tiziocaio

Despite being a somewhat haphazard collection, it has the great merit of presenting Battisti as a musician who has been able to interpret and make his own various styles, from R'n'B to singer-songwriter, from catchy pop to the progressive sounds of "Tre Verità" and the Cream-Hendrix style rock of "Insieme a te sto bene." Speaking of the latter, kudos to Lombroso for reinterpreting it, but their rendition is far from the fire that permeates Battisti in that song. A record to start with if you want to know and delve into Battisti, a fundamental icon of international popular music.

Bravo Grass, perhaps not everyone knows that Luigi was a musician (in the 50s he played saxophone, coincidentally with Gaber, De André, and Jannacci, three other pillars of Italian music that deserve recognition) and in Genoa, where Tenco took his first steps with Reverberi's help, rock 'n' roll from across the ocean was arriving, as well as French existentialism and the love of jazz from artists like Boris Vian. Luigi would capture the essence and revolutionary impact of this world to bring it into our popular music. And here lies the full meaning of Tenco's work, and his suicide is a testament to the failure of a nation like ours that revels in its own hypocrisy and fears cultural change. For this reason, that death cannot be left behind; remembering Tenco is to remember a pathology that we carry within us and which has become chronic over the years. In conclusion, Tenco's honesty in both romantic and social matters (listen to tracks like Cara maestra, Vita Sociale, La Ballata della moda) deserves respect beyond the underlying naivety, especially in protest songs. But we must not forget that Luigi died while he was still a boy, and in his time, songs were considered bold. Tenco remains a resource of style and thought that has made our popular music mature and of high caliber.

Blessed are you for having dusted them off. But a note of merit should also be given to other forgotten ones like Slaughter & the Dogs or The Dictators, with their punk rock that remains always fresh and vibrant. Teenage Kicks is the classic track to put on repeat in the player without ever getting tired of listening to it.

I really like your review, careful and precise. The album didn't excite me at first glance, and I agree that it sounds like a record made "just to clock in." However, it must be acknowledged that Bruce knows his craft well, that we’re glad to hear him back on the radio, and that he remains one of the few bastions holding together the whole rock'n'roll parade with all its historical and human baggage.

Well...it doesn't fit, it doesn't fit.

Look... I feel things on a gut level. I like the spirit of this album, the not-taking-itself-too-seriously vibe. Shortly after, I bought this and John Wesley Harding and, no offense to the fans, but the latter just doesn't click for me, except, of course, for All Along The Watchtower. New Morning seems more carefree, more pop, if we want to say so, while Wesley Harding has that vibe of a doomsday preacher...

You hit the nail on the head. In fact, I live in Bellaria, and seeing the beaches where I go swimming and the places I pass through almost every day is quite an experience. However, calling it a masterpiece seems exaggerated...

So... I agree with everything... however, it is expected that a good review, in my opinion, should maintain a certain critical sense at its core. This is because you got a bit too carried away by your passion for Dario Argento. For example, you didn't highlight a flaw that accompanies this film and many of his films: the dialogues. These, written by Daria Nicolodi and him, are the only sore point of the film. As for the rest, I recently rewatched the film and it really manages to scare; I swear I spent a somewhat restless night even though I had seen it in the afternoon!!
Another curiosity: in the scene where the protagonist takes a taxi, at one point the rearview mirror is visible, but if you look closely, you can see Dario Argento himself in it.

I pulled it out from the drawers of memory because there was a piece, "Lost Cause," that kept resonating in my mind and demanded justice to be unearthed. But then, scrolling through the tracks, I was struck, an effect that didn't hit me at the time of purchase. This album is a bit like the good suit, to be brought out on certain occasions when the soul seeks a grip in a sea of apparent certainties.

Don't miss them live. In this form, their spirit remains intact and pure.