Eneathedevil

DeRank : 18,21
DeAge™ : 7756 days • Here since 18 march 2005
Youssou N'Dour The Best Of Youssou N'Dour
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Damn, Jay Chou! Hey, not a bad idea either, but aside from the rather cheesy vibe, I must say that in his case it's still a "work in progress": the guy has some work to do, I’d say, and the comparison with world music, in my opinion, doesn't quite fit... a cool kiss, and tonight, I recommend that between one Alex goal and another, take a look at Maria Giovanna Salma...
Youssou N'Dour The Best Of Youssou N'Dour
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...And on this basis, I connect back to the discussion about Makeba: I just read that she won a Grammy Award just like Youssou, thirty years before him, no kidding. I don't know her music and I definitely need to dive deeper into it, but from what I've read, it seems I can say that she too is, as is normal for a singer from the '60s, an interpreter. In short, a singer who lends her voice to the performance, whether she does it in her mother tongue, in English, or in some other language I don’t know. Therefore, she couldn’t have applied that conscious process of reworking indigenous music like Youssou did, and in this case as well, I remain unconvinced. Youssou seems increasingly fitting to me ;) Any other names?
Youssou N'Dour The Best Of Youssou N'Dour
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Let's talk about you, baby Trell. I know Sumac, I don't know Makeba. I can handle Sumac quickly because, knowing her, I can tell you that it's true her fame has reached almost all over the world: Tokyo, San Francisco, even Naples... well, a worldwide success. So from a fame standpoint, the comparison with Youssou might hold more weight (although I challenge you to conduct a survey asking whether people know the Senegalese or the Peruvian better ;D), from the other points of view mentioned above, I don't feel at all inclined to agree, since the Peruvian has "limited" herself, even with tours all over the world, to singing her songs in Peruvian, certainly not implementing that kind of conscious syncretism cultivated by N'Dour. She was simply an interpreter.
Youssou N'Dour The Best Of Youssou N'Dour
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...I add, the title given to Youssou of "executor of Esperanto" obviously, where it may not be clear, enjoys quite a bit of literary license: there is certainly no objective link between Zamenhof and N'Dour, just a historical-cultural interpretation: I believe that for a message of cohesion among cultures he would be the right person on a musical level, for his notable popularity, for the syncretism between African and Euro-American culture, for the conscious and personal reworking of his music through commercial musical styles ;D
Youssou N'Dour The Best Of Youssou N'Dour
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Oh, beautiful question raised, I’ll respond immediately: first of all, I must unfortunately most likely disappoint our Mr. Nobody by saying that I do not know this Touré at all (unlike Cooder, of course), and while I absolutely do not wish to presume to be the person whose judgment should be the universal standard, I wonder if the comparison in terms of notoriety holds up. Yes, in this review I referred to the character in question precisely because of his fame, because, allow me this mundane obviousness, to communicate a message one must be known, and I believe I can presume to say that the Touré in the situation, lacking a fame on par with Youssou, cannot claim the title of messenger of Zamenhof’s message. It’s a conversation that may seem trivial and flamboyant as much as one wants, but unfortunately, that’s how it is: communicators communicate by virtue of the fame and recognition they enjoy, that’s all. That the musical qualities of Touré may be on par if not better than those of the Senegalese is, alas, another matter altogether, which unfortunately does not relate to the issue raised by the review. Nonetheless, good observation.
Bob Dylan Live a Bologna 10 Novembre 2005
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...ah, I must humbly admit that I have never seen him from the stage, only on TV, so it may well be that you all have experienced some magnetic force live that I did not perceive, for heaven's sake... it's no coincidence that I spoke of personal opinion and believed the reviewer, giving him a nice 5.
Bob Dylan Live a Bologna 10 Novembre 2005
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...Guevy! Oh dear, finally a proper quarrel as intended, because I must obviously tell you that it's clear you are a Dylan aficionