LuCHeZarD

I don't particularly love Battisti's work from his long collaboration with Mogol (except for the arrangements of many pieces from that period, which I love very much) and until recently I didn't know this album. I knew that Battisti had made electronic records in the 80s and I was very curious to listen to it in this guise... so I bought a copy of this vinyl record, I listened to it, and I was left speechless! I find it an absolutely stunning album, a very courageous record that is light years ahead (for its time), especially in terms of arrangements... you could say that Lucio was one of the godfathers of the New Wave in Italy! I truly believe this album was very important for Battisti to shake off the label of "cantautore" that everyone wanted to assign him, thus proving that he could do something else without necessarily relying on the extremely poetic lyrics of Mogol to find commercially easy and established responses. I suppose this album didn't sell as much as a Battisti-Mogol record, but we must absolutely commend, above all, the courage to make such a record, giving a sharp turn to his style... something that very few have done in Italy.

Ok Italy, I really like it as an album... I think it’s the best album by Bennato from the mid/late 80s. In fact, many, I believe, hate this album especially for its rather "eightyies" arrangements that characterize it. I believe it’s one of the most "rock" (in the true sense of the word) albums by Edo. Indeed, the powerful guitars of Luciano Ninzatti are definitely noticeable, and sometimes there are guitar parts that remind me a bit of metal arrangements. I prefer it to the following "Abbi Dubbi," which is softer and more oriented towards "rock 'n' roll"...

I am a fan (and a collector) of Pino, and I have to say that "Bonne Soiree" is an A-MA-ZING record...some might say, "But do you really consider this album to be on the same level as his best historical records?"...my straightforward answer to that question is: YES!
"Bonne Soiree" didn't sell well at the time and didn't enjoy as strong a success as the previous albums since, for Pino, it was a "breakthrough" (not of the annoying kind) from what he had done before. The album is the result of his various trips to France (where he had a good success during that period), which is evident right from the title...it's also one of the most overtly rock albums in his production (during those tours he played with Schon, Jackson, and Larrivee guitars, which were usually used by others in hard rock). Moreover, many say it's an album with "Arab" influences, something I’ve only noticed in a few tracks like "Aria" and in the arrangement of the beautiful "Occhi grigi," but for the rest, I see it as a deliberately rock album with maybe a few shades of rock-Arab. I absolutely adore every single track on this album; the CD version also includes "Watch Out," which at the time was not released on vinyl but was only launched as a single. The album's commercial failure at the time can be attributed to the fact that people didn’t expect a series of experiments contained in it from Pino, which left historical fans who were attached to the more classic sound of 2/3 years earlier turning up their noses...in my opinion, the album was misunderstood because it was truly ahead of its time, in the sense that it had a more international sound compared to previous works, a factor linked to the fact that Pino had success in many parts of Europe during those years and perhaps was influenced by that...he wanted to make an album with a more international feel, and in my opinion, he managed it wonderfully.
I recommend anyone who loves, has loved, or has loved/hated Pino to go back and listen to this album, and I'm sure that, like me, over time they will learn to appreciate it ;-)

I am a fan (and a collector) of Pino, and I have to say that "Bonne Soiree" is an A-MA-ZING record...some might say, "But do you really consider this album to be on the same level as his best historical records?"...my straightforward answer to that question is: YES!
"Bonne Soiree" didn't sell well at the time and didn't enjoy as strong a success as the previous albums since, for Pino, it was a "breakthrough" (not of the annoying kind) from what he had done before. The album is the result of his various trips to France (where he had a good success during that period), which is evident right from the title...it's also one of the most overtly rock albums in his production (during those tours he played with Schon, Jackson, and Larrivee guitars, which were usually used by others in hard rock). Moreover, many say it's an album with "Arab" influences, something I’ve only noticed in a few tracks like "Aria" and in the arrangement of the beautiful "Occhi grigi," but for the rest, I see it as a deliberately rock album with maybe a few shades of rock-Arab. I absolutely adore every single track on this album; the CD version also includes "Watch Out," which at the time was not released on vinyl but was only launched as a single. The album's commercial failure at the time can be attributed to the fact that people didn’t expect a series of experiments contained in it from Pino, which left historical fans who were attached to the more classic sound of 2/3 years earlier turning up their noses...in my opinion, the album was misunderstood because it was truly ahead of its time, in the sense that it had a more international sound compared to previous works, a factor linked to the fact that Pino had success in many parts of Europe during those years and perhaps was influenced by that...he wanted to make an album with a more international feel, and in my opinion, he managed it wonderfully.
I recommend anyone who loves, has loved, or has loved/hated Pino to go back and listen to this album, and I'm sure that, like me, over time they will learn to appreciate it ;-)

Many ignorant people on the subject believe this album is not as good as the previous ones, but they are damn wrong since "Musicante" is truly a magnificent record worthy of Pino in his golden years. It's undoubtedly an album infused with a bit more experimentation, but Pino was all about that at the time... someone who loved to experiment... a musician from the new Naples. I am a big fan of Pino and I recommend you listen to his records multiple times to better understand his music ;-) Anyway, I don't agree with the harsh criticism of Santa Teresa... in my opinion, it's a great track.

Ps...I forgot to mention that this year on September 1st, Pino will be performing a concert to pay tribute to "Nero a metà" at the Verona arena, where he will play the entire album along with the original band ;)

Pino has always considered this album to be the most important of his career, while admitting that in terms of sales it didn't exactly smash records like the following "Vai Mo." This album has indeed left a significant mark on what later became known as "Neapolitan Power," that movement born in Naples which Pino is one of the main architects of. The album undoubtedly deserves 5 stars, on par with the various Terra Mia, Omonimo, Vai Mo, Bella Mbriana, and Musicante... they are all gems, one more beautiful than the other.

This live album is amazing! It’s a "mobile" live recording since all the tracks were recorded during different concerts, including some incredible stops (Montreux)... originally, this live album was supposed to capture the essence of just one night, specifically the one at the “Mostra D'Oltremare” in Naples (the last stop of the Musicante tour), but that evening there was an error in the tape recordings that compromised a large part of the recordings themselves; in fact, from that night, only a couple of pieces made it onto the album (those that were somehow saved in the studio), including the opening track featuring an extraordinary Marangolo on drums. Can you believe that Pino didn’t even want to release this album because he wasn’t happy with the results of the recordings (Pino was always too much of a perfectionist back then regarding live performances), but fortunately, it did get released. It’s a shame that Daniele edited very little of his "live" tours from the 80s because back then, his concerts were a unique spectacle with some phenomenal musicians.

Great concert... recorded during the '88 tour, specifically at the stop in Naples at the old Palasport. The name of the drummer you couldn't remember is ARON AMMUN. Besides the legendary Mel Collins, on bass during this tour was a bassist who has often collaborated with Pino, namely Jeremy Meek, who is literally a monster! Anyway, it's an amazing concert; I particularly love the jazzy version of Yes I Know my way and that fabulous one of Tutt nata storia!

Without a doubt, the best album by Pino Daniele recorded with an amazing line-up...SHORTER/AMORUSO/DE PISCOPO/JOHNSON/JERMANO!