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You are now in the running for the coveted title of "The Definitionist"!

"Was 'The Bone Definitionist' not a movie?"

It was a big load of crap, if I remember correctly.

A little thriller for a dull evening.

I’ll add a consideration: for once, even the bonus tracks in this 2016 CD reissue make sense. Setting aside the various live recordings and demos I downloaded onto my PC that I’ll listen to separately, the four studio bonus songs really are, if not an added value, a perfect continuation of the album and show a different side of Miller: that of the interpreter. In fact, 3 out of 4 are not written by him. The instrumental version of a Jazz piece dedicated to Schulz's children ("Linus and Lucy") is a blast, the cover of a song by Rundgren (another artist I know little about but whom I assume was one of Miller's guiding figures), a song written by Miller like all the other tracks on the album ("Come Home With Me" with strong echoes of Neil Young's "After the Gold Rush"), but above all, a stunning version of the song "Seattle," beautifully interpreted and rendered by Miller, with a heartwarming sweetness. Chills.

I have the vinyl of this great album. Underrated to a great extent.

It may seem trivial, but the piece could be here It Is tomorrow and obviously regenisraen.

Yes, wrongly underestimated and it's not easy to explain why they haven't had any success. I agree that Miller's writing is too refined, too "complex" for the mainstream standards of those years, but damn...

So you prefer the Peter Gabriel-era Genesis?

No, those of John Silver.

You know how I feel and I would say we agree. The Genesis of John Silver...... Hahahah ha.. Amazing

A record that is easy to listen to. F light for me is a great piece.

I can't stand elephant, I really can't digest that at all.

Yes, yes, Fading is beautiful, a good piece of work. I have an additional criticism, though; the quality of the track is undeniable, just like the very dignified "Driving the Last Spike" and "Dreaming While You Sleep."

At every record fair, I approach the unmissable booth that sells this box set, or the first one. When they inevitably ask for a hundred euros and change, I tell them to fuck off and walk away.

A hundred and something? If you only knew how much they sell it for on Amazon. Tremble pierpà, tremble.

I got the Gabriel era one when it came out and honestly, I don't regret it because the live of The Lamb (even if touched up) and the other tracks on disc 3 have always pleased me quite a bit, and the price at the time was not unreasonable. I never got close to this one.

Well, the Gabriel era box is a completely different story in terms of overall quality. There are some gems here, but covering the entire '81-92 period, it's obviously filled with crap. All in all, it could be skipped.

Because of More Fool Me, the Genesis did not surpass what I consider a masterpiece (Foxtrot).

I also prefer "Foxtrot" (my favorite Genesis) but I also like "Nursery Cryme," "The Lamb," "A Trick of the Tail," maybe even "Trespass," but for me, Genesis up to and including "Wind and Wuthering" always deserves the highest score; I love them too much.

I have only listened to Selling and Foxtrot. I need to catch up on the others. Upon first listen, the post-Gabriel Genesis don't inspire me.

Well, don’t let the prejudice of the Genesis who died with Gabriel take over, because objectively, if you like those with Gabriel in terms of compositions and inspiration, I see no reason why you wouldn’t also enjoy the next two (considering that Banks was always the pivot), especially "A Trick of the Tail."

It wasn't a prejudice of mine, but an impression...

Indeed, I said "don't let prejudice fool you" in the sense of the bias surrounding those albums because Gabriel is no longer there, not because you have it. Then I repeat, after years of listening to those records, I can tell you that if you appreciate the "classics" with Gabriel, the fairy-tale fantasy of A Trick and the autumnal romanticism, all very Banksian, of Wind and Wuthering have everything you need. There are beautiful songs, in a way even more mature.

Strangely, "more fool me" is a track I love just like all the others on the album, especially for Collins' beautiful voice.

You are right, I also believe that it was precisely the success on the singles chart of "Follow You..." that led to the definitive downfall of their musical integrity, in favor of the ignoble trivialization of their music. They had tried on a few occasions before, but unfortunately the far more worthy singles "A Trick of the Tail" and "I Know What I Like" (the latter still with Gabriel on vocals) hadn’t hit the mark.

It's truly a shame that Banks then permanently halted his development as a progressive composer of pure romantic/crepuscular inspiration... After the early years of understandable dedication to the Hammond organ and mellotron, instruments that were so "cool" and widespread among all rock bands, he made a grand return (starting from "selling England...") to leverage his great affinity for the piano (not virtuoso in nature, but rather inclined toward a poignant creativity), while also developing that beautiful penchant for synthesizer solos, which also leaned more towards being "sung" than virtuosic, focusing more on melodic quality than exhibitionism.

