aries

For nofake: I accept the invitation (or the challenge) to review "Il vuoto" by 2037, even if it takes me several listens, bolstered by some readings, before I can write something sensible; I have more than a few gaps regarding Battiato of the Sgalambro era. I bet someone will get there before me :-)

One of the lowest points in Dalla's discography. In 1990 I was 15 years old. One evening, a friend of my father's came to visit us: while discussing music, he asked me, handing me a cassette, "Have you heard Dalla's latest? It's a disgrace, he says a lot of nonsense." I went to my father's studio and listened to the tape of "Cambio": it wasn't that there were a lot of crap on it, but the "A" side, apart from "Le rondini" (which is indeed a nice song, but written by Malavasi, not Dalla), was terrible, and the "B" side, with the two bright moments of "Bella" and "Comunista" (written by Roversi), was modest. By the end of the evening, the friend didn’t want the tape back, and I could never get rid of it. I think I listened to it about ten times in total, but it’s been gathering dust for 12 years now. As for the rating, I’m torn between 1 and 2. Let's say 2, fine. In any case, for me, Lucio ends with "Caruso."

This Sanremo affair is just an episode in the sad decline of a singer who, in the past, had a certain talent and a certain personality stifled by having almost always lived in function of Sanremo, unable to renew herself (in short, a female Toto Cutugno or Mino Reitano). Today, Oxa has become a pathetic character, unbearable for her grandiloquence, unwatchable and unlistenable. That said, Panella's lyrics are remarkable, perhaps with another interpreter...

A step below the previous two from '67, less homogeneous and more "lightweight." Some songs are fairly forgettable, but the rest is excellent, with classics like the celebrated "Five to One," "Not to Touch The Earth," "The Unknown Soldier," and "Spanish Caravan," alongside some underrated tracks ("Love Street," "Wintertime Love," and "Yes, The River Knows"). The pop-inflected psychedelia found on this album, as well as on the subsequent "The Soft Parade," fascinates me greatly.

It's true: Vandelli & C. were (and are) skilled musicians who, in addition to producing a series of unforgettable songs (among covers and pieces written by Battisti, Guccini, and Paolo Conte), also dabbled in progressive rock (with the album "ID", which was reissued on CD). However, mentioning only 3 songs out of 36, well...

But what’s happening at Debaser?

I don't know the song, just as I'm not familiar with anything by Maurizio Lauzi, but the lyrics pleasantly reminded me of the carefree times of childhood. I believe he deserved something more than a respectable career in the shadows.

A nice (that is, if you can call it that...) literary case; I don't know if the review or the album is more ridiculous.

Do we all love Queen? The benevolent splendor of Innuendo always with me? Better silence...

To listen to good music, it takes little; just don't listen to Vasco Rossi...