat!

The first album by Fletwood, the one with the puppy among the trash cans, is one of the absolute masterpieces of this genre. I share the opinion that this album does not maintain that level. The Fletwood of Peter Green, in this session, slide a bit into stereotype. The tracks sound impressively similar to each other, to the point of becoming boring and repetitive and losing their original charge which, let’s not forget, comes from legends like Elmore James, John Lee Hooker, Howlin' Wolf. But it’s just a small forgivable slip from a band that, before dissolving due to Peter Green's departure (or rather, transforming into a million-selling pop band), I believe was one of the best of the time. Congratulations to the reviewer, if nothing else for bringing back the unforgettable greats Fletwood Mac of Peter Green. Best wishes to all.

five and five stars (if I can place them)

fantastic album. For me, Seventeen Seconds and Disintegration follow closely behind.

I couldn't have planned it better, but even the review resonates with me a lot. Congratulations to you.

I wore out a reissue, I believe Italian, of the Seventeen Seconds vinyl, white, minimalist like the music of the album, with a blurry, faded photo. A classmate of mine got me this album copied onto a chromium dioxide C90 tape. It feels like talking about the Middle Ages. I might be crazy, yet I still find a freshness in this album.