Mark76

He does not say it.

We do not say it "apertis verbis," dear one, for fear of appearing unduly harsh towards the reprobate dead: whom we have already, in part, variously put in their place. But, between the lines, it is alluded to. We understand well, however, how such hermeneutical labor constitutes a burden that your faculties cannot possibly bear.

We also revere You.

the fact that it is still talked about as if it were yesterday,

The Loch Ness Monster has been discussed for centuries. The first sighting reportedly occurred in the 6th century. Then a long period of time where no one dared to mention or recall it: not because it didn't appear, but likely out of fear of retaliation from witnesses (it has never been understood whether it was from Nessie or her emissaries: perhaps the latter is more plausible, given that almost certainly the lake dinosaur does not possess the gift of speech: but I wouldn’t be so sure). However, since 1930, here comes the "revival" in grand style: hordes of visionaries claiming, sometimes with ample details and substantial and consistent evidence, to have spotted the infamous creature. It’s interesting to note that Nessie has been a topic of conversation for around 1500 years, as if it were yesterday: and she is still very much alive, of course, and fighting with us (or against us? A forum could be opened up here). Perhaps among many fine admirers of the four geniuses from Liverpool, there is someone who believes.

To Mr. Pier Paolo Farina:

Attention, we are risking confusion from a postmodern maelstrom here. Let’s carefully distinguish between:
1) AOR = M. Spiro, Van Stephenson, B. Mardones; usually, the soloing works better;
2) Westcoast, sometimes jazzy: M. Jordan;
3) Pomp Rock: Fortune, Harlan Cage;
4) FM Rock: T. Feehan;
5) Melodic hard rock: Def Leppard (sometimes);
6) Hi Tech AOR: Device.
Pop metal and Hair Metal mean nothing: the first definition constitutes an undue generalization, the second lingers on a rather marginal element.

We revere them.

We have no problem with the Beatles: it was they who were grossly incompetent.

We now respond --and we ask for forgiveness for the innocent delay, even though academic duties, of course unpaid, called us back to an order we thought we had lost-- to dear Lector.

1) Yes. Infallible text, adamantine, an authentic double-edged sword that forged the West.
2) This is a slogan: it does not honor your intelligence.
3) Bah. That disk may be good, but Patton remains a fool.
4) We cannot respond: they would ban us once again. It’s not nonsense, however. Regarding having balls, putting this colorful expression here seems paradoxical. In any case, we wish Limiti all the best.
5) "You are biased." In times dominated by pickpockets like Bergoglio and Renzi, perhaps it is less severe to utter these assertions in automatic language: the bombardment would even crack the detachment of a Buddhaghosa, perhaps. But that does not change the fact that one should understand what is written first. De André, I repeat, was boosted by the same elites who like the poor and "immigrants," perhaps observed from a helicopter or exploited for less than commendable profits. Musically, then, he was insignificant; sometimes the lyrics are decent, even if his morbid attachment to the destitute and the outcasts is annoying, and sounds artificial. He should have written something about Gandalf, and we would have gladly given him credit for that. Moreover, there was something irregular about his face: something that has always disturbed us.
6) No. It is not necessary to be admirers of Evola and Pound to have my esteem. Endrigo was a gentleman, and remains a giant of Italian song, even for his understatement. Who knows why he has been forgotten.
7) I don’t believe so. He was guilty of much graver crimes: I was polite with him. Those who know, remain silent; those who do not know, chatter.
8) I wrote "one of the most sensitive." It doesn't seem to me to be an insult: "fool" was affectionate (indicating more than anything else "rebellious": but truly rebellious, not a salon sellout). There were also many differences: for instance, Ciampi was never kidnapped, nor was he ever friends with Don Gallo.
9) Good.
10) Many. The "we" is, however, used for the impersonality it outlines. Digestion should have been completed by now. Enjoy your meal.

Scaruffi is right about the Beatles: musically irrelevant, they matter in terms of cultural history. A bit like de André or Lou Reed: may God have them in glory, but if it weren't for their high-profile friendships, we would now consider them mere supporting players, a sort of honest tramps in a miserable singer-songwriter scene.

As for Tommy Shaw, among other things, I remember a sumptuous remake of "Ever Since the World Began," originally the second single from "Eye of the Tiger" (you might guess which was the first), and later covered by the great Jimi Jamison (may his soul rest in peace) in the soundtrack of the remarkable "Cobra," starring Sly Stallone. I fondly remember from this film Prima Base, the good-hearted heavyset guy and the grumpy guard with a heart of gold, as well as Stallone's righteous scream of anguish: "dirty Nazi!" at the expense of the vile prison warden.

I hate to say it: Shaw's version is superior, more refined, beautifully played, arranged, and produced.

De Andrè sang of the last but then, much like Bergoglio, he was an intimate friend of the first. Regarding the Bacchelli law: who knows why there are no laws for family men who work their whole lives, only to find themselves extorted by the dominant usurocracies. As for the very fine Bindi and the review, which is quite good although a bit rhapsodic, we give it a 4: even if it is marred by an Orwellian ending.

We have listened to this blessed Van Morrison in his two best productions (or at least considered as such): "Astral Weeks" and "Moondance." They did not convince us: the "blue-eyed soul" seems to us a poorly successful attempt, both on an aesthetic-programmatic level and on a more strictly musical one, to reconcile incompatible traditions. In any case, we would like to pose a question to dear Pinhead, or to anyone willing to take the responsibility for a clear answer: is Van Morrison better or Van Stephenson? In our opinion, there is no doubt whatsoever.

Bob Dylan's America gives way to France and its chansonnier

Never was a passing of the baton more welcome: from an unbearable crow to the enduring European tradition.

Bindi, a magnificent classical singer and one of the most significant representatives of the fundamental Genoese scene (from which, however, also emerged, a generation later, the pointless de André). Some of his songs, adorned with sumptuous arrangements, are anthological, at times as moving as a sunset among the ice of Thule. It’s a shame he lowered himself to collaborate with some unacceptable representatives of the Negro community. Unacceptable. A giant, nonetheless. Hats off to him and to the reviewer.

I wanted to thank the people who contributed to this significant debate. This is proof that you can write something interesting even starting from bullshit. Happy Sunday to everyone, including representatives of non-Indo-European races.

Dokken, Giuffria, and Strangeways are a hundred thousand times better than the drugged and presumptuous Dylan.