Grasshopper

33,000 for "Creuza de ma" is never too much... it's true that it's only 33 minutes, but it's a distillation of pure art, (and I'm not even from Genoa) Think that the last Ramazzotti, some have the courage to sell it for 20 ¤. Anyway, it's about time these vintage records had a fair price, maximum around 10 ¤, so we collectors aren't bled dry. Not being equipped for e-mule (I don't even have Internet at home), I recommend another valid method: borrowing CDs from public libraries, where they offer it. In Florence, where I live, they are fairly well stocked.

Many years ago, when I heard "Vorrei incontrarti" on the radio, my reaction was: "But who is this mysterious and talented singer-songwriter who has the same voice as Alan Sorrenti?" I couldn't have imagined it would be him, given what he has accomplished since then. Unfortunately, I didn't explore further, but this excellent review makes me want to do so, even if it's late.

Even though I'm not as harsh as ajeje, I don't particularly rave about this album either, which seems distinctly inferior to the live "Fra la Via Emilia e il West." This is only logical when comparing the well-meaning and skilled Noamdi with the musicians who usually accompany Guccini: people like Ares Tavolazzi, Ellade Bandini, Vince Tempera, Antonio Marangolo, and Juan Carlos "Flaco" Biondini, a guitarist anyone would want in their band.

Honestly, I couldn't handle an entire album by Ramazzotti: the bombardment from the radio is more than enough, or hearing him in any place (supermarkets, gas stations, etc.). In my opinion, the substantial difference between those I've mentioned and Ramazzotti is this: Venditti, Baglioni, and Renato Zero started from acceptable roots. Their genre, especially that of Baglioni and Renato Zero, is cloying and syrupy, but one cannot ignore that they made their mark in that genre, especially in the beginning, with beautiful songs, perhaps with lyrics fit for fifth-graders, but with melodies that sometimes hit the mark. The Ramazzotti phenomenon, right from the start, appears to be more manufactured, created practically from nothing through a launching pad like Sanremo, and this aligns him more with various Pausini and Masini, etc., than with Baglioni and Venditti, who at least have the merit of having "made it on their own," even if they gradually adapted to the more down-to-earth standards of the market. That's all, and anyway, I hope Ramazzotti's listeners don’t take offense if some of my invective, directed at those who create these plastic phenomena to rake in piles of cash, has spilled over onto them, who, after all, are guinea pigs, victims of this system, and don't deserve to be insulted.

Alright, let's start with an obvious truth: tastes are not up for discussion. However, you must acknowledge that there are fairly defined "qualitative hierarchies" that don't take into account the millions of records sold, but rather the artistic value and significance in the history of music. From this perspective, Ramazzotti, who for reasons unknown to me excites you, is much closer to those three names I mentioned - which you yourself described as "pure shit" - than to people like De André or Guccini. Anyway, everyone has their own favorites: as I mentioned before, I indulged in Renato Zero for years (who, to be honest, was a bit better back then) until I gradually started to no longer tolerate him. Who knows, maybe one day the same will happen to you with Ramazzotti... And it’s not that I claim those who listen to him are fools: it’s probably about giving music, and particularly songs, a more or less profound meaning. Some view it as a true art form, while others see it as a diversion, perhaps just a catchy tune to whistle while showering: for the latter, Ramazzotti might be just fine. If I've let slip any disrespectful words in previous comments, it was directed towards the system that has created and imposes Ramazzotti and Pausini on us, not towards those who listen to them.

Goodness gracious, now things are getting clinically interesting: this person is aware of the existence of De André, De Gregori, and Mogol (and therefore also Battisti) and yet listens to the former hydrocephalic borgataro with a voice like a cat stuck in a doorway. Usually, those who listen to him have other musical references like Pausini, Masini, Gigidalessio, and the like. A real mystery: pure masochism, the nostalgic power of childhood memories (nobody's perfect, I too listened to Renato Zero when I was young), personal sympathy for the brainless billionaire, or some other obscure reason?

I had it in my hands a few days ago while rummaging through a basket of CDs at 4.90 euros, shoved in there alongside vintage trash like Mino Reitano, Orietta Berti et similia. A singer-songwriter since then (the '70s) somewhat underrated, even by me in the end, because I didn’t pick up the record, having only known "Una storia disonesta" and "Letto 26". After this review, I have some regrets.

(for Alexander77): more or less it goes "Mieeeeooooouuuuuuuuwwwwwwwlllppppp p"

It's not that I can't stand Ramazzotti. He doesn't even exist. What really gets on my nerves is the record label that decided to create him out of thin air, taking a semi-illiterate boy with a voice that sounds like a cat squished in a door and a musicality comparable to that of a parking barrier, and decided to turn him into a star in the face of millions of people who would listen to even burps if someone said it was trendy. That's all, and it doesn't just apply to Ramazzotti: the market is infested with "phenomena" of this kind.

Dear donjunio, the phrase you don't understand, and that I also don't understand, is pure hermetism. Only a few geniuses like Montale and Ungaretti could have grasped it in all its significance, but unfortunately, they were not fortunate enough to be contemporaries of the great Eros. We, on the other hand, are (what a delight!)