As a matter of fact, the pastoral and subtle portion of Il Mio Canto Libero is what I enjoy most - I wish the album didn't contain a few rather boring rock tunes like "Confusione" or the first half or so of "Gente per bene e gente per male".
None of the album is poor, but I find that when Battisti delivers the more emotional tracks, his true talent shines through. The upbeat tunes just strike me as uninspired by comparison. Of course, Lucio Battisti is a gifted vocalist, and his delivery throughout the album is quite impressive.
His singing is probably what most people will walk away from this album remembering. Il Mio Canto Libero is a good album, but it strikes me as pretty average throughout the majority of its duration. There simply aren't a whole lot of great tunes here, and the inconsistent changes in mood between songs leads to a rather disjointed album flow. Still, the production is great, the vocals are impressive, and the musicianship is professional, so 3 stars are fair here. Why, then, do I give this one two stars when I've given all three of his previous albums higher ratings?
The problem is that this is a progressive rock website, and the average prog fan will not find much here that is even remotely related to that genre.
Though Battisti's first two albums were firmly pop, they had a kind of "proto-RPI" feel to them and blended many styles together in a way that I feel most prog fans would enjoy. Battisti's third album "Amore e non Amore" was a major step forward, introducing some experimental elements that placed it firmly in the crossover-prog category.
Unfortunately, where "Amore Most of the songs here are pretty standard, melancholic ballads. There's no trace of the extremely interesting instrumental tracks from the previous album and not a sign of any kind of desire to keep moving forward.
This is a much "safer" album than "Amore It's rather homogenous compared to some of the offerings on Battisti's previous album "Amore e non Amore. Nonetheless, I feel like it lacks a lot of the energy that made Battisti's early pop songs so charming. The chorus especially feels like it needs more behind Battisti's voice then just some minimal piano, bass, and drums. Personally I think some horn sounds could have done this song wonders.
The track also features a brief choir interlude, which, while I can see what the intent probably was, just doesn't feel necessary. Battisti's voice is accompanied by little more than guitar and some minimal percussion for most of the songs, though there are some understated strings toward the end as well.
Beginning with a soft piano part accompanied by vocals, a beautiful orchestra part appears about halfway through and continues to accompany through the end of the song. A wonderful emotional performance from a singer who can do emotional performances better than almost anyone else.
I think this is one of the more generic songs on the album, but it's certainly not bad, and the distorted guitars provide a nice sonic contrast from the strings of "Vento nel vento. The use of strings as a background instrument rather than as the foremost element gives the song a very nice ambience, and the lack of heavy orchestration gives Battisti's voice room to shine, which of course it does.
The man could sing a grocery list and it would still sound great. The song also goes into a nice crescendo towards the end and closes with some great soaring vocals from Battisti. Battisti is joined on the track by some female vocals and that gives the song a unique feel, since Battisti rarely has any accompanying vocals.
Like quite a few songs on the album, "Gente The second part of the track serves as a great finale for the song. I think that one of Battisti's greatest strengths is coming up with songs to close his albums that have a very "final" sort of feel to them, and the title track here is no exception. Like pretty much everything else on the album it's fairly melancholic sounding, though the ending of the song does have a fairly triumphant sound to it, featuring a great string and horn part accompanying the vocals.
Again, this is great music, but unless you're a fan of vintage pop on its own merits instead of on its prog-value you won't find much to like here. A very pretty, well put together album, but prog-related it is not. Despite that, it's actually one of the less proggish songs on the album, with the same rhythm guitar part pretty much repeating throughout.
However, we get some great vintage organ and a few great guitar solos on top of that, and as always Battisti's vocals sound great. Another thing that I've been noticing about Battisti's work that is also apparent here is that the bass work is always excellent and interesting to listen to.
It's around this point that one can really see the step forward Battisti has taken musically, as this 3 minute instrumental is light-years ahead of anything on his first two albums. Great song. I hope I don't sound like a broken record when I say that, but it really is astounding. The instrumentation is great as well, recalling hints of some slower Beatles' songs. There's no virtuosic breaks or anything like that, but the arrangement is stellar and there's not a note out of place the whole song.
Fra le lamiere roventi di un cimitero di automobili solo io, silenzioso eppure straordinariamente vivo" is another instrumental.
It begins with a guitar part that, to my ears, sounds incredibly similar to the Beatles' "Dear Prudence. Maybe the most drastic departure yet from his self titled release and "Emozioni," especially due to the hints of dissonance that are briefly but powerfully used to great effect.
I know that's not very specific but hopefully you understand what I'm saying. It's a pretty standard number, and there's a brief but great guitar solo in the middle, but there's not too much else to say about this one. It's a nice change of pace from "7 agosto Following the pattern of the album, "Davanti ad un distributore automatico di fiori dell'aeroporto di Bruxelles, anch'io chiuso in una bolla di vetro" is another instrumental track.
This track features some very nice interplay between the orchestral sounds we've come to expect from Battisti and that seemingly omnipresent vintage organ.
Overall the track has a great ambience and the aforementioned juxtaposition works quite well. I could easily cut 12 albums from that list to make way for them too. There are a lot of minor albums by major popular artists there. The group-think of the Discogs community is NOT the same as best. Data really can lie sometimes. I make it to the UK bands. Struggling till top 5 came along. Happy with 2 Sabbaths in top 5. Please clarify how you set the order for these. Join the conversation in the Discogs Forums.
The Velvet Underground — Loaded The final Velvets album was a bid to finally score a hit because even iconoclasts need to pay rent. George Harrison — All Things Must Pass The quiet Beatle was pretty annoyed by the time his band split up, tired of banging his head against the Lennon-McCartney wall while trying to get his songs on Beatles records. Deep Purple — In Rock After decades of being dismissed as a classic rock radio dinosaur, Deep Purple has been getting a lot of retroactive love in recent years.
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No it just can't be this way I couldn't be so blind The traffic's moving slowly My mind is moving fast Recalling conversations Reflecting on the past The words we said together The pauses in between You said I think we need to talk I wonder what it means There's never been a moment When we didn't care I'll simply say I love you When I see you there And yet I know there's something else Very hard for me to see But it seems it's overtaken you Does it have to do with me?
The crowds of faceless people Moving everywhere The lights are all against me I wonder when I'll get there? There's never been a moment When we didn't care I'll keep repeating thoughts of you To bring you clearly into view I see your eyes And something inside me cries What can be wrong?
There's never been a moment When we didn't care I'll simply say I love you When I see you there And yet I know there's something else Very hard for me to see But it seems it's overtaken you Does it have to do with me? There's never been a moment When we didn't care I'll keep repeating thoughts of you To bring you clearly into view There's never been a moment When we didn't care I'll simply say I love you When I see you there.
Bruce Springsteen arrestato per guida in stato d'ebrezza Bruce Springsteen Breaking news Sound Ancestors il disco di Madlib prodotto da Four Tet Madlib Tutti abbiamo bisogno di qualcuno che creda in noi, che ci spinga a fare quel passo che probabilmente se non incoraggiati non avremo mai avuto il coraggio di fare. Sondaggio I tormentoni al tempo del covid Gaia - Chega. Billie Eilish - Ilomilo.
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