Hal

DeRank ™: 9,08

DeAge™ : 8379 days • Here since 6 may 2003

The Beatles Sgt. Pepper's Lonely Hearts Club Band

21 jul 05

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Clarifying the misunderstanding of the deaf and the obtuse, if - as it seems - the discussion takes on other tones, I can only be pleased. I would like to add to bogusman - whose words and doubts I share - another angle to the reasoning. As you recognize, the Beatles had a spatial and temporal diffusion that has embedded their music into the history of the 20th century. This is undeniable. Well, if this is true - as a consequence - then it is hard not to acknowledge that a phenomenon of such cultural and social significance must have left tangible marks on the pop music that followed. This holds true - in my opinion - regardless of the primogeniture of forms and musical experimentation, that is, of "who" invented "what." In other words, even if it were true (which still needs to be proven) that they invented nothing, it does not diminish the value of the cultural phenomenon.

Nicola Arigliano Festival di Sanremo 2005

21 jul 05

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"Turn over the card" was a nice version, Ruggero seemed to have a hard time. But there was worse... in short, I subscribe to odradek... the more you listen to others...

Nicola Arigliano Festival di Sanremo 2005

21 jul 05

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Sorry Kurz, but I don't agree with the quip about Elena Ledda; saying she was there by chance is not fair. First of all, because the concert—which I personally didn't enjoy much—took place in Cagliari (and sorry if in our home they also sing songs from our land). Moreover, Elena Ledda has been interpreting De André for years, particularly "tre madri." And to be completely honest, with all due respect for Ruggiero, her version of "Creuza de ma" that I heard yesterday didn't resonate with me, because I feel it wasn't the right song for her.

The Beatles Sgt. Pepper's Lonely Hearts Club Band

21 jul 05

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What about you? I think nothing. You ask, "what do they have that's special?" Their songs don’t fade away and have become part of the imagination of several generations. I’d say that’s not nothing, right? This doesn’t mean they have to be liked by everyone. In fact, it’s no coincidence that a few posts above I wrote, "The Beatles may not be to everyone’s taste, and that’s not up for debate." Because we weren’t talking about tastes or opinions; the fact that the Beatles were a socio-cultural phenomenon with enduring value in time and space isn’t a matter of opinion. We were discussing prejudices. Scaruffi's argument is weak in its premises for me because it begins with an opinion and builds a structure around it. It’s a classic inversion. Instead of constructing a thesis, it starts from a pre-existing thesis. But... wait a minute... now that I think about it well... why the hell should I waste my time arguing with people who make assertions and don’t engage or with those who, faced with the slightest, calm contradiction of their theses/opinions, have nothing better to say than "the fans are colluding," "absurd responses," "you deaf and thick-headed are the real problem." Bah, if this is the trend, as far as I'm concerned, I'll leave it here and save my time.

Francesco De Gregori Pezzi

20 jul 05

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Rainy day... one of my favorite songs by De Gregori! I agree with your choices, Ugo.

Francesco De Gregori Pezzi

20 jul 05

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I don't understand this discussion. I don't know what you meant by zuckina, but that passage seemed silly (in fact, it was) and you don't need to be an "expert" to have this perception. What you added afterwards ("social protest songs but always woven within some story, of people, historical but always with poetry, not direct ones, in short, without a raised fist and shouting") I really don't understand what it means. I suspect it doesn't mean anything. Bye.

Francesco De Gregori Pezzi

20 jul 05

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"Did De André sing social protest songs? Which ones?" Sorry, but I’ll answer that myself. The first "social" references in De André's lyrics are directly linked (with his texts) or indirectly (with translated texts) to the tradition of Brassens and Villon. From this period, we have examples like "La città vecchia" or "Il gorilla" and "Morire per delle idee." Then there are the anti-militarist lyrics like "La guerra di Piero." Other subsequent examples can be found in the album "Storia di un impiegato," but even the earlier "La buona novella" was, in some ways, a response to 1968. Further along, we have songs like "Coda di lupo" (from the album Rimini) and the more politically charged album "Le nuvole," where "La domenica delle salme" stands out. However, social tensions also emerged in "Indiano" and in the last album "Anime salve," where the theme of minorities forms the structure of the album, as it does in almost all of Faber's poetry. This is just a quick overview for your reference. For more in-depth insights on Faber's social/political aspects, there are reviews on the site with related comments. You can verify the validity of my words here and elsewhere, if you like. Bye!

Lucio Dalla Com'è profondo il mare

20 jul 05

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True, the lyrics of "Disperato Erotico Stomp" are, I'd dare say, textbook. "I've been to Berlin with Bonetti, it was a bit sad and veeery big, but I got tired, I'm going home and I'm going to put on my underwear, para pa pa para pa pa" :) The song really conveys the idea of wandering through the night aimlessly; a sample should definitely be added.

Neurosis The eye of every storm

20 jul 05

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I heard it, but it's tough due to the conflict with the need for Happyness (... is a warm gun) as they say, damn... but the fact that it's a nice album is indisputable and the review is a beautiful picture.