Hal

Let's talk about it then: it's a colossal load of nonsense, I would dare say gigantic, to say that "Morgan should have recorded a lesser album than De André" or that "Non al denaro non all'amore nè al cielo" is De André's "the dark side..." as you've written elsewhere. This phrase, in my opinion, shows that you understand very little about De André and probably know him only by hearsay, very superficially. But being doubt my guiding light, instead of highlighting it I asked you for clarification. I asked you to tell me what you think should be De André's lesser album, the one Morgan should have recorded. And you? You responded, "what do I know? Don’t take everything I say for gospel." Simplicity, my dear, does not mean approximateness, if you are sure you have chosen the right key to life. It's hard to engage in discussions with inarticulate arguments thrown about just to say something nonsensical. So saying that Morgan is a mediocre musician is a sign of superficial analysis, because this album does not emerge as such at all (in my opinion; it could also be otherwise, and it can be discussed, but only with those who do not feed on certainties and superficiality). The care in the arrangements and the performance, the interpretation highlight something else. It might not be to everyone's taste (the famous "de gustibus...") but that's another matter. Every opinion deserves respect for me.

I apologize to the reviewer for the emails they will receive, but a Gordian clarification is urgently needed, because patience and tolerance have their limits. You see, dear Ezechiele, you believe you have the truth in your pocket; I do not. This is the difference between you and me; the rest is just nonsense (translated for you: bullshit). For you, simplicity is the key to life? Good, I’m happy for you. For me, paradoxically, it’s DOUBT, which leads you exactly in the opposite direction of the one you have legitimately chosen (translated: your problem). But after all, if we are here to talk, it’s precisely to compare different opinions, doubts, and eventually revise our own, in my opinion, otherwise, there would be nothing to say. Doubt is the key to confrontation; simplicity and certainty are its death. So what’s happening in here? I have my opinion about this album; I expressed it and compared it with Max, who thinks differently than I do. Problems? None for me (I don't believe there are any for him either); in fact, it was a pleasure to discuss it. I will listen to the album again with his observations in mind. Then you arrive and insert yourself to say your "Nothing." I point it out to you, and in your "Nothing," you take refuge because "Nothing" you evidently have to say. Period. The question is: can we know what you want? (translated for you: what the fuck do you want?). Do you want to talk about music?

Thank you, too kind, I will do it as always, after all, because to express a judgment you need to listen, while for a prejudice there’s no need for that, but you already know this, right? I would say you are a master of prejudice. But as they say... everyone gets what they deserve. Take it easy eze and best regards.

Thank you for the really nice response, Max. I completely understand what you think; we’re not that far apart, even though in this case I see things from a slightly different angle. We are in perfect harmony on respecting others' opinions, and I feel the same way about the beauty of it all :)), you're pushing at open doors with me on this topic. Anyway, if you want, I’ll send you my review so you can better understand what I meant, and let me know if you're interested in the album I mentioned before—I wouldn’t have any issues sending you a copy since you love De André as much as I do; it would just be a pleasure. @Ezechiele, what can I say? Perhaps it’s more than sufficient to tell you that it’s very likely (if not certain) that you have understood little to nothing of what has been said between me and Max. And I’ll stop here.

Then I add that "non più i cadaveri dei soldati" is reviewed on this site; if you want to know what I think, read the review. "Mille papaveri rossi" has also been with me for a long time, as has "ed avevamo gli occhi troppo belli," the documentary "ma la divisa di un altro colore," and the special "signora libertà signorina anarchia," all published by the publishing house A. I didn’t have much trouble finding them since the ensemble Laborintus featured in the album is from my city (they are dear friends). Similarly, the Chichimeca (present in "non più i cadaveri dei soldati") are from my city as well. By the way, Laborintus created a beautiful theater show titled unambiguously "le canzoni di maggio," whose music, along with the recited parts, was included in a nice CD that features other covers in addition to the one present in “mille papaveri rossi” (I don’t believe it’s easy to find, but if you want, I can send you an original copy; maybe it’s still available). Then there's also Faber Amico Fragile (not entirely successful), the liquor merchants.... There’s a new interpretation of "tre madri" by Elena Ledda in her new album, slightly different from the one you may already know. Then there are those unreleased ones that I’ve only heard live, like the wonderful "il suonatore jones" by Terje Nordgarden (I wrote about the live performance here on this site). And then there are many others that I can’t remember right now but that are definitely out there. Anyway, I had written my review of this album, which I don’t submit to the site because it seems redundant; if you want, I can send it to you so you know my opinion more precisely. But I've already said a lot in the comments to this and the other review. I’ll close with a morning advice: before responding, one should listen to what has been said to us. Bye.

Dear Max - I also appreciate those who love and know De André, it really makes me happy, I must say. And I’m sure (to the delight of your hamster) that your opinion on Morgan is TRUE for you. But it's your opinion, I respect it, but alas, I do not share it. I have a different one, already expressed extensively here and elsewhere, which I believe is no less TRUE than yours. The comments I wrote on your review are indeed quite clear. Among other things, I said, "It's not entirely identical to the original. As Morgan writes on the CD, it's 'almost faithfully based' on the original." I never said that it has differences that make it "an original." But not only that. In my opinion, the intent was precisely this: not to distort, but to get as close as possible to the author. The differences do exist, some of which I've outlined in the comments on your review, but I don’t know how much sense it makes to look for them one by one. However, they can be clearly felt when listening. At this point, though, I wonder if you ever read carefully what I wrote in your review. In fact, if you had done so, you would already know my opinion well and especially that it’s unnecessary to suggest I listen to "Canti Randagi," as I myself mentioned it in your review (I really wanted to develop a discussion on covers that no one picked up on [and what the hell!!]). I referenced it precisely while underscoring its value. In short, this makes me think that you have not read what I wrote, but then why do you respond to me?? (And here I won't tell you what they say in my parts in these cases, I'll leave that to your imagination).

It was precisely because I didn't consider it that way that I asked you about it ;))) thanks for the response

This album was a summer anthem for me, I think of songs like "tira a campare"... there was a line I really liked: "everything passes good or bad but for us it won't change." Or "what a crappy day it had been, I hadn’t even gotten one right but then - how lucky - that tent next to mine was his, how lucky how lucky" the end. Just to remember even the less famous ones. Nice memories, very distant. I'm listening to it again.

beautiful zion (as usual) I don't know the album of course and I have just two doubts the first: what is the concept of "club culture"? The second: are they bidding farewell to the twentieth century or ushering in the twenty-first? ;) Hello

everything very beautiful :)