This is the penultimate album by Genesis that abundantly showcases Banks' great piano work. Just two more works in the same vein will follow, namely the solo "A Curious Feeling" and the Genesis album "Duke."

Then it's game over... A unique and isolated final flash (without a piano note, though) that "Fading Lights" from the album "We Can't Dance" in 1991, worthy of standing among the best ten songs of all time by Genesis.

Well, they have always admitted to having sought great success, initially with a certain type of more elaborate music in their youthful utopian phase (but they have always been "pop" and very melodic, Genesis, or almost always). Then, afterwards, they didn't have too many scruples about writing crap if it was necessary for profit. And to say that Selling England or A Trick (the album) had actually sold well (maybe the single not so much, but the album had good sales, I think) only that they wanted to sell, uh... Better. I completely agree about Banks, and between 1976 and 1980 he managed to write beautiful things; as a songwriter, he matured during that period. Then, well (even though there are 2-3 songs on "Still" that I like, but nothing more).

An excellent transitional album, the first to look towards the song format but still drawn to particular solutions and particularly refined atmospheres... The most incredible track, however, is "Down and Out," which has a very unusual rhythm that can't be found anywhere else, with Collins breaking that seemingly linear flow by inserting a series of surprising hits...

I went to listen... Illegal Alien is so embarrassing that it's almost awesome.

With the video it's worse, trust me.

HJ, did you have the stomach to listen to that little disc again? :D

Yes, I don't know why. Illegal Alien, though, I skipped after 1 minute.

Illegal Alien starts off poorly just because of the accent used. Phil has one of the best accents I've ever heard, and you make him sing with a "Mexican" accent? Come on!

and hunt the 5 little stars, don't be shy!!

5 stars on a scale from 1 to 100? Sure, that works. Even 6-7, come on.

But why did you buy it...

Perhaps you didn't understand, let me explain: when I was 15, I started listening to Genesis like this. Then, luckily, I went back.

A-ah.

At 8 years old, I listened to Ramazzotti.

How many beautiful songs killed with this abortion, I remember it from back then...

Battisti, Fossati... Sigh

I don't want to know what happened to the CD lol

My parents bought it for me, so it's still there, who knows where, in my house. Chills.

Electronics, Cars, Fashion, Collectibles & More | eBay :3

I don't understand.

SELL IT

I need to get rid of all the crap I bought as a child.

But it's not mine, it's my family's, I sell their stuff :D

PFFFFFF

I don't care about Pausini's album :P

But Pausini is Evil
IT'S EEEEEEEVIL

As long as I don’t hear her

don't touch Laurona!!

the opening of this masterpiece is too illegal...

Yes, for me too, the idea that Gabriel was the "leader" of Genesis, that he wrote all the lyrics, composed most of the music, gave direction, illuminated the path, etc. is quite a myth and little substance.
That said, it doesn't take away from the fact that Gabriel was a tremendously more interesting, exciting, eclectic, and cool singer than the merely decent Collins, who makes his debut in this album and is still not entirely at ease.
Banks overflows in this record, his best. There are monumental things of his throughout these grooves, almost in every track.
For example, the seven-eight escape in unison and harmony with Hackett in "Dance on a Volcano." And then the mellotron murmur in the interlude of "Entangled." And also the piano essay on "Mad Man Moon," supported by Hackett's long notes. And even the vaguely vaudeville gem of "Trick of the Tail," with its great harmonic-melodic consistency.

Yes, yes, everything is right. Well, the part with the mellotron in "Entangled" (a gem among Hackett's best tracks) has been one of the most emotional moments in music I've ever heard since the very first listen, I get lost in it every time. And what about the solidness of a track like "Squonk," huh? That incredible fairytale rock they rightly used as an opener on the '76-'77 tours. Yes, everything is perfect in this album (unlike the following one, which is also very, very beautiful), and yes, this is THE album of Tony, even if "conceptually," it is also "Wind and Wuthering." He and Hackett duet brilliantly several times. I could talk about this album for hours, better to stop here.

