tom traubert

Masterpiece without reservations. And beautiful review.

Well. In the meantime, Wright wasn't here (he was in the following Barrett, who co-produced). And I suspect ("scheletric"?) that at some point the copy and paste got stuck. And then it's not a 5-star album, despite Barrett already being a saint before, and imagine now that he's dead and so we have to give him a 5 for sure, but it's not The Piper, come on.

I also believe that Caruso has the only flaw of being overplayed and abused, but it's the last gasp of Lucio Dalla, who from then on will turn to easy money. "Quello che le donne non dicono" is also a really beautiful song by Ruggeri, but to each their own, and so on. I completely agree with Iruben on "Tutto scorre" and "Oggetti smarriti," two amazing albums!

If you're really a "canzonettaro," DJ, you might appreciate the latest, L'arcangelo, if you haven't already heard it. Aside from that, starting from La pianta del tè, I consider them all masterpieces or almost. Personally, I have a slight preference for Macramè, just for the record.

@ primiballi: for heaven's sake, better to clarify. I endorse your necessary distinctions between Ruggeri and Fossati. The tea plant was merely an example of an album that marked a significant turning point for its author. I could have invoked other names and other titles with the same result, but we would still be talking about masters. This spark for Ruggeri has been lacking, alas, and so it goes; it’s clear he just didn’t have it. This is exactly what makes the difference between a minor artist, as Ruggeri is, and a Great one, as Fossati undoubtedly is. Hence the "disappointment" that was mentioned at the beginning, I believe, because if you, like me (and I think you do, given our age proximity), got to know Ruggeri in the 80s with songs like Tutto scorre and Enrico VIII, I believe you too expected something more from the mature Ruggeri.

Mistero was a perfect piece for Sanremo, and it was a great choice to bring it there to win. Has he made better songs? Of course, but at least he brought a popular rock-influenced song, fun enough, when usually you win in Sanremo with tears. Mistero might have made it to the festival, but it’s not even closely related to the blatant sellouts, even if they're not from Sanremo, of certain illustrious and much more celebrated colleagues, from Dalla to Venditti to the "real rockers" Vasco and Ligabue. Then it's true what the DJ says: he likes to go on tour, perform live, he’s never worried too much about "managing himself," and I think that suits him just fine.

In my opinion, at a certain point, he needed to make a leap in quality that didn't happen. I think of his hypothetical equivalent of "La pianta del te" for Fossati, a turning point, if you know what I mean. Maybe making a few less records, leaving some songs in the drawer, distilling more, and seeking a greater artistic evolution. In this sense, one could say it's a missed opportunity because the talent is considerable.

Ruggeri is a little Great, someone who has always made music first and foremost with passion, then with intelligence and great skill, with some bumps along the way but with many beautiful songs and a few masterpieces written for himself and for others. Always torn between his rocker's soul and that of a chansonnier, he has managed to cultivate a loyal audience. This is not, in my opinion, his absolute best album, but it is certainly among the best of the best.

The morrisette eats the consoli for breakfast, I don't know if I'm making myself clear...

Interesting insights here and there, self-indulgent lyrics and an unbearable voice, especially in these early records. There was better stuff before, after, and in between... "Contro un'onda del mare" by Gazzè is two years older, but just to give an example.