trickykid

STUNNING PAGE...for an album that is (ALSO) a page of history of our Country. *** all around.

STUNNING PAGE...for an album that is (ALSO) a page of history of our Country. *** all around.

An absolute NERD like Moby hits the mark by blending tradition and electronics, rural blues and rave... Practically more than half of this album was released back then (when? in 2001? I can’t remember and it annoys me to rummage through the records...) as a single: it was an unexpected success and a hit that lasted for several months. Moby hasn’t managed to create anything close to this album since... and today we’ve somewhat lost sight of him... I listened to the album back then; now it collects dust, but it's a snapshot of a period of my (our) eternal late adolescence. Not an essential album for me, but the only one by Moby that deserves a place in a serious collection...

Among the various memorable TAXI concerts: CLAUDIO LOLLI, LE LOUP GAROU, CRISTINA DONA' (all seen between the late 90s and the early 21st century).

Kyklos, the Key has nothing UNDERGROUND about it... it's a brewery frequented by university students who are more or less "alternative" (but to what?). I saw ULAN BATOR years ago, still in Ct., in a place that has made "history" of rock events at the foot of Mount Etna: the TAXI DRIVER.

Page sought...with the best comments. Congratulations! I believe that to spread musical culture we should go back to talking about records like this one, rather than the usual album by PINK FLOYD, U2, or NIRVANA. Is Mingus by PITHECANTREPUS ERECTUS free? mmmm I’ll think about it...

Acts of devotion don't interest us. The album is a masterpiece of the genre. The instrumental piece by HOWE is something unattainable.

Just to clarify... my point was that Rino, NOT ACTING LIKE A GRAND INTELLECTUAL LEFTIST SINGER, therefore, did not attract the audience of the FESTE DELL'UNITA’, all THEORY & PRACTICE. His songs were not considered "SERIOUS," "WORTHY," etc., and so he was never regarded as a TRUE SONGWRITER (in other words, no one ever dreamed of comparing him to the CROWD of pseudo-cultured singers who were still in vogue). His character was half between a jester and a public accuser of everything & everyone (but how right he was!). He was too carefree for that context and for those years, too "niche" to appeal to the MAINSTREAM audience. In fact, he was a southern proletarian, a naive poet: what the hell did he have to do with the noble Roman school, with the Genoese one, or with the music that was being made in Bologna (these are the three cities that predominantly churned out quality music in those years, besides Naples, which has always done so)? Thus, for decades he was omitted from the SINGERS that matter, from the breed of AUTHORS considered unanimously INTELLIGENT. And yet, one only has to listen to his strange protest songs (FABBRICANDO CASE, IL CIELO è SEMPRE + BLU, NUNTERREGGAE+, AGAPITO FERROVIERE, for example, a ME PIACE IL SUD, etc.) or those that are simply amusing (LA VECCHIA SALTA CON L'ASTA, A KATMANDU, etc.) to understand how he was anything but a clown with a cylinder & ukulele.

I forgot to thank you for "the obtuse fan." Thank you very much.

Dear ISIDE (PART III), I agree with you that RINO's LPs often contain material that is, how shall I say, "heterogeneous." This album here (AIDA), which is among RINO's best, has three tracks that could have been spared or are anyway superfluous (you'll notice that I myself gave it a 4, even though in my heart I would have given it a 7, solely for the presence of three STRATOSPHERIC songs like AIDA, ESCLUSO IL CANE, and SPENDI SPANDI EFFENDI). BENNATO in the 70s was at the TOP and made great albums, even successful ones; who could deny it? Just as DE GREGORI was at the TOP in the 70s or GUCCINI or VECCHIONI or VENDITTI or BAGLIONI or P.DANIELE, etc. The fact remains that RINO, for VARIOUS REASONS (I've stated mine...), is today considered a GREAT, while during his lifetime he was seen as less than a clown. A guy with a top hat and ukulele who surprisingly came in THIRD at S.REMO with GIANNA (but who came in first? and second? and the year after? GIANNA remains a unique entry in the S.Remo chart, since it is still sung, sold, and known today...). Some of RINO's songs were played on the RADIO, and I myself said that he practically lived off SINGLES. That doesn't change the fact that his CANTAUTORE status was never recognized. Something I willingly acknowledge. He was a trailblazer, of a school all his own. Forget about the SCUOLA ROMANA: although he also passed through the FOLKSTUDIO of ROME, his music and adventure are entirely different.