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If only there were more like Guccini, forget about "Guccini can die"...

Those of "Macchina del tempo," just like in a bit of the whole album, seem to me like "flashes" of imagination that, even if they aren't very connected to each other, still make the piece suggestive. Shall we say "hermetic"? And anyway, I don't think Mogol was that decisive in the success of Lucio Battisti's songs.
P.S.: I apologize, but I'm new to the site and I’ve only just read the various comments. But the piece where it says that Lucio Battisti's voice is similar to that of Vasco (aaaaaaarrrrrrrgggggghhhhh) Rossi is "La nuova America," where he sings "Io voglio vivere adesso, subito"?

Yeah, well, it's still better than Toto Cutugno...

It's a joke, right?

Of course, many "wise guys" of the time didn't understand it; I listened to it as a lullaby since I was little (and let it not be taken as a derogatory term, rather, it helped me have sweet dreams). "Time Machine" is a magnificent piece. But I also enjoy the two that followed, even though they're very different from this one.
"And when her crying, a pathetic response to my no, became a green loden that an intersection erased, I stifled my sensitivity behind the Statue of Liberty. And that statue already had a name and green eyes, and a zipper slowly half-removed. Red female, what do you want? 'Mine forever.' And it was death for us too. And unfortunately, I also lose you if you confuse the worlds: love and ownership, you lose me, and even more alone without them and you. I, desperate, with a winged cloak on a mountain, run, and with open arms and closed eyes, throwing myself as I can, I rescue myself. I will see among the wheat and cornflowers emerge from the water the laughter. The earth is pregnant with love, and even if there’s weed in the seed, the seed has exclusivity. And surely they will talk about depression syndrome or more simply say that another madman has died. I will have only searched elsewhere for that contact that I can’t find here, that I don’t have here. Time Machine, you’re losing pieces and you don’t know it. The crazy ones are the wise, and vice versa now. I know that uncertainty kills every euphoria that arises in us and the sense of life, confused and humiliated, has now been lost among the threads of a fabric of rites and fears, of angers and prayers. We are alive and we must remain so because planning a life every day means dying that very day with me, and I never want to lose anyone, nor for anyone to ever lose me."

"Tales from the topographic ocean" is the most important album in the history of punk. Because it made it clear that it was time to clean house of the excesses of progressive.

Someone who at twenty-one writes "Masters of war"...

I bought this record under the spell of the beauty of "Bringing It All Back Home" by the Modena City Ramblers (of course I had known the Pogues well for years before). I’ve always liked it, and my favorite tracks are "The Church of the Holy Spook," "That Woman's Got Me Drinking" (Give me one, two, three, four, five, six, seven, eight, nine, ten bottles of gin!!!), and "The Song with No Name."

Anyway, the page about the great Neil is finally starting to get crowded. I'll also be contributing with some reviews.

Frankly, the studio version of "Sweet Jane" doesn't do much for me; it seems too lightweight.