Viva Lì

The century (and the millennium) closes excellently: "Anime salve" (1996) is, without hyperbole, the best album by De Andrè since "Creuza de ma" (1984). Musically sublime, effectively romantic. From "Princesa" to "Le acciughe fanno il pallone", from "Ho visto Nina volare" to the title track, a stunning punch of unique and unforgettable songs. And the partnership with Fossati is spine-tingling. If you allow me, my favorite. Marco Poletti Dixit.

One of the most complete and interesting live performances in the entire history of Italian music. Completely mature and self-assured, De André showcases an enviable artistic confidence that makes him, depending on the case, either widely loved or fiercely hated. But fortunately, there are more who love him. It's a shame about some omissions, but it's enjoyable for the revival of old tracks, and, recently, almost forgotten ones ("Il gorilla," for example). Marco Poletti Dixit.

The review is very nice and very clear. The album, then, is a masterpiece to be framed. The best, by far, among Jannacci's works. A well-deserved 5. Marco Poletti Dixit.

So many ideas, too many ideas. Some good ("Lungomare," "L'uomo a metà"), some a bit mediocre ("Gente d'altri tempi," "E' stato tutto inutile"). Then he brightens up, and "Il pesciolone" comes along. In short, a slightly over-the-top Jannacci, but still skilled and witty, although he tends to fade into a kind of senile melancholy when he decides to pay tribute to Umberto Bindi (and dedicates "Arrivederci" to him). Marco Poletti Dixit.

There’s a fundamental conceptual error: Jannacci has been (and is) a legend, but he also made some silly mistakes. Let’s not glorify everyone indiscriminately: “Foto Ricordo” is one of the less convincing works of the National Enzo, some comedic sketches (“Il ficus,” “Il labrador”) and some lifts from Dario Fo and Paolo Conte. The arrangements are by Bacalov (future Oscar winner) but they’re not exactly remarkable. Of course, Enzo is always entertaining, but be careful, let’s not say the album is good just because it’s by Jannacci. It’s not for music lovers. Marco Poletti Dixit.

Great album. Not as excellent as "Quelli che..." (but those are miracles), but quite jovial and at times even cruel. "Ci vuole orecchio" is an almost existential-musical piece, but it's the return with Cochi and Renato in "Silvano" that pleasantly surprises and astonishes. He is in splendid form, sometimes going a bit overboard with confidence, but it’s still a great listen. Marco Poletti Dixit.

Calm down, calm down. Grasshopper, you’re amazing me: you don’t like Nannini? Then tell me, what do you like? Oh right, Branduardi... How boring, Grasshopper. Anyway, aside from the tiny personal quirks (Grasshopper likes Dolcenera, this is first-hand news), aside from "Fotoromanza," the album is free of twists and the rock is a bit overrated. Listen to Nannini’s "Profumo" (1986), and then tell me what you think. Actually, maybe it's better if you don't. Marco Poletti Dixit.

Gianna hasn't lost a single gram of her unstoppable vitality. That's a plus. However, she has lost quality: the lyrics are almost always ridiculous, and the music seems fake and shockingly rock from the very first listen. Two points against. However, Nannini has a voice that could send shivers down even a piece of wood, and "Sei nell'anima," after all, manages to keep itself afloat with dignity. Yet, something just doesn't seem to work. One point against. Average: 2. Marco Poletti Dixit.

I don't know, whatever! Frankly, I can't understand this deep hatred towards Stadio (what did they do to you Punisher, did they kill your cat and your goldfish?). Okay, they were never great geniuses (those are just Zappa, Battisti, and the Velvet, right, true Debaserians with their noses in the air?). But this collection containing some of the most beautiful songs from the Sardinian group (by the way, a well-thought-out and luxurious anthology) you don't like? How is that possible? You didn't enjoy "Grande figlio di puttana" (which I would gladly dedicate to quite a few people on this site), and you didn't even like "Chiedi chi erano i Beatles?" (oh right, you only like Zappa, Battisti, the Velvet, De Andrè, and maybe, but just maybe, Deep Purple). Come on, Stadio are very respectable musicians, maybe buying every single album is indeed too much, but owning an anthology of their greatest (and beautiful) hits is not such a disgraceful thing. I agree about the 4 unreleased tracks: weak, but what do you expect? Well, I guess I'm wasting my breath. Long live Zappa, long live De Andrè, long live the Velvet, long live Van Halen, long live this crap, and down with those who spit on any Italian singer-songwriter just to show off how cool they think they are. "I only hope that you, that you have good luck...", but I don't wish that for you. And anyway, de gustibus non sputazzandum. Marco Poletti Dixit.

The U2 turn to electronics and, all in all, manage to avoid solemnly embarrassing moments. However, they lose their charm and generational anger, giving way to a significant kitsch influence. Yet, despite songs that aren't quite up to par ("Numb," "Lemon a stay (Faraway so close)"), they still manage to surprise: they reference the famous director Wim Wenders and close the album with a solitary (and somewhat sad) country ballad, "The Wanderer," and they have none other than Johnny Clash sing it. Marco Poletti Dixit.