Recalling the brilliant idea of @[Martello], I would like to pay a kind of "tribute" to a great artist like Antonello Venditti, presenting a ranking of his albums (stopping at Cuore from 1984 and including Theorius Campus with De Gregori) from the least beautiful to the best...

Offside: "Venditti E Segreti" (1986)
It's now established that this marks the beginning of the end for Antonello. However, I would like to take a closer look at this album, and you will understand why.
Eight songs and 34 minutes and 32 seconds of music. About 6 minutes might be salvaged: those of Giulio Cesare the third track on the list and probably the most famous song of the album. But also Peppino, another fairly known piece, wouldn’t be too bad if it weren’t for a bit too much sweetness here and there in the lyrics. And then there's the rest…:
-A excruciatingly sappy almost-title-track, which begins with the lines "C'è un diavoletto nel tuo cuore / C'è un diavoletto chiuso dentro di te / Lui si nasconde con il sole / La notte poi si prende gioco di te". A nice "fuck off" would fit well here, but I'll refrain.
-The "rock" piece (to say) of the album, the musically and lyrically chilling Rocky Rambo & Sting, probably in the top 5 of the worst things by 'Ntunello.
-The piece that should be the "popular denunciation", Questa Insostenibile Leggerezza Dell'Essere, could also be described as a bucket of cold water on the balls, if not worse. Every time I accidentally hear it in the car, I feel like throwing the radio out the window.
-The song about Rome in the album, C'è Un Cuore Che Batte Nel Cuore Di Roma. If the title doesn’t promise anything good, the piece is even worse. A text written in 4 counted minutes that resembles elementary school musings.
-The last two tracks, Settembre and Esterina, are ugly but not unbearable.

In short, an excellent track and another still salvageable are interspersed with TERRIFYING crap. This is because without that nonsense, the album would have lasted barely 10 minutes. But a "record" of 10 minutes would make even stones laugh, so to stretch it to the "ideal duration" of 35-40 minutes, you have to include all the bullshit that comes to mind! Why Antonello?.. Why?
 
Picking up the brilliant idea of @[Martello], I would like to pay a sort of "tribute" to a great artist like Antonello Venditti, that is a ranking of his albums (stopping at Cuore from 1984 and including Theorius Campus with De Gregori) from the least beautiful to the best...

No. 1: "Le Cose Della Vita" (1973)
And here we are, reaching the highest step of the podium, with this record released just a few months after the previous "L'Orso Bruno". Gone is the pathos and verbosity of the previous album; this time it's all recorded with a piano and an organ. A bare, raw, and "strange" album as much as it is hard and intense, which could, in some respects, be defined as "experimental". Notable highlights include the moving title track, the very tough Mio Padre Ha Un Buco In Gola, the splendid Le Tue Mani Su Di Me (especially in the live version from 1985), and then Brucia Roma, which acts as a negative of Roma Capoccia.
Overall rating 10 (with honors)

The masterpiece of the album: Mio Padre Ha Un Buco In Gola (1s Take 2)
 
Taking inspiration from the brilliant idea of @[Martello], I would like to pay a sort of "tribute" to a great artist like Antonello Venditti, with a ranking of his albums (stopping at Cuore from 1984 and also including Theorius Campus with De Gregori) from the least beautiful to the best...

N°2: "Lilly" (1975)
And the silver medal goes to Antonello's first big commercial success. It was 1975, the album had just been released, and here it was soaring to the top position in Lelio Luttazzi's chart, "Lilly." This was something that almost never happened to singer-songwriters, which is why Antonello, for a while (13 years), didn't perform the song live anymore. In terms of arrangements, it follows the path set by Quando Verrà Natale, but this time with more "homogeneity," so to speak. It is considered by many to be his greatest masterpiece, but in my opinion, it lacks that "spark" to reach the magnificence of the only missing album...
Overall rating 10

The masterpiece of the album: Lo Stambecco Ferito
 
Picking up the brilliant idea of @[Martello], I would like to pay a sort of "tribute" to a great artist like Antonello Venditti, specifically a ranking of his albums (stopping at Cuore from 1984 and including Theorius Campus with De Gregori) from the least beautiful to the best...

No. 3: "Ullalla" (1976)
A year after his first major success "Lilly," Antonello tries again with this new album. It's a more political and less poetic album than the previous ones, but no less intense for that. The arrangements, until then, had mostly been based on piano and voice: this time, the piano is set aside in favor of the guitars of Ivan Graziani (who recorded "Bufalo Bill" for De Gregori in the same year), the bass of Hugh Bullen, and the "hits" from Walter Calloni. This is perhaps – along with L'Orso Bruno – the most unjustly underrated album in the entire discography, especially by the same author who has never proposed any tracks live.
Overall rating: 10

The masterpiece of the album: Jodi E La Scimmietta
 
Picking up on the brilliant idea of @[Martello], I’d like to make a sort of "tribute" to a great artist like Antonello Venditti, specifically a ranking of his albums (stopping at Cuore from 1984 and including Theorius Campus with De Gregori) from least appealing to best...

