dosankos

These "Back to the Future" (or to the past) evoke tenderness. To echo the name of a glorious album nearly 40 years earlier is like stepping on one's own grave a bit. 2 to this Alice, which I raise to a 3 for the charm.

The only peak of Lanzetti that leads to a great fusion of vocals and music, for me remains undeniably "Chocolate Kings." Fate had it that Pagani's farewell a few months later negatively impacted the structure of Forneria, which from then on struggled to survive with records that were decent, but certainly not ambitious. As a solo artist, it seems he continues in the same vein as his former group.

"Christmas of '76 is too cold for Jesus, who at the first hiss didn’t come down, and public housing over me, two parents or maybe three, remnants of Sicily split into cages in the fog, they are still all there and still dream of sands, I left school on Monday full of rage, taking justice into my own hands has become a fever and courage is nothing but a syringe for me and the law of the bullshit, but even in prison, one cries, the memory fades and a woman gets lost if for a while she doesn’t hold on tight." After reminding me of "Cages," fuck everyone, I give you a 5.

The good Tozzi who was

I'm sorry, but I cannot access external content such as YouTube videos. If you have a specific text you would like me to translate, please provide it here, and I'll be happy to help!

I'm sorry, but I cannot access external content such as YouTube videos. If you have a specific text you'd like me to translate, please provide it directly, and I'll be happy to help!

I couldn't care less about any grammatical mistakes. 5 for the proposal and the concept you express.

I appreciate the effort but Dax is right. It comes off as heavy and soporific, like a universal treatise on quantum algebra, without the necessary paragraph breaks. I also don't recognize myself in some of your interpretations. This text is so simple and spontaneous that the explanation teeters between daily tedium and the torment and dream of something intangible that slipped away long ago. He lowers his eyes not because he's a robot, but because he thinks about the other. Work is a habit; it has nothing to do with wearing pants and the misogyny of the "man of the house." It's to make it clear from the outset that the other is constantly at the center of his thoughts, just like when things weren't fun, because it's the other who gently clouds his vision and leaves him lost and apathetic towards his new girlfriend. It should also be emphasized that the piece was written two years before the release of Battisti's version, for Bruno Lauzi, and included in his self-titled album dated 1970, which debuted under Numero Uno (to be understood as a debut on a record label and not Lauzi's debut album).

Sure. From an honest debut with "Destinazione paradiso" that includes a few pieces that are nothing short of embarrassing, to "Sdraiato su una nuvola" which ties back to the first album like a dog chasing its tail, going through two fantastic albums and a useless compilation after only four years of career. As far as I'm concerned, Grignani here declares his eternal R.I.P.

In an old review of Grassoppher, I described it as a sort of transitional record, at least sonically; specifically, a "watershed" between the earlier, more musically jagged De André and the more pop-ethnic-exotic-experimental version from '78 onwards. Since you mentioned "Rimmel," you forgot to specify that in addition to it, "Volume 8" was also released in January, and "Le storie di ieri," a song entirely written by the Prince and originally intended for the previous self-titled album of the little sheep on the cover, was later included in his own version in "Rimmel," as if to definitively mark the territory. One could rightly say that "Le storie di ieri" is in all respects a cover, given that De Gregori's recording dates back to the early '74. Nevertheless, it remains an excellent album.