As for the issue of lead singers, Gabriel, in my opinion, remains from another planet (but of course, I love a lot of his solo work unlike you, so just imagine how high my regard for him is). Collins, a great showman on stage as well, is a good singer, with a beautiful voice; it’s true that here he is still "immature," but he delivers some excellent interpretations, pushed also by the excellent quality of the compositions, for sure. The best of Collins as a singer, in my opinion, reaches its maturity between the late '70s and the very early '80s, then it’s known, it’s just flatness (or junk, take your pick). And as for Gabriel as the supreme leader, well, if someone is passionate about the band, they know well how this can be downplayed. Of course, he played an important role, and indeed many of the lyrics are his, but how many know that some of the best lyrics, like "The Fountain of Salmacis," are by Totonno?

CantaNTE, today it doesn't get me down.

Ah, and then the fact that this album explores different and newer sounds than one might think (even close to fusion, brought by Philco). "Dance on a Volcano" itself has a truly fascinating and unique sound, nervous, tense, really cool.

If I had to choose one that I like a little less, I would say "Robbery, Assault and Battery," which captures the gabriellian theatricality a bit less effectively than "Squonk," but where Collins enjoys being flashy and is good at it. It's still a great piece; furthermore, it seems to me like a much drier and more effective 2.0 version of "Battle of Epping Forest," with much more space, especially for the evolutions of Tonino Banche.

Instead, I find the finale "Los Endos" rather tedious, even though it is held in very high regard by the majority of Genesis fans. I would have preferred if the album had concluded with the excellent "It's Yourself," which then developed into that other piece through a series of jam sessions. And then, as you rightly say, the instrumental of "Sail Away" is an incomparable magnificence. The vocals, however, no; in fact, the flatly melodic chorus represents the first misstep made in Collins’ era for the band. But ultimately, nitpicking on records like these is a real crime: if music like this were to come out today, full of substance, nuances, inspiration, and teamwork...

Definitely better than the next one. Those who think that Gabriel is Genesis don’t really know Genesis, just as those who believe that without him things haven’t changed much. Without him, Banks takes charge, and that’s exactly why in this album it’s clear how different he is from how he was with Gabriel. He still does great things, but his music is more sweetened. Anyone who plays in a band knows, certain things come to you when you play with certain people, and without them, they just don’t come anymore. I’m convinced that the solos in In The Cage or Supper, for example, if there hadn’t been the chemistry/struggle with Gabriel, he would have never pulled them off (even though Gabriel didn’t contribute a note). Great album nonetheless.

Of this, I only know the title track (which I like very much); I will have to find the time to delve into it properly.

Naturally, they have always, or at least during the more serene moments, worked as a team, so it’s obvious that Banks conceived his compositions in different ways here and there before and after, and the same goes for Gabriel's writing style. And I agree on another point: in this album, there are soundscapes that are so successful and unique precisely because of his distancing in certain aspects from the '70-'73 records (the lamb is a story unto itself) much more than those who saw it as a mere return to the pre-Lamb soundscapes.

@[Littlelion] don't worry, that's a great piece but there are at least 5 that are even better.

@[pier_paolo_farina] be Los Endos is a great piece, captivating with its circular ending featuring a reprise of two of the best themes, and for the rest, it's an energetic fusion piece. I wouldn't classify it among the masterpieces of the album, but as I said here, I don't waste a second of it, no, not even the chorus of "Ripples," which is a bit too sappy (that's not Phil; it's Mike who has those syrupy moments, at least in the '70s), but the verse is truly beautiful. Then you can easily forgive the chorus, with that bridge...

@[Flame] when it is said that it doesn't change much with or without Gabriel, it's only a matter of qualitative output. And frankly, in the first two albums of the "post" era, this is quite objective; the differences do not imply a decline in quality. "Wind and Wuthering" has some incredible peaks and a fantastic taste in compositions, sure it also has a few less good moments, but how many little flaws does the dear old "Selling England" have here and there?

Personally, I believe that W'n'W has more than a few weak moments, but that's just my opinion.

It's simply an album with ideas, atmospheres, and compositions thought out in a very different way from the usual; I believe it's the band's most intimate record, definitely Banks's. Anyway, it's possible that it might annoy some people, but for me, it fits into the conversation of "Eh but Gabriel is no longer here. And so what?" :-)

However, yes, W&W looks down on this. This is a masterpiece, cippalippa Gabriel or not.

Can-Utility and the Coastliners is the true gem of the album, encapsulating everything that Genesis can offer in 5 minutes, more than what Watcher of the Skies and Get 'Em Out by Friday deliver in 7 and 8 minutes, incredible!

