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DeRank ™: 0,32

DeAge™ : 7375 days • Here since 1 april 2006

Fabrizio De André Non al denaro non all'amore nè al cielo

23 may 06

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De Andrè swipes (but rewrites in his own way) the famous anthology of Spoon River and is aided, as far as texts and translations are concerned, by Fernanda Pivano. It's a way to delve into that dense and chaotic underbrush of humanity populated by common folk, beggars, and minor figures. There is never, as it should be, disdain or arrogance: rather, there is understanding and humility. And a desire, on De Andrè's part, to grasp what works (little) and what doesn't work (a lot) in the varied human species that, day and night, roams the shabby and gullible streets of the world. Among the many beautiful songs (perhaps a bit naive musically), the brutally cruel "Un giudice" stands out. Not to be forgotten. Marco Poletti Dixit.

Fabrizio De André Le nuvole

23 may 06

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I completely agree with Grasshopper. Great choice to rate the album with a 4 (absolutely right) and not a 5 (a bit exaggerated). Marco Poletti Dixit.

Fabrizio De André La buona novella

23 may 06

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De André reinterprets the Gospels (the apocryphal ones) in his own way, intertwining them with the political and cultural reality of the early Seventies. The operation is highly successful, and some pieces go down in history for their content and technical grandeur ("Il testamento di Tito," but also "L'infanzia di Maria"). The ambitions are sky-high, the songs live up to the promises, but from a musical standpoint, the album comes across as poor and unsatisfactory. However, it's a flaw that one willingly overlooks. Marco Poletti Dixit.

Fabrizio De André In direzione ostinata e contraria

23 may 06

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Ruthless commercial operation? I give it a 1 for the Punisher. It is true that there have been more than 5 thematic compilations dedicated to De André, but there is no doubt that this is the best and most complete. It starts from the early days and goes all the way to "Anime salve". Three CDs to remember, once and for all, the supreme De André art. To be purchased. Immediately. Marco Poletti Dixit.

Fabrizio De André Fabrizio De André in concerto volume 1

23 may 06

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Oops, errata corrige: "neither better nor worse than the second." Pardon. Marco Poletti Dixit.

Fabrizio De André Fabrizio De André in concerto volume 1

23 may 06

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Neither better nor worse than the first. Perhaps a bit more rhythmic, but it is undeniable that De André and PFM have worked more with their heads than with their hearts. Marco Poletti Dixit.

Fabrizio De André Fabrizio De André in concerto vol.2

23 may 06

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Honestly, I may be out of line, but some things need to be said; it doesn't seem like a shining and crystal-clear masterpiece to me. First of all, the idea of splitting the live performance into two discs is at least eccentric. De Andrè and Pfm, who do play wonderfully, seem more concerned with creating a technically professional product and, more out of shortcomings than desire, abandon the classic heartfelt effort in favor of, alas, an intellectual approach. The tracks are nonetheless of the highest quality, and some songs, with Pfm's accompaniment, definitely gain in fluidity and originality. But the real De Andrè is something entirely different. Marco Poletti Dixit.

Fabrizio de André Fabrizio de André (L'Indiano)

22 may 06

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Very, very beautiful. Some songs are spine-tingling ("Fiume Sand Creek," "Quello che non ho," "Hotel Supramonte"), and you are often amazed by the ease with which De André manages to combine meter and poetry, visual insights and enigmatic apocalyptic intuitions. Everything is perfect, or almost: now and then, Fabrizio seems to want to contort himself and gets caught in a sort of tunnel of oblivion ("Se ti tagliassero a pezzetti"). But the artistic and musical level is always high and grandiloquent nonetheless. Marco Poletti Dixit.

Fabrizio De André Creuza de mä

22 may 06

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Legendary masterpiece. What more to add? Marco Poletti Dixit.

Fabrizio De André Canzoni

22 may 06

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It's the De Andrè that convinces me the least. Clearly listless, out of breath, yet still able to nail a nice series of covers. The nods to Cohen and Brassens are nice, but the theft from Dylan is frankly unforgivable. Of course, then "Avventura a Durango" will come, and it won't be much better there. Essentially, inconclusive. Marco Poletti Dixit.