N°4: "Sotto Il Segno Dei Pesci" (1978)
Two years after the underrated "Ullalla", Antonello tries again with this excellent album. It’s a bit different from its predecessors; the sounds start to change, but the quality remains very, very high. The "anger" present in previous albums is no longer in the lyrics; they are now more direct and thus more commercially successful. Highlights include the title track, the journey—both metaphorical and literal—of Bomba O Non Bomba, the story of a homosexual love in Giulia, and the "apologies" to his longtime friend Francesco.
Overall Rating 9

The masterpiece of the album: Giulia
 
Picking up the brilliant idea of @[Martello], I would like to pay a sort of "tribute" to a great artist like Antonello Venditti, presenting a ranking of his albums (stopping at Cuore from 1984 and including Theorius Campus with De Gregori) from the least beautiful to the best...

N°5: "Quando Verrà Natale" (1974)
After about a year of musical hiatus, Antonello presents us with a new album of unreleased songs. The arrangements become increasingly complex: this is the album featuring A Cristo, a track that led Antonello to be accused of blasphemy due to the lines "Ammazzete Gesù Crì, quanto sei fico," later replaced with "Ammazzali Gesù Crì quanto so' fichi." Also noteworthy is Campo De' Fiori, a poignant vision of a society in decline, the mysticism of Figli Del Domani, the portrayal of feminism in Marta, and then the concluding title track, which could be interpreted as a mockery of those waiting for miracles that are never meant to arrive.
Overall rating: 9

Masterpiece of the album: Marta
 
Picking up the brilliant idea from @[Martello], I would like to pay a sort of "tribute" to a great artist like Antonello Venditti, by creating a ranking of his albums (stopping at Cuore from 1984 and including Theorius Campus with De Gregori) from the least beautiful to the best...

No.6: "L'Orso Bruno" (1973)
The first true solo debut for the Roman singer-songwriter. An extremely underrated album, not just by the general public but also by him, to the point that he has never performed a single track live. And, as usual, underrated albums are often among the most beautiful. Because while the arrangements—by Vince Tempera—can seem heavy, verbose, and copied from the early albums of Elton John (especially the self-titled and Madman Across the Water), the songs themselves are truly beautiful.
Overall rating 8.5

The masterpiece of the album: L'Orso Bruno
 
Taking inspiration from the brilliant idea of @[Martello], I would like to pay a sort of "tribute" to a great artist like Antonello Venditti, that is, a ranking of his albums (stopping at Cuore from 1984 and also including Theorius Campus with De Gregori) from the least beautiful to the best...

N°7: "Theorius Campus" (1972)
We are in the early '70s, and a 23-year-old Antonello Venditti, alongside his friend Francesco De Gregori, released the first - and only - project of the duo Theorius Campus, formed by the aforementioned. De Gregori expresses his hermetic style with gems like Signora Aquilone, but there isn't much more that shines. On the contrary, Venditti condenses his commitment and already proves to be a mature and complete songwriter. But while the Prince has improved over the years and now boasts an impeccable discography, Antonello... we all know what he has become...
Overall rating 8

The masterpiece of the album: Sora rosa
 
Picking up the brilliant idea from @[Martello], I would like to make a sort of "tribute" to a great artist like Antonello Venditti, namely a ranking of his albums (stopping at Cuore from 1984 and including Theorius Campus with De Gregori) from the least beautiful to the best...

N°8: "Sotto La Pioggia" (1982)
We have arrived in the heart of the '80s, and Antonello offers us this new album. After the diptych "Sotto Il Segno Dei Pesci" - "Buona Domenica," Antonello attempts another change in direction, dedicating himself to "pop" sounds that might make the purists of the early days raise their eyebrows. But here we are talking about a pop of excellent quality; there are international-level nuances in the lyrics, arrangements, and music that were missing in previous albums - and will also be missing in subsequent ones. Thus, Antonello presents us with a work slightly superior to the previous one.
Overall rating 8

The masterpiece of the album: Fellini
 
Continuing the brilliant idea of @[Martello], I take the liberty of making a kind of "tribute" to a great artist like Antonello Venditti, specifically a ranking of his albums (stopping at Cuore from 1984 and including Theorius Campus with De Gregori) from least to most beautiful...

No. 9: "Buona Domenica" (1979)
The eighth studio album by Antonello, released at the end of the '70s. The only two main flaws are these: it comes after "Pesci" — although, in the end, it's not that inferior — and there are a few too many diversions (Mezzanotte, Kriminal, title-track...). Fortunately, the rest manages to keep pace remarkably well: four excellent tracks and one piece that could be defined as "absolute masterpiece" is almost an understatement. Seven minutes and 49 seconds of anger, disappointment, hope, and lament for the end of an era, spiced up with a beautiful sax solo by the great Gato Barbieri.
Overall rating 7.5

The masterpiece of the album: Modena
 
Picking up on the brilliant idea of @[Martello], I would like to pay a sort of "tribute" to a great artist like Antonello Venditti, that is, a ranking of his albums (stopping at Cuore from 1984 and including Theorius Campus with De Gregori) from the least beautiful to the best...