Very true, nothing to say.

Aaaa, how did I miss the definition?
Anyway, Can-Utility covers are always performed by cover bands, at least that’s something ahah

all the Genesis fans going crazy for this album. Honestly, I can’t stand Pippo Collins' voice on Supper's and other tracks from the Gabriel era. I prefer the rougher texture of Live with the more visceral tracks from the early period (except maybe Musical Box).

"Genesis Live" is indeed nice (like the live at Rainbow, probably the best live album by Genesis with Gabriel) but, objectively, it’s a little less well-played (but who cares, the effect is excellent) and much less well-sung. Flame, on stage Gabriel was fantastic as a showman, a "priest," and a mask but definitely less so as a singer, limited by the theatrical performances, the masks, and all that stuff. Talking about Genesis, live Collins was much better (on record, though, to be there, you know how great it was to see one of their concerts in '72, for instance). And then, excuse me, but okay, let’s say what you’re saying makes sense, it's your taste, but to me it always seems like classic Gabriel fundamentalism, a prejudice, a mental flaw, at least in part (and I emphasize "in part" because I myself, as you can read, don’t appreciate some of Phil's interpretations of the pre-'75 repertoire, with certain flourishes and twists and "na na" and "la la" that he throws in...). So, well, I wonder how you can stand Collins singing the Gabriel repertoire when Collins has always sung in those songs? He was the one doing all the harmonies and backing vocals; his voice and Gabriel's were interchangeable, sometimes they blended together, it’s one of the reasons they chose him as a replacement. Collins is the best possible singer to perform those songs; I never really get along with all the Hackett-type singers in the Revisited on those repertoires, just to say. Although he might be less convinced in interpreting those stories compared to Gabriel (but that's normal, that's fine), Collins, for example, on Supper is good, he does a nice job on a very difficult piece. Let’s say he’s hit or miss on the old repertoire, but it feels strange to hear someone struggle with Collins' voice on the Gabriel-era songs when it’s a voice that has always been there, it’s the most similar to Gabriel’s possible, as Pietruzzo himself said after seeing them on the "A Trick of the Tail" tour. Then, well, there’s also the rest of the band; for this reason, in the end, Seconds is a bit better than the live albums with Gabriel; in '76-'77 they were at their peak.

Oh sorry, I didn't get it: in what sense "excluding Musical Box"?

Got it, it sounds to me like a "ugh ugh, those songs were sung by Gabriel and no one else should sing them, oh" :D While at the end the dwarf's interpretations are good. Obviously, he’s more comfortable with the songs that were composed with him already on vocals, but in general, considering the superb performance of the band, Collins' presence on vocals in the old repertoire doesn’t seem like a significant factor to me to say "I don't get what everyone is saying that this live show is cool"?

No prejudice against Collins, to the point that I can even digest some very '80s stuff from Genesis that would understandably be hard to swallow for anyone (like in too deep ... brrr we shiver). Two things, though. In my opinion, the two don’t have such similar voices, quite the opposite. The fact that you like Collins on the early repertoire pieces and not Hackett comes from the fact that Collins has a singer’s voice (meaning not only in tune, but capable of carrying a piece). Secondly, for me, the pieces from the Gabriel era were written with the thought that he would sing them, and Collins's voice (with its desire to be delicate at all costs, e.g., Carpet) completely alters their essence (for me). They are just small nuances, mind you, but they are bothersome for me. For example: a passage like Willow Farm or the reprise after the solo by Tonino Banks is only meant for Gabriel (the Gabriel of that time, not today’s Michelin man).

"excluding Musical Box" in the sense that it’s in the Live setlist but I wouldn’t consider it among the most punchy tracks from the early period, meaning the more aggressive ones.

Wow... If it isn't one of the most intense pieces, "The Musical Box"... Tell the truth, did you skip ahead after the first two minutes? :D Joking aside, that's one of the most electric and "rock fury" tracks in their repertoire, even though it alternates with acoustic parts. I think it's only behind "Return of the Giant Hogweed" (after all, Nursery is mucho electric and mucho "gut-driven" as you say) and "The Knife" in this sense (and a little bit of The Lamb). Anyway, aside from these little details, no, I wasn't clear: not Hackett, he would never sing Supper's Ready by himself, he's not that foolish. I meant the singers chosen by Hackett in his various Revisited projects.

