Also listen to "Capo Nord" by Alice from '80, for me one of the most interesting works of that period. The classic "woman" song form is completely turned upside down, with personal lyrics reflecting a very particular and almost cynical view of human relationships, a brand new and very unique sound (great use of synths and delightful melodic inventions)... "Rumba Rock," "Bazar," "Il Vento Caldo Dell'Estate," "Bael"... what a hell of an album.
from Stranizza d'amuri: "Nnò vadduni ra' scammacca i carritteri ogni tantu ci lassaunu i loru bisogni e i muscuni c'abbulaunu supraaaa..." (translation: In the courtyard of the scammacca, every now and then the cart drivers go there to take a dump and the flies dive in headfirst).
Eh, the gymnastic sages say, u Nabuccu, school is coming to an end. And anyway, it’s “the vallone (vadduni) di Scammacca,” not the courtyard. Eh. Just this little song would be worth a solid 5.
The umpteenth mess from Battiato! He is the most overrated artist in the history of the world. Arrogant, slick, and a phony intellectual. Unlistenable, although it’s not one of the worst records.
Well done, you’ve written a very straightforward but valid review. Personally, I still don’t consider this album a five-star one; it undoubtedly represents that transition before reaching "la Voce del Padrone," but it’s missing something.
Some songs on this album don’t convince me, but there’s no debate about the greatness of Battiato - one of the most original Italian authors. For me, the review would be a 4, but you deserve a 5 for the courage to present this work on a site frequented by kids whose prejudices have clogged their ears. As far as I know, no philosopher has discussed the "King of the World." This is an idea that Renè Guenòn illustrated in his eponymous book (for him it was something more than just an idea, as I believe, in some ways, it is also for Battiato himself) which I recommend everyone read along with "L'esoterismo di Dante," provided, however, that it is considered only as a beautiful work of fantastic literature.
Well... no stories, for me this is a hell of an album. REGARDLESS OF TASTES, SINCE I DON'T WANT TO BOTHER ANYONE, I SAY MY PIECE TO MR. NEU2: "he's the most overrated artist in the history of the world." You'd be the only one I "know" who thinks that way. Imagine that when I say Burzum is overrated, I get hit by a barrage of knives. "arrogant, sly, and a fake intellectual." Since when does Battiato = Fabrizio Moro?
What the hell does Fabrizio Moro have to do with it (who, by the way, even if he might suck, is neither arrogant, nor inauthentic, nor a fake intellectual, so you really picked the wrong example)? It's easy to change the subject, isn't it?
Now, let me explain why I mentioned Fabrizio Moro... because if he started off well as an "intellectual" with "Pensa" (his only good song), then he began writing outright BULLSHIT ("Gastrite," "Libero," etc.) and that’s why I said he is a FAKE intellectual and a phony... and arrogant because he thinks he has to make stuff that's necessarily intelligent... but I wouldn’t say so. The complete opposite of Battiato for me, but well, everyone has their own opinion...
Okay, new, I understand that your guru is Scaruffi; I often find myself in agreement with him too. But now you need to give me a musically motivated explanation for your summary takedown of this album. Otherwise, you sound like a parrot quoting from memory, and you're not doing justice to either Scaruffi, your nick, or Battiato... let's retire the artistic directors.
the pop conversion album, but if only we had more pop like this! With a handful of luxury session musicians (Radius, Tullio de Piscopo) and the trusty Giusto Pio, Battiato redefines Italian light music. Ironical and sharp lyrics over an impactful soundscape. Essential.
Come on, it's a magnificent album, for me it remains one of the top 5 works by Battiato. A pop masterpiece, an album that marks the (clear) turning point of the singer-songwriter and represents a breath of fresh air after the two previous works where, especially in the self-titled one from '77, he had strayed a bit off track. Obviously, of the pop Battiato this is the best, by far. Just 7 tracks, all perfect or nearly so, imbued with memorable exotic suggestions, featuring excellent arrangements and exceptional musicians (with De Piscopo on drums). It then sharply diverges from the subsequent works that were more directly focused on a Synth-pop electronic style, which is still of great quality. And I just can't help but give it a 5 for an album that contains a track like "Stranizza d'amuri."
But do you think it's POP? ... I don't know, not really for me... actually, it's not easy to classify this album within a specific genre since, for example, I notice several. There's rock in the streets of the East and in the percussions of De Piscopo, there's the energetic violin of Giusto Pio, more rock with the guitar from Le Strade dell'EST, there's the xylophone in Stranizza d'amuri, a Chopin-like piano in Luna indiana, the bagpipe of Pasqua Etiope... I see very little POP in it...
Pop in the broadest sense of the term, indeed. Pop is not just Michael Jackson or even Elton John; pop can also have its own contaminations, and here there are plenty of them.
But it's POP. The one with all three letters capitalized. In the end, these are just bullshit categorizations, huh? This is a great record, and that's all I need :)
Well, yes, for me, however, La Voce del Padrone is more pop. Anyway, this, La Voce and Patriots are my three favorite albums by Battiato, without a doubt. This is the Battiato I prefer: lofty and ironic, bitter and disillusioned. Solemn yet light. At that time, he was between 34 and 37 years old, and he made these 3 albums... in my opinion, he was at his peak... anyway, what can you say, even afterwards he always created beautiful things... even the latest ones aren’t bad. If you think about it, there are very few artists who continue to produce and innovate after 40. Battisti, De André... Battiato, Conte... I can't think of anyone else...
Ehm... were you only talking about Italians? Because otherwise Hammill, Waits, Gira (Swans), K. Crimson and the list goes on :) So surely La Voce is more pop, L'Era del cinghiale bianco is a pop album but much more refined and open to various stylistic contaminations, that’s all. For me, it’s also much more beautiful, since La Voce del padrone, although definitely a great pop album, doesn’t say anything to me and leaves me completely cold. Patriots is nice though, even if after L'Era what I prefer from Battiato's pop is Fisiognomica.
It goes without saying that the Battiato I prefer is probably the one from the first 3 albums. I need to listen to Battiato from the '90s more carefully, while I don't know at all the last 13 years of his activity and frankly, I'm not even interested in exploring it further.
I meant only the Italians. La voce del padrone is more commercial but it's still beautiful. Yes, I also think it has an artistic value lower than the previous two, but it remains a unique album. He won't make another album that's so pop and so perfect. I was a kid when Battiato dominated the charts with Cuccuruccuccù and Il centro di gravità. But in this album, there are many other beautiful songs. Gli uccelli, Il sentimento nuevo, they’re all beautiful, come on...
Barbanera
7 jun 08iside
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7 jun 08P.S. - "Il Vuoto" (exemplary the title) instead fits much more like a sort of musical bog by Battiato.
iside
7 jun 08the wise gymnasts 'u Nabuccu
the school is ending.
biorky
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30 nov 14