@[Geenooofficial] @[ZiOn] @[withor] @[CYPHER] @[hjhhjij] And all are in the place.
It must be said, my dear friends and companions, that the self-proclaimed monarch (more fool than ark, in fact, indeed, just a fool...) known by most as
@[lector] (but in certain circles, for years nicknamed Wanda the Red), shamelessly expresses technical-musical opinions that one could do without, like onions in pastry. However, it is well known the patience of the DeBaserian public who for years has borne the stigmas of his interventions, well embodied by the great
@[G] who, in order to have him as little as possible around the scrotum and the perineum, even dubbed him *Evangelista*, a generic term derived from classical Aramaic meaning, for some "Insufferable blowhard with unworthy Campanian accent" and for others "pain in the ass of rare and precious craftsmanship."
That said, friends and companions, rarely, increasingly rarely, one must, however, acknowledge a faint light of reason that crosses what remains of a brain that his august parents worked so hard to induce to studies that were not solely devoted to the worship of Gaymachismo in a Greek-sauce style, with alternating, it must be said, results.
So, and I conclude, his assertion regarding the careers of Giuseppe Daniele and Lucio Dalla is not entirely devoid of truth, though for most it may be reckless. He, however, as often happens, given his inability to restrain himself in the soaring flights of his sick imagination, certainly exaggerates when citing as foundational products of a career, that of Dalla, songs of laughable effect and faint meaning like those recorded before the Roversi Triad, which, at a strictly and purely artistic level, certainly represents the peak of his production. The Magical Quintet that Dalla set in motion in Italian discography, however, has few equals, not only among our shores. When he realized he had learned enough about lyric composition, he produced songwriting masterpieces like "How Deep is the Sea," "Lucio Dalla," "Dalla," and the "QDisc," preceded by that "Automobili," still in tandem with the poet-bookseller, which aptly anticipated themes and settings of the subsequent four albums.
After these, the inclined plane began to orient itself downward, Lucio decided to opt for just a few easy bucks, and his production felt the effects, almost as much as his scalp did, let's say that too, why not.
Thus, let’s say it, with Giuseppe Daniele from Santa Maria La Nova, author of a first album of a singer-songwriter style and a sestina (known as "The Magical Sestina"), between '79 and '85, which firmly established him in the Olympus of thinking and writing minds of Italian authorial song, further enhanced in value by the instrumental technical thickness of Our Guy, well-versed in blues and funky jazz, truly with few equals around here.
As with his Emilian colleague, then, he began the already known downward slope that led him to publish sycophantic remakes in putrid chords, which Pinuccio could compose even while sitting on the toilet, without any effort, given that he too discovered that with little effort he could still sell packs of records just for the name printed on the cover.
Finally, friends, may there always be praise for that Campanian student who, every morning, seeing his modest teacher frowning over his misfortunes, ridicules him behind his back with gestures and words, reminding him of the narrow-minded, sad and shabby world where he, under the cover of night, offers his weary thanks to sailors, tough guys, and outcasts of every kind.
