ArnoldLayne

Jake, who says they're "minors"??

Soft Machine... who are the Soft Machine? A band that at some point was supposed to change its name or an unlimited musical project through time? Well, if only the early albums have made it into history, there must be a reason. A sound balanced against both recent and distant past, and perhaps this is what disorients me a bit, along with the lost softness. I liked the review.

But Fiat and Barilla make well-crafted cars and pasta, while Vasco makes shitty music. What kind of comparison is that?? It divides the fans? No, it divides those who have at least a shred of common sense from those who have none at all.

"It has been exactly thirty years since the release of this masterpiece of mature Dylan, but every time the guitar of 'Hurricane' starts, a new dream begins... the dream that an all-white jury disappears forever."

Like a Rolling Stone? The master steals from the student? But screw it..

what a big romantic

Bourgeois fossil, it's clear that inconsistency is your strength.

MaxWeber and Teomondo, hold on tight to your childish thoughts; when you grow up, they will help you understand where you went wrong.

happy and satisfied to be tired after 2-3 hours of frenzied dancing, then you will never understand what all this means, and for this reason, I would advise you to avoid hasty and discriminatory judgments. Thank you.

I feel the need to make some observations. The comments on this page (except for a few) are nothing but a reflection of our little Italy, inflated with ignorance and prejudices bordering on racism. And this certainly doesn't do honor to the site. Iside is at first superficial (someone who listens to a few seconds of a song cannot judge it) and then shows ignorance on the subject (Napoli Centrale has nothing to do with this music or with Bennato). lavalin perhaps hasn’t read or understood the text well, or has a personal notion of banality; he also has never understood that originality is not among the priorities of this music, and in any case, for a festival like Sanremo, this proposal was undoubtedly original. Slim is hampered by the fact that he has no ear at all. In the punisher's comment, a few words clearly decree the triumph of superficiality and egocentrism: "I can't take it anymore," as if the taranta had woven the fabric in his home... But could he perhaps miss the opportunity to prove that he too attended the national festival, in the series "I was there too"? Of course not. djmushroom is the most balanced one, and his comment should be highlighted: he expresses his preconceived notions and how taranta contradicted him, to his pleasant surprise. I hope Contemplazione's comment is a joke. Paloz perhaps should revisit the meaning of folk music, as well as explain to us how a certain "celebration" of the South can automatically mean a lack of respect and/or denial of the North; let’s remember Bennato's performance of "O mia bela madunina," which should dispel any doubts for those who might have them. I also advise tom traubert to rethink the coordinates of folk music. To green, I'd like to say: "loser" by choice; Eugenio chose a musical path that would undoubtedly give him little visibility compared to his charming and commercial brother. Galakordi is another one well-fed with preconceptions. Valeriorivoli's comment is that of a miserable being, with serious pathological problems, throwing everything into the same pot like a foolish ignorant fascist. Shameful. To uxo: nice choice; this important southern singer-songwriter was not yet present in Debaser's archive (which I suppose is frequented mostly by people from the North), yet his popularity here in the South has skyrocketed and deservedly so in just a few years. Taranta Power is a movement widely followed among the youth, and every concert (we are talking about a music whose essence lies in live performance) becomes an occasion for enjoyment (for the music) and reflection (for the lyrics). Thanks to Eugenio Bennato, folk music has thus been reborn, strengthened by the concept that "a man without knowledge of his origins is like a tree without roots," and what better way to remind us of the past than to do it with what was once the music of festive days, but also the music against the abuses of power, innovating it with the sounds of the Mediterranean, from taranta to pizzica, from Naples to Egypt, from Gargano to Tunisia, from Aspromonte to the Sahara, with the grace and skill of a demiurge, thus embedding the gem of the Mediterranean in the diadem of world music and, according to Eugenio himself, contrasting thus the Taranta Power "with the unfortunately deteriorated image that 'tarantella' has assumed in the collective imagination around the world, conveyed by ridiculous folkloric groups and by banal musical expressions that are absolutely far removed from the impetuous reality of the ritual taranta”? Well, I can tell you from experience that all of this is not just ideology, but an important reality, more evident than ever under the stage. But if you have never been there, under the stage, if you have not seen in the eyes of "u guaglione 'e 15 anni" that "in the midst of all that crowd, he’s playing his madness, he’s playing with his drum," if you have never let your body be carried away by the whirlpool of taranta, if you have never been happy and satisfied to b