The Best Of Paolo Conte Rar
paolconte is the opening track of the cd. with a voice very close to that of the film director pier paolo pasolini, paolo conte is the worlds most distinguished singer of love. on this album, the songs are all short, with each one lasting less than two minutes. in this first disc, the songs are all either love ballads or cabaret love songs, that, at times, transform into a more emotional song. with the musicians of the orchestra conducted by the music director of the juventus soccer team, we will listen to the songs of the new love of paolo conte. the first song is called la storia, it is a love ballad that takes us back to the beginning of the love. in the second song is la domenica della musica, the music is more cheerful, but the lyrics evoke the image of the moon, a world where happiness, sorrow, and love are very close. in the third song is una giornata dei sopori, the music is very romantic, it invites you to close the eyes, that, in the final scene, you can see how the lovers are meeting.
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sequestro dal canto delle onde [nonesuch, 2010] as with conte's previous collection, the charm lies in the way he roots his songs in nostalgia and the folk tradition. the titular "search for lost time" is a duet with the long-time collaborator luca mazzocchi, who also plays double bass and cello in the band. the interesting thing is that the song is one of the most conventional folkies ever, set to a catchy tune with an italian-language guitar solo. yet the main problem with conte's lyrics is that they are too sparse, which means that no matter how talented a translator, his poetry lacks body and heart. the english of the notes is adequate but it lacks emotional content. the english of the words is strained, and the translation of the song's title makes it sound like it's about the lost trombone from hellman's orchestral suite.
the best of paolo conte is something of a museum of american pop music. an immaculately recorded set of tracks, it includes classics from conte's first hits to a new album. but for those who appreciate conte for his lyrics as much as for his compositions, the set is disappointing. some of the tracks are memorable for their guitar solos, which sound like a woodwind instrument being played with a pick. others, like "serenata in g" have a classy, romantic quality. but most lack conte's trademark humor and lyrics that have made him a cult hero in the american academy. the set is especially impressive for its recording of conte's 1966 album dylan in italy. this album features conte's most personal interpretations of dylan songs and illustrates the extent to which dylan provided the template for conte's later music. the set of conte's most well-known compositions, though, is a disappointment. a duet with the singer liz anderson and a version of the traditional "siciliana" are the only tracks included from conte's albums with american pop stars. conte's commercial success was driven by the italian state, which from the early 1960s encouraged the distribution of his music in italian schools. (in 1963, the then-dictator, generalius octavian câmpineanu, turned the radio dial to radio milano to hear conte's music.) but this effort has left an indelible mark on conte's image. over the last decades, he has been constantly compared with the italian pop music icon. conte himself has described this as an "obsession" that can be found on websites, in cafes and on the shelves of the best-known italian bookstores. the analogy is not without merit. in the 1960s, when conte released his first albums, conte was already already an established figure in italian pop music. he was admired by a generation of listeners who had been raised on the music of enzo mazzocchi, alfredo bracalente and ciccio and franco battiato. but while battiato and his followers became the icons of the italian pop music scene, conte remained at the margins of the industry. conte's music was always a side-show in an industry ruled by rock 'n' roll and soul music. during the 1960s and '70s conte remained a one-hit-wonder, focusing his career on school music. his albums were well-produced, but not particularly successful. the moustached paolo conte was the best-known italian singer of the '60s, but not much more. in paolo conte, conte and paolo conte are individuals with names and memories for millions. in paolo conte, conte (and paolo conte) are icons of pop music, often compared with the charismatic singer-songwriter of the italian pop scene. as paolo conte attests, his life has been deeply impacted by conte's success in the united states. and he was no doubt surprised to find out that paolo conte, the best-loved italian singer, was so much like his idol, bob dylan.