"In my opinion, the two don’t have such similar voices," Well, sorry, but this isn’t a matter of taste here. Let's be clear, they have different voices, different timbres and styles, that's obvious, but they're quite similar, at least comparable, which is why Gabriel and Collins were so well matched in the various call-and-response songs, often duetting with Collins in the background. The timbres are somewhat similar (which doesn’t mean identical or even extremely alike), with Collins's being more delicate and clean but still fitting together. Think of a "Squonk" written when Gabriel still had one foot in but later performed by a Collins who was "doing Gabriel," precisely. Well, that's a great track. You say, "the songs from the Gabriel era were written with the idea that he would sing them," and you're right, but also considering that Collins would often sing behind him, they were more tailored to Collins than to any other possible substitute. In my opinion, you've overlooked the detail that Collins has always been, since his arrival, the second singer of the band, so who was the more suitable substitute? Then you’re absolutely right, sometimes Collins, rightly, puts his stamp on it but can miss the interpretation, maybe sweetening it and fluffing it up too much. On the other hand, I’m not saying Collins sings the "Gabriel" repertoire better than Gabriel, just that he was the most suitable possible substitute, simply the second voice turning into the first; the effect isn’t always perfect but most of the time for me it flows smoothly.

"Willow Farm" is something I strongly disagree with: it’s the best part of the suite sung by Collins. He is a showman, a much more natural showman and joker than Gabriel, and he has fun with that part because it’s a crazy section that you can twist around a bit however you like. I agree more that Collins sometimes imbues an excessive "sweetness" and some vocal embellishments even when unnecessary; I’m not disputing that, really. I just say that no one else, aside from the one who decided to leave, could sing the '71-'74 repertoire better than the second voice of the '71-'74 repertoire ;) He didn’t do flawlessly in all the songs, okay, but most of the time his voice in those songs comes across as quite natural, after all. To give you an example, I cite Gabriel himself (not that he has the absolute truth on the matter, but, well, it’s significant) who, going to see them in '76, thought both that Phil wasn’t entirely comfortable interpreting certain songs and certain lyrics written purely by Peter for Peter, and that there was no better singer to replace him because they had always sung "together" many old pieces and that it was the most valid choice especially for moving forward with the new songs, as it gave a sense of "continuity" (then again, Gabriel once said he believed Collins was a more prepared singer than him, and that’s probably true, but that’s another story, and I still prefer Pete).

Ah then... If we base ourselves on studio albums, it's obvious that an original "The Musical Box" will always be better than any version sung live by Phil. But live for live, there's always that conversation that Gabriel didn't really deliver so well... Too little care for his voice (something he always said himself; in the early years he didn't behave like a professional singer) too many masks (try singing well with a fox mask or the Slipperman costume on your head, come on) too much spectacle at the expense of vocal performance. In a way, Collins LIVE sang Supper much better than Gabriel he he he But now I'm being picky, just so you know :D

"and Collins' voice (with her desire to be delicate at all costs, e.g. Carpet) Collins who dueled with Gabriel throughout the chorus on Carpet. But yes, here as a solo voice she missed the mark because she turned the entire song into the softer register of her second voice on the original track, which worked in contrast to Gabriel's lower timbre. On Carpet I agree I've never liked Collins' version, it happens."

On some things we see it differently, there's not much more to say. Regarding Gabriel's live performances during the G period, I’ve heard that it wasn't the best considering how he was dressed (like the tights over his face in Epping, which is among other things very wordy). I also have a video of them at the Piper (if I'm not mistaken) where he completely ran out of voice and is only producing muffled screams. What you say about his opinion on Collins, I believe you read it in the bio published in Italy by De Agostini (De Agostini publishes Genesis...?). Strictly speaking about the Genesis Live album, I like his vocal performance in there, raw as you want, but it has now become part of me. As for Collins being the best second choice on those tracks... I don't know, it's probably true. I don't think he has ever tackled stuff like "Back in N.Y.C." because that's not really bread for his teeth.

