zuckina

Maybe I have been didactic precisely because, being a difficult record to understand, I wanted to provide some interpretative keys that the same author has given over the years.

Atlantis will always be my continent...

Ultimo Discorso Registrato is the most rhythmic track on the album; I always enjoy listening to it and find it fun to sing along. Ninetto and la colonia perhaps sounds better in the live version from 1990. I heard it performed live in 2001. In the end, it’s important to listen to it while keeping in mind that it’s an album from 28 years ago, recorded in Italy and in a short period of time, and De Gregori's voice hasn’t yet developed its full personality. Go listen to the version of Atlantide in La Valigia dell'Attore... it’s spine-chilling. REVIEW THE SONGWRITERS

Pretentious doesn't necessarily mean something elaborate... pretentious is a characteristic of intention, and "set the controls" seems to have been written with the intention of artificially maintaining the spatial atmospheres of the previous album. In fact, that type of music will not return in the subsequent works, at least not presented in this way. You're right about the ratings, but you know how it is, it's just a way to understand each other. It's fine like this. Bye!

the latest beautiful album by Vasco Rossi, which gave hope for a physiological (considering his age and the effort) shift of Vasco (or a return, if we listen to the early albums) towards a more singer-songwriter genre. This doesn’t seem like an album that shows Vasco as the true Italian Rocker, given that it is the least rock in the strict sense. It’s true that its brevity has benefited the balance and intensity of the songs, to which I am also connected by very personal memories. For now, "my" Vasco stops here.

The worst album by Vasco, devoid even of the ironic ideas that amused me in the album Stupido Hotel. The music isn't that it's beautiful; it's that the production is of high quality. Great sounds but little substance. The lyrics are some of the most ridiculous I've heard around. They are not simple; they are banal, and that's quite different. I want to find a meaning in this story, even though this story has no meaning... change "story" with another noun and here’s the song "un senso," the soundtrack of the beautiful film NON TI MUOVERE, and unfortunately, worse than the film. Change the noun, even with random words, and you will see that the result doesn’t change, if anything it improves. "How are you?" Maybe it should have been titled "how am I!" Buoni o Cattivi immediately gave me a terrible impression. It would have been better if he had continued in the more singer-songwriter style of Canzoni Per Me, Vasco Rossi's last inspired album. Truly the caricature (in the most negative sense possible) of himself and his clichés. Luckily, there are still old albums to listen to... better to think it was all "Colpa d'Alfredo"!

thank you... he's really great anyway... listen to the album carefully.

The best Italian group ever...

ELIO AND THE STORIES TESE PARTICIPATED IN THE SANREMO '96 FESTIVAL WITH THE SONG "LA TERRA DEI CACHI", AND THEY WON BY COMING IN SECOND, A PHENOMENON THAT HAD NEVER HAPPENED BEFORE. GO RON AND TOSCA! WHAT A THING...

Initially disappointed by this album, it is now among my favorites by Elio. They have abandoned a certain type of super explicit irony in the lyrics to make way for an irony that binds text and music, words and the way they are sung in an increasingly close relationship. Some lyrics from ELIO in past albums could be taken as they are without music and would make you laugh just by reading them. This album, on the other hand, must be listened to; the text alone is no longer enough, everything contributes to the final effect: words, music, and interpretation style. THE BEST ITALIAN ALBUM OF 2003, a cultural phenomenon all around. Their musical skill is impressive; they use any style in an extraordinarily original way, and the citations still elicit even more laughter... THE MADNESS OF WOMAN lives on the citation of WELCOME TO THE MACHINE, which is essential for the comedic effect of the song. Perhaps the most difficult album by ELIO, both musically and in terms of lyrics, not as immediate as the others, reveals its thousand virtues after numerous listens. With each listening, you discover a detail that wasn’t there before, a hidden citation, a veiled subtlety. Inaccessible for those who don’t have a minimum of varied musical culture, for those who claim that: "it could be less vulgar though," for those who don’t know progressive, Pink Floyd, disco music, funk, Nicola Fasani, the French language, opera, Litfiba, Sergio Conforti, the death penalty, the garrote, Stefano Belisari, the Virgin of Nuremberg, metal, Christian Meyer, the Philippines, rock 'n' roll, Elvis Presley, Davide Civaschi, architects, Paolo Panigada, bungee jumping, dog feces, Gennaro D'Auria, the Cabo, Scientology, English, the gods of Greece and Rome, Area, Nomadi, Gianni Morandi, Nicola Savino, Maurizio Crozza, Tuscany, Paola Cortellesi, the Bonn market, Russian, the baguette...