sentence

Voting.

Great album for being a transition. Convenient for revisiting old classics and for including translations that, in my opinion, are successful, especially "Morire per delle Idee."

Anyway, Poletti is not feeling well.

Leave aside the statements and the forums from which I've heard the worst nonsense... there are other sources of information to draw from, in my opinion. Anyway, I also knew about the compliment Faber made to Degre; it’s absolutely true. However, until proven otherwise, Faber didn’t possess the torch of truth either. Moreover, he said this when Degre's career hadn’t even started. In short, it's true that one can't always agree with the overwhelming majority of critics and the public, but at least for De André, come on. In any case, it’s pointless to make comparisons between these two artists, both great in their own right. We all know that objectivity in music doesn’t exist. It’s just that I cannot agree with the criticisms I've read on those forums, which state that Faber owes everything to other people. Come on, let’s read something before listening to people's opinions. The album is one of the most poetic pages in the history of Italian music, and the "baroque" touches in the arrangement are merely an enjoyable peculiarity. The poetry expressed by this concept is unmatched. Just think of the Cantico dei Drogati, Inverno, La Leggenda del Natale... Pedantic? And the Dark? And classical? Just opinions.

Adventure in Durango is a piece that I particularly cherish; it brings me joy like few others. I even prefer it to Dylan's. As they say? De gustibus :-). I do recommend Romana's book to all fans of Faber; it is well-written and knowledgeable.

What I think of the album is that it is the third masterpiece, just below La Buona Novella and Creuza De Ma.

I invite you to read some biographies on De André to get a clearer idea of what is meant by "work of four hands" when discussing him, and I apologize for the "feelings of inferiority" I mentioned purely ironically. As Dying Sun states, the two artists in question are both tremendous and quite different. It is well known that De André drew from various sources and also from musicians. Perhaps many overlook that his greatness can also be found in this. In his inventiveness, in his selection, in his musical direction, and in the always excellent lyrics, his imprint remains the most distinct, starting from the ideas that gave birth to them and the poetic style they assumed. That being said, as someone who loves both De Gregori and De André, I cannot deny a clear ideological, poetic, and musical superiority in the albums of the latter. For this, obviously, we must also thank his collaborators, but to say that De André was little inspired, forgive me for the assertion, is somewhat blasphemous. Finally, collaborating with others, I call it, more than insecurity, perfectionism. And perfectionism is welcome when it leads to creating an excellent and unparalleled discography like that of the dearly missed Faber. Opinions remain.

Oh, it's called opinions, there's no need to gradually lower the rating. Personally, before saying "this was written with De Gregori" or "this was written with (the excellent, in my opinion) Bubola," I listen to the album in question. I go against the tide and say that Rimini is superior, especially in the arrangements, to Vol. 8. I honestly don't see any drops in tone in the lyrics; on the contrary, they are all very deep, more than they might initially seem. Anyway, opinions remain. I’ll share a passage where Faber explains the Neapolitan's decision in "avventura a Durango," from the book "Smisurate Preghiere" by C. G. Romana: "Because certain things written in rhyme that work splendidly in Dylan cannot be transferred word for word into Italian without sacrificing meaning and phonetic elegance. Therefore, it is true that to translate is to betray a bit: but it's better to betray the form than the content. That is, modify the form just enough to preserve the content as much as possible. So, in the passages where Dylan makes his protagonist speak in Spanish, we deemed it appropriate to translate the Spanish into Neapolitan, with a linguistic gamble that, however, I believe captures the atmosphere of the original: 'nun chiagne Maddalena', instead of 'no llores mi querida.' Translating literally, 'don't cry my dear,' would have been very little emotional." I, as a Neapolitan and lover of my dialect (so perhaps I'm biased), agree with him.

Will it be the inferiority complexes of a De Gregori fan? Jokes aside, there’s no way around it.

Shitty high school student.