Eneathedevil

DeRank : 18,21
DeAge™ : 7753 days • Here since 18 march 2005
Lucio Battisti Il Nostro Caro Angelo
Voto:
The issue with this album is the reduced presence of musicians compared to the norm, and especially in relation to the previous "Il Mio Canto Libero"; no more strings, guitars stripped down to the bone, masterpieces that aspire to become masterpieces but fail to do so: it is still a high-quality album, because it is Battistian, and it features standout tracks like the title track, "La Collina dei Ciliegi," "Io gli ho detto no," and, well done Clash for referencing it, "Questo Inferno Rosa," which speaks about the vulgar bourgeoisification of a free-spirited woman who is the object of Mogol's admiration.
Enya A Day Without Rain
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Hehe, well nice, there's no denying it.
Enya A Day Without Rain
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Yes, it was the Carefree Comfort ad...? Or what other kind of pad? I don't remember.
Enya A Day Without Rain
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Nashira, you don't seem serious. Let's say it's a bit boring and has strong new-age vibes, but when it comes to garbage, that's just not it. For garbage, you should turn to other types of fake-rock music like the Italian new wave or English free-jazz-punk...
Enya A Day Without Rain
Voto:
The most commercial album, absolutely true; my judgment, to be clear, is more about the character Enya than the specific work, which is still good (if you really hate it, read it as 4/5). In fact, what must be acknowledged is that the cultured Enya, previously little known to most through albums like "Watermark" and "Shepherd Moons," became known through this album that, in my opinion, combines well commerce and refinement.
Enya A Day Without Rain
Voto:
Exactly, Grass, for me voice, class, and instrumental perfection justify the judgment and are worth the ticket price on their own. "Watermark" and "Shepherd Moons" are the best.
Enya A Day Without Rain
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It's your opinion, of course, which I don't share: with this you indirectly imply that unique and unforgettable tracks like "Caribbean Blue," "Storms in Africa," "Orinoco Flow," etc. were born along the lines of something that's already been said, which, when examining a work as different from the others as "The Celts," suspended between the arpeggios of "Aldebaran" and the silent words of "Boadicea"; in my opinion, from the first to the last album of Enya, there is simply a continuity of style, which, although homogeneous, is not recycling.
Lucio Battisti Anima Latina
Voto:
"Anima Latina" is the masterpiece, the most experimental among Battisti's albums alongside "Amore e non Amore": while the title track is the most evocative and genuine, "Abbracciala abbracciali abbracciati" and "Anonimo" are also stunning. A cohesive and continuous album, full of self-references with recurring themes like in the most refined lyrical works, it centers on the fatal woman who devours men, typically Mogolian, so different from the charming panelian girl. A mention goes to "Macchina del Tempo," enigmatic, and to the happy inclusion of light tracks like the reprises of "Gli uomini celesti" and "Due Mondi" to prepare the listening for the eminent title track, and for the innocent "Il salame," which together with "La Nuova America" paves the way for the definitive "Macchina del Tempo." "Separazione Naturale" has a vaguely Battistian cut.
Lucio Battisti Il mio canto libero
Voto:
I like a little bit of everything by Battisti, from his origins to the obscure Panellian masturbations: the masterpiece, for me, is, needless to say, “Anima Latina,” for which, Valerio, I'll refer you to the comments on your review page. It's strange how many people who frequent these pages like the later works, just like I do and presumably you do too when you claim that Don Giovanni is among the best: uhm, a bit hazy as an LP, I might prefer “La Sposa Occidentale” or “C.S.A.R.”... actually, you've given me an idea, I should write a review of “Don Giovanni” soon, there's a lot to talk about regarding these fabulous musings from the '90s!
Lucio Battisti Il mio canto libero
Voto:
Underestimated and overestimated, I agree; if we were to look at the actual talent of an author, we would find that in absolute terms there have been much more valid and cultured interpreters than Battisti and the Beatles. However, considering the objective result of the musical innovation they managed to achieve in the precise context of the '60s and '70s, their value is commensurate with those great merits.