Kyrielison

Personally, I don't agree, Hell. But there's a real possibility that it's "my fault." In my opinion, anyway, the verses you cited bring out the painter Count. They are all images, pay attention. And they set aside the "wordsmith" Count that I like.

Yet you know that, by browsing the internet, I realized that the official one is the second? Wow… Anyway, since you’re thirsty for Paolo Conte, I’d like to offer a few suggestions, implicitly inviting other users to chime in: Conte has two well-defined periods, in my opinion. One is perhaps the one that made him most famous (and more of a "cult singer-songwriter") and it has more typically jazz characteristics (all the albums except the first two). If you appreciate "the rustling sounds, the softness of the lyrics, and the noble character of the compositions of the Astigian lawyer" (as a fourth-rate critic would say), then listen to all the albums from 1981 to 1987 (Paris Milonga, Appunti di Viaggio, Paolo Conte 1984, and Aguaplano). "Concerti," which is obviously live, will literally drive you crazy. But if you want to hear one of the most original singers we’ve ever had (us Italians, I mean), well, then grab the first two right away (which are called Paolo Conte 1974 and Paolo Conte 1975, such imagination...). Songs with an embarrassing arrangement, with the lawyer singing without the slightest effect in his voice and improvisation bordering on the outrageous, musicians who seem to have been picked up from who knows where. But what a thing, guys! You know those songs that make you want to take a convertible and drive along any seaside after having a few glasses of white? That’s it. Stuff like that…

Here, the point is precisely this. In my opinion (I emphasize "my"), the line quoted by Kosmogabri isn’t that great. After all, it doesn’t say much. It might express it well… but it's close to nothing. Let’s take, for example, a line from Genova for us... "Macaia, monkey of light and madness, fog, fish, Africa, sleep, nausea, fantasy... and meanwhile, in the shadows of their closets, they keep linens and old lavenders. Let us return to our storms, Genova, to the same old days." And well... what a difference! PS But do you think it says "let us return to our storms, Genova, to the same old days" or "Genova has the same old days"? Mysteries...

I still think about it the way Hell did... But I'm only on my 4th or 5th listen. Who knows, maybe I'll change my mind too. For now, it seems to me like a worrying banality. And this is coming from a staunch supporter of Conti from the very beginning.

Alessioiride is right. On the other hand, if I want to listen to some music, I take something from my collection by the Teppisti dei Sogni or Pappalardo. Not “lavorare stanca” or “I fiori del male”...

The hairdresser's music always finds endless ways to change form...

Whether it's fake or not, for me Il_Paolo remains one of the most interesting "phenomena" of all Debaser. Glory and honor to him.

"The Rock's Modugno," probably defined by his producer. Or his accountant. Or some other mentally deranged individual whose income is somehow linked to Gianluca Grignani and his entourage. Trust me, for once...

Thank you for the courage to review a work like this. Sincerely. As for the rest, isn't it that "the stylistic rigidity of the 19th-century symphonic tradition" appears to us as such simply because approximately 150 years have passed? After all: Try asking someone who listened to Schubert almost 200 years ago if they found it rigid... I don't think so.