Shine

This comment is based on two listens, but it has the advantage of immediacy. I was certainly among those who hadn't fully digested Fossati's "lighter" turn. For a long time, I looked at the last two albums with a sense of incompleteness, as if some songs were forced to be "light." However, I couldn't help but notice that there were tracks that, due to their emotional force (albeit of a different nature), could challenge the songs contained in "La Pianta del Tè" and "La Disciplina Della Terra." A revolution was underway that, despite some forced elements (there's a so-called uninspired song), was heading in a precise direction. In the highest moments of those two albums, I saw a light that completed an emotional and creative spectrum that Fossati managed to build over years of artistic endeavors light-years away from banality. I clung to the less inspired songs to criticize him, trying to minimize as much as I could the beautiful songs that were nonetheless present. In the end, I had the suspicion—and I believe this applies to other travel companions who loved the oblique and profound Fossati—that my judgments stemmed from something more personal compared to a dispassionate judgment on any other album by any other artist. I realized I had loved the "noble" period of this author so much and so deeply that I felt so close to him, that I almost had the impression of mirroring my thoughts in those songs. When love then overwhelmed Fossati and his musical life, I felt more "alone" (in the way of understanding music and emotions) and began to reproach him for not being the same anymore. The gap that had formed left a bitter taste in my mouth. But deep down, I knew there was something good in those new songs too, especially when I envied him for what he narrated in "Il bacio sulla bocca." Before listening to this album, I had already read or heard some interviews concerning him and still felt the impression of the "philosophical" distance that had emerged between his songs and what I thought: but even this, on closer inspection, was extremely relative. With this album, I believe I have made peace with "Him." My snobbish side still prevents me from considering it a masterpiece, but this time the single (Il Rimedio) was enough to make me realize that this was a path I wanted to take too. And to still love many aspects of his musical journey. Finally, thanks to Primiballi for his sensitive and intelligent way of describing music.

This comment is based on two listens, but it has the advantage of immediacy. I was certainly among those who hadn't fully digested Fossati's "lighter" turn. For a long time, I looked at the last two albums with a sense of incompleteness, as if some songs were forced to be "light." However, I couldn't help but notice that there were tracks that, due to their emotional force (albeit of a different nature), could challenge the songs contained in "La Pianta del Tè" and "La Disciplina Della Terra." A revolution was underway that, despite some forced elements (there's a so-called uninspired song), was heading in a precise direction. In the highest moments of those two albums, I saw a light that completed an emotional and creative spectrum that Fossati managed to build over years of artistic endeavors light-years away from banality. I clung to the less inspired songs to criticize him, trying to minimize as much as I could the beautiful songs that were nonetheless present. In the end, I had the suspicion—and I believe this applies to other travel companions who loved the oblique and profound Fossati—that my judgments stemmed from something more personal compared to a dispassionate judgment on any other album by any other artist. I realized I had loved the "noble" period of this author so much and so deeply that I felt so close to him, that I almost had the impression of mirroring my thoughts in those songs. When love then overwhelmed Fossati and his musical life, I felt more "alone" (in the way of understanding music and emotions) and began to reproach him for not being the same anymore. The gap that had formed left a bitter taste in my mouth. But deep down, I knew there was something good in those new songs too, especially when I envied him for what he narrated in "Il bacio sulla bocca." Before listening to this album, I had already read or heard some interviews concerning him and still felt the impression of the "philosophical" distance that had emerged between his songs and what I thought: but even this, on closer inspection, was extremely relative. With this album, I believe I have made peace with "Him." My snobbish side still prevents me from considering it a masterpiece, but this time the single (Il Rimedio) was enough to make me realize that this was a path I wanted to take too. And to still love many aspects of his musical journey. Finally, thanks to Primiballi for his sensitive and intelligent way of describing music.

Maybe I'm remembering it wrong, but didn't Iommi have some finger issues?

Could you tell me about George Martin and why he came to record this album?

Could you provide me with a link where I can listen to this statement by Alemanno?

Hi Antonio, it had been a long time since we last met on this site and it’s nice to "hear from you" again. I agree with you, this is definitely a dark album from which little light and hope shine through, except for the ending. But I don’t mind the gloomy and sorrowful landscapes of this album at all, precisely because they are intrinsically moving. The problem is when an album doesn’t evoke anything for me! Rick's death leaves a bitter taste in my mouth due to the respect I had for the person and the fact that it leaves an interrupted musical journey that I had been following with great attention and passion.

I haven’t listened to much of Rondò, but this album is probably one of the best (childhood memories where this music seemed incredibly epic to me). Mixing classical music with folk music is always a gamble. I want to take a gamble this time: I like this album more than McCartney's "Liverpool Oratorio" and Deep Purple's "Concerto for Group and Orchestra." The mentioned albums are certainly not masterpieces, but I have the impression that Debaser members are more lenient with these icons than with Reverberi. In my opinion, IN THIS GENRE, Reverberi clearly outshines McCartney and Deep Purple... Let the controversy begin!

I'm glad you changed your mind about this album. Can you tell me what happened to bring about this change of evaluation?

The great Hackett at that time was not very prolific, and his contribution to the band suffered as a result. Bancks criticized him for releasing his solo album after a double album like The Lamb Lies Down on Broadway and A Trick of the Tail, which had been very creatively demanding for him and for Mike. Voyage of Acolyte was seen as a kind of betrayal. "You contribute little to the band and then you release a solo album?"

Nice review. However, let's be cautious with the quotes and the game played by other users regarding the value of giants like Freud, Jung, and Piaget... Everything would turn into pure partisanship. An "orthodox" person would prefer Freud, a "progressive" one would love Jung, constructivists and cognitivists would prefer Piaget... And the list could stretch on immensely. But all of this really has little to do with Summers and the good Adder!