Antonello Venditti è nato a Roma l'8 marzo 1949.
Appena adolescente, compone due delle sue canzoni più famose, Roma capoccia e Sora Rosa. L'occasione di farle ascoltare in pubblico arriva alla fine degli anni sessanta con la partecipazione alle attività del celebre locale romano Folkstudio, assai importante per la formazione dei giovani autori e la crescita musicale della città (vi suonò anche Bob Dylan). In questo locale conosce molti altri cantautori e musicisti tra cui Francesco De Gregori e Rino Gaetano.
È proprio con De Gregori e la collaborazione di Giorgio Lo Cascio ed Ernesto Bassignano che Antonello comincia ad esibirsi al Folkstudio in uno spazio del programma denominato "I giovani del folk".
Blind Faith's first and last album, more than 30 years old and counting, remains one of the jewels of the Eric Clapton, Steve Winwood, and Ginger Baker catalogs, despite the crash-and-burn history of the band itself, which scarcely lasted six months. As much a follow-up to Traffic's self-titled second album as it is to Cream's final output, it merges the soulful blues of the former with the heavy riffing and outsized song lengths of the latter for a very compelling sound unique to this band.
Between laid-back and listless, between the tastefully restrained and the downright niggardly, the line can be perilously thin. Eric Clapton's new album teeters precariously on the very edge, flirting with, but in the nick of time always just skirting, dullness. It's a tribute to Clapton's charisma and talents that 461 Ocean Boulevard doesn't succumb to the danger Clapton courts by playing unobtrusively with an unimpressive band. Still, it's a close call, too close for comfort.
Rolling Stone’s definitive list of the 500 greatest albums of all time.
83. The Jimi Hendrix Experience, ‘Axis: Bold as Love’
Jimi Hendrix’s first album remade rock & roll with guitar magic that no one had ever dreamed of; his second album had even more sorcery.
Tired of a creeping tendency towards pop territory that was happening in his old band, the Yardbirds, Eric Clapton was after one thing alone: the blues. With John Mayall and his pool of fledgling giants he got it in spades.
This album is a report from Robert Fripp's guitar craft courses he gave in the 1980's, where he in a tight schedule disciplined the course attendees to approach their instrument from a new angle provided; His own tuning system was introduced, and with only a little time for sleeping the course attendees were educated to be the most committed players.
Excellent addition to any prog rock music collection.
WOW! This record is just a bit less good than Spartacus: mostly, it sounds very similar to Spartacus. The weak point on this album is Barry Palmer's lead vocals, although bearable. "I believe", sounding a bit pop, has good rhythmic piano, Fender Rodes, choir parts and some floating keyboards. The first part of the marvelous "Day in a life" has Fender Rhodes and background floating keyboards sounding like the Gary Wright's "Dream Weaver" track; the second part has a very progressive & melodic piano a la Rick Wakeman: absolutely GRAND; finally, the third part sounds like on the Spartacus album: rhythmic piano, VERY spacy moog, fast drums and bass. The epic "History of mystery part 1" starts with another excellent piano part, followed by heroic & catchy keyboards like on the Spartacus album: Hammond organ and moog; so, this tracks sounds like the best ELP of the early 70's!
WOW! This record is just a bit less good than Spartacus: mostly, it sounds very similar to Spartacus.