aries

You laugh a lot, but at the same time you think just as much, and they are bad thoughts. In my opinion, the most emblematic scene is when Michele goes to watch the sunrise on the beach with his friends, with the sun rising on the other side... And then: eeecccccccccceee booombooooo!

I'm listening to them now... one revelation! I'm discovering Genesis now, better late than never!

In agreement with Iside (comment n. 12). Welcome.

Passionate review that deserves a round of applause. This 45 RPM is one of Battiato's rarities, as the two songs were never released on an album: in terms of themes and sounds, they anticipate "Pollution." I am impressed by the relevance of the sounds in "La convenzione," which he later re-recorded in '97, with distorted guitars instead of synths, demonstrating that this track has aged well, beyond the sci-fi lyrics that may make one smile today (for him, the "convenzione" was supposed to happen in 2000...). Over time, however, I prefer "Paranoia," which showcases the Sicilian artist's skill in composing lyrics by combining elements without any apparent common thread. As for the early Battiato, it's nothing transcendental, but in some tracks, one can glimpse that even then he was trying to look beyond the singer-songwriter dimension: just look at the contaminations with classical music in "E' l'amore" and "Vento caldo" and an almost unattainable track like "Occhi d'or," inspired by British symphonic rock.

Eternal glory to Ed Wood! We had Luigi Batzella, aka Paolo Solvay aka Ivan Katansky, the mastermind behind "Nuda per Satana" and especially "La Bestia in Calore."

Good review, which reflects passion and expertise.

Great review, fascinating theme. I'm adding the record to my wishlist and giving it my trust.

Unbearable.

For me, a mysterious object.

Less polished than the albums that would follow, but featuring a sequence of strong and indispensable tracks (starting with "Preghiera in gennaio"), which vividly illustrate the moral and philosophical concepts of the Genoese singer-songwriter. It is a work that is already mature, a step forward from the Karim period (which already showcased some masterpieces). The version that includes the song "Caro amore," with a different cover, has never been reissued, making De André-Rodrigo's track an absolute rarity. Speaking of Rodrigo and the "Concerto d'Aranjuez," it is worth noting that, curiously, a song titled "Aranjuez, mon amour," with different lyrics was released by Dalida, without the Spanish maestro batting an eye.