"but it’s now part of me" Yes, but that’s a totally subjective thing. I would never question your purely subjective/affective opinion (by the way, in "Live" I’m not saying you sing like shit, eh, maybe in the studio they cleaned it up a bit, that’s standard practice). I was trying, purely for the sake of discussion, to bring the conversation to at least a partly more objective level, like the issue of the vocal relationship between Pietro and Filippo; that's something clear that's there, in the grooves of the albums. That's why the handover was so natural. Beyond the fact that certain tracks from the old repertoire with Collins as the lead voice don’t hold up as well, that’s just how it is. "I don’t think he ever tackled anything like 'back in N.Y.C.'" Ah, that without a doubt. In general, The Lamb vocally, but also musically at certain moments, sees Gabriel already projecting into things very close to what he would later do with Fripp in his second solo work (oh dear, solo, let’s say in duo with Fripp), The Lamb is a mini-world in itself, and surely as a singer Collins knows that, in some moments more than others, he is the furthest away from his style. You do know that it’s Phil’s favorite Genesis album, right? He has always been, along with Gabriel, the most open to other experiences and collaborations back then; he was the most supportive of experimentation (Banks HATES The Lamb :D). Now, I’ve read about The Lamb and Phil in a thousand different parts, so I consider it fairly reliable. I don’t know how reliable this statement of his is, but I’ll share it anyway: the track he prefers from The Lamb would be "The Waiting Room." Got it who the hell Mr. Gne Gne was in the '70s? :D

"The track he prefers from the Lamb would be 'The Waiting Room', yes I read that somewhere too. And it's also one of my favorite pieces from the album, one of the few I know from the period when the quirky sounds of the early synthesizers are used fantastically, without revealing that they were early experiments. Banks was/... is perhaps still (I’ve lost track of him musically) a genius, it’s a shame he somewhat stifled this experimental talent and chose to stay in his comfort zone (at least that’s my impression listening to his solo albums in a patchy way)."

The replacement of Paul McCartney with a lookalike is a sensational fake. There should be an investigation into the fate of Tony Banks, at least after the release of Duke.

I will gladly hear

You'll love it a lot.

I was waiting for you.

At the same time in my player (or in my headphones) the live and the debut :D

how much I loved this album...

Well, I understand.

Tough group, great job like everyone until "Free Hand" at least.

For me, up to "Interview" (but also partly "Missing Pieces") is still on good levels, but I agree that the best is up to "Free Hand" (beautiful, it grows in appreciation over the years). But I consider this one to have an extra gear.

I already said that I love them and that I have to hit myself for not listening to them as often as they deserve?

You are not alone.

Oh I know, you love them more than me and with an age-related precedence. But hey, the Gentle Giant has love for everyone :-) I adore "Alucard," "Nothing at All," and it's impossible not to move your butt during the ending of "Why Not," which, by the way, has one of their most beautiful British-folk-bard-medieval inserts of all time. Tears.

If you want to delve into something related to their Medieval-Folk style, I recommend listening to a gem recorded before their first album, Freedoms Child, the calling card of Kerry Minnear, the definitive click for the creation of the sound perfected in the first album. It’s a track of infinite sweetness, with a spine-chilling vocal refrain.

I just listened to it. A beautiful piece, now I'm suffering because it wasn't included in any studio album? I will try to get that compilation, oh my, I believe it's one of their most beautiful tracks, even...

By the way, I also saw that there are tons of live shows by the GG, a vast amount of material that I haven't listened to yet, how nice.

The track, along with others, was not used later because it served to bridge the gap between the PsychPop of Simon Dupree & The Big Sound and the new lineup, which had different ambitions. These tracks, according to them, were recorded by an "other band" that was neither one nor the other, just an embryo kept hidden until 1997. If I had been a record producer, I would have released a couple of 45s without hesitation, and perhaps Freedom Child would have even made it onto the charts.

One of the greatest debut albums of all time. I join you in this infatuation...

Also because, really, it feels like one of those tracks potentially destined for melodic immortality, I'm falling in love with it. True that it's a ballad perhaps too linear for the superb inventions even of the debut, but it would have elevated any album that included it. This section "halfway" between Simon Dupree and Gentle Giant was obscure to me, and I’ll happily delve deeper into it.

As I always say, in the series "Gaber a teatro" I wouldn't know where to look to choose my favorite. This is a great quote, especially since this is the album/show with the highest number of quotes in the discography of "Gaber theatrical."

I never explored Gaber, unlike other Italians that I’ve appreciated and listened to for some time. In the future, we’ll see; for now, I have other priorities, but I’ll make a note of it.

Just last night, I was discussing some of his more political songs with a friend. Great artist, great man, even though I don’t know him that well.

Just last night, I was discussing some of his more political songs with a friend. Great artist, great man, even though I don’t know him that well.

Instead, this one might be my favorite, but it's tough. There could also be "Polli d'allevamento," as you mentioned, or even "Libertà Obbligatoria."