No. 10: "Cuore" (1984)
At the bottom of this ranking, we find a much-debated album. The album of "change," driven by the superhit Ci Vorrebbe Un Amico. An album that marks an adjustment to the very cheap sounds of the decade, but - still - with a more than appreciable writing style. The inspiration is already starting to crack a little (see, above all, "Non E' La Cocaina"), but undeniably convincing moments alternate with more great tracks, even though, as previously mentioned, with arrangements that are hard to digest. The linked piece saves itself from being plastic and goes down in history as probably Antonello's last masterpiece.
Overall rating 7.5

The masterpiece of the album: Notte prima degli esami
 
Picking up on the brilliant idea of @[Martello], I would like to pay a sort of "tribute" to a great artist such as Ivano Fossati, with a ranking of his albums (from 1981 to 2003) from the least beautiful to the best...

N°1: "La Pianta Del Tè" (1988)
And here we are, at Ivano's first great masterpiece and his greatest masterpiece. The album that definitively established Fossati as a "first-class musician," from here on the lyrics will become increasingly refined and hermetic (a characteristic also present in the albums to come), and the music and arrangements will take on "ethnic" and, from a certain point of view, experimental qualities. There is also a second version of La Costruzione Di Un Amore, this time not tormented and "felt" but "perfect" and crystal clear. Let’s not forget the two parts of the title track, featuring a wonderful Una Ramos on flute.

The masterpiece of the album: La pianta tè
 
Taking inspiration from the brilliant idea of @[Martello], I would like to pay a sort of "tribute" to a great artist like Ivano Fossati, with a ranking of his albums (from 1981 to 2003) from the least beautiful to the best...

No. 2: "Lindbergh - Lettere Da Sopra La Pioggia" (1992)
Two years after the last work "Discanto", here comes Ivano again with this album. An album that is considered "Ivano's masterpiece" by definition, and objectively, regardless of personal tastes, it could indeed be so; we are faced with an immense work. However, it is probably the least intimate album of the quintet from '88 to '00, one that tackles more universal themes, and therefore many may prefer other albums. For me, it remains one of his greatest masterpieces, but it still does not reach the absolute magnificence of the only remaining album.
Overall rating 10

The masterpiece of the album: Mio fratello che guardi il mondo
 
Recapturing the brilliant idea of @[Martello], I would like to pay a sort of "tribute" to a great artist like Ivano Fossati, with a ranking of his albums (from 1981 to 2003) from the least beautiful to the best...

No. 3: "Discanto" (1990)
Here we are, on the verge of the 90s: Ivano is in his golden era, and this marks his second consecutive masterpiece. There isn’t even a piece out of place: extraordinary music, technically second only to La Disciplina Della Terra, and lyrics that are increasingly cryptic, with some songs even "heavy," such as in Confessioni Di Alonso Chisciano, which explores the turmoil of Don Quixote, or Lunario Di Settembre, which narrates a verdict of condemnation for witchcraft dating back to 1647. Also noteworthy are the title track, Lusitania, Passalento, and the "game" Unica Rosa.
Overall rating 10

The masterpiece of the album: Lunario di settembre
 
Revisiting the brilliant idea of @[Martello], I would like to pay a sort of "tribute" to a great artist like Ivano Fossati, both a legend and a contemporary, by creating a ranking of his albums (from 1981 to 2003) from the least beautiful to the best...

No. 4: "La Disciplina Della Terra" (2000)
Just as the new millennium began, Ivano, after a four-year hiatus from recording, gifts us what is probably the technical and musical pinnacle of his entire career. Another great work, based (like the previous one) on the piano-and-voice format but which is, in its entirety, slightly superior to the -still magnificent- Macramè. Standing out are the captivating Treno Di Ferro, the gentle Angelus, but above all the superb title track, one of those songs that breaks your heart with every listen.

The masterpiece of the album: La disciplina della terra
 
Picking up on the brilliant idea of @[Martello], I would like to pay a sort of "tribute" to a great artist like Ivano Fossati, both as he was (and is), with a ranking of his albums (from 1981 to 2003) from least beautiful to best...

No. 5: "Macramè" (1996)
Year of Our Lord 1996. Simultaneously with his collaboration on Anime Salve with Faber, Ivano returns to the market after a 4-year hiatus with this beautiful new album. We are in the midst of his golden period, one masterpiece after another, and of course this album is no exception. It stands out as the most refined and "ethnic" in his discography in terms of music and arrangements, and the most hermetic of the magical quintet '88-'00.
Overall rating 9.5

The masterpiece of the album: Bella speranza (ti telefono da una guerra)
 
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