c'è Banned

The sales discourse (in Italy and elsewhere) is irrelevant. Billy Joel is an honest musician, and he is mainstream regardless of the number of radio plays; certainly much better than the junk that's out there today, but that's another story. I'm not familiar with his post-77 production, someone advised me against it, maybe davejon? I don't remember.

"catchy and commercial yes, mainstream definitely not" this is really nice :D. It must be said that the Italian market is absolutely not representative, except for very rare exceptions (see Van Der Graaf Generator), kind of like what Gino does when he talks about Eddie Cochran, and hides behind an "in England they know him, in Italy they don't."

But excuse me, since you were upset that it wasn't there, couldn't you have done it? I mean, Billy Joel isn't exactly unknown, and in fact, he seems quite mainstream to me, an American Elton John and definitely less eccentric. "The Stranger" from 1977 is also very beautiful, with "Scenes From An Italian Restaurant."

four stars simply cannot be given for this.

Certainly a great performer, but from the same era, at least twenty more seminal artists can be cited, even if they are less influential (not all, though). He was undoubtedly the first to embody rock'n'roll as an inseparable link between image and music. Had he been Black, hardly anyone would have paid attention to him, just as if Chuck Berry had been white and at least half as handsome as Elvis, the crown would have belonged to him. In an era when even those clowns called the Beatles were considered sex symbols, Elvis with that face, those movements, and that voice could only be the king of rock'n'roll. However, until 1958, after which he became worthy of his worst caricatures and his subsequent musical production was almost entirely negligible. There are countless variations of the album in question, which include different singles depending on the markets and reissues, and I've never figured out which variant is mine. It is undoubtedly his best and one of the fundamental records of the 1950s. As for Robert Johnson, he is the King Of The Delta Blues Singers (and guitar players, I add), and has very little to do with Elvis (Elvis was one of the few to have Johnson's 33 records). Like many in that period, Elvis (or those who wrote songs for him) drew heavily from tradition, including the blues; "Trouble" comes to mind, which is almost a reworking of Muddy Waters' "Hoochie Coochie Man."

artistically from another planet compared to Elvis. However, among all those mentioned from that period, the ones that come closest to his pulsating rockabilly are missing, namely Carl Perkins and especially Johnny Burnette from "The Rock and Roll Trio" (during the period 1955-1957). Among the unmentioned covers, the most entertaining is C'mon Everybody by Led Zeppelin, which also appears in the DVD from the Royal Albert Hall. Is he really the only white musician from whom Hendrix learned something? I wouldn't say so.

Certo, invia pure il testo e procederò con la traduzione.

Hi bruschetta, have a great vacation, see you in July. Hang in there.

just a small note, the swing-style wedding is not from the '50s but from 1964

I listened to some Mr. Big, misled by their name. I thought they were much more connected to Free and Humble Pie (which they covered in their debut), but instead... It's worth mentioning that both Billy Sheehan and Paul Gilbert, while very technical, are almost never trivial. PS. You're the first person I've heard appreciate the Guns N' Roses in Interview With The Vampire, where, if I’m not mistaken, they only played Sympathy For The Devil and apparently even without Slash.