Hal

Well Rohan, I really liked this review. Good job. Come on ... :) you’re being too harsh. Do we want to at least give Rohan a chance or not?

Scotland deserves it, it's true, but now I'm waiting for your reviews that taste like whisky ;)

I’ve been waiting for this answer for quite a while. I understand you because those phrases are indeed beautiful; there’s nothing wrong in sharing them, but in my opinion, you should have cited the source. Thank you anyway for the recommendation of the album, which I found very nice. Bye.

p.p.s. of course (I’ve noticed it’s always good to remind) mine are just feelings and opinions, so they are totally debatable like anyone else’s, I believe. Bye

As for the statement that De Andrè wasn't "technical," I'm sorry but I don't agree with you. Analyzing the work as a whole and listening to the testimonies of those who had the fortune to collaborate with him (Fossati, Piovani, Bubola, PFM, De Gregori, Mark Harris, etc.) reveals the figure of an artist very attentive to even the smallest details (musical and otherwise). This attention grew over the years, culminating in a tour (that of Anime Salve) meticulously planned in every element (a fact also documented in the DVD of the live performance at Brancaccio in Rome currently available, released this January; if you haven't been able to see it live, I recommend it, and if you have seen it live, I recommend it just the same). Regarding metal, those who know me are aware that I am not an expert in the field; although I've tried to listen to it, it interests me little. However, the phrase inviting us to orient ourselves towards metal didn't sit well with me, both for its tone and its rather questionable content. The production of an album pertains to all genres, and perfection belongs to none of them, in my opinion. It is indeed better to evaluate case by case. P.S. Thank you for reminding me that De Andrè's album is from 1968, but I assure you it wasn't necessary. Apologies for any mistakes as I wrote this a bit hurriedly.

My comments were meant to open a discussion about Faber. A discussion that could be genuinely open. My observation about the arrangements was more of a statement than a criticism. In my opinion, these arrangements temporally frame the music of an otherwise timeless album. When I listen to "La buona novella," I don’t feel like it’s an album from 1970, neither in terms of the music nor especially in the lyrics. I also find "Storia di un impiegato" to be more successful and impactful in terms of the arrangements (by Nicola Piovani). My observation carried no hidden meanings. It was certainly nothing else, nor did it imply that the album should be different.

Now that I have a bit more time, I take the opportunity to explain myself better. Dear dying, I unconditionally love the entire work of Faber. For me, his albums mean so much that I've often tried to review them without success. His songs evoke an uncontrollable flood of words in me. You say the review is long; I, just so you know, found it short, even though I appreciated it. The themes of this album are incredibly complex and difficult. It would be nice to open a discussion about these things; it would be great to know everyone's opinion on the grotesque final closure of girotondo ("giocheremo a far la guerra.."), on the meaning of the interludes that are real stabs to the heart, or to dwell on the beauty of so many crude and intense images present in the album ("tirando calci al vento.."), instead of falling into sterile polemics.

I knew you would like it, dude :)

Yes Kappa, I found it. If you want, I'll find a way to let you listen to it :) hi

One writes a review, everyone who has left a comment on this page appreciated it and expressed their opinion. I don’t understand your reply, dear dying. To me, it is absolutely incomprehensible. In my opinion, you did not understand what was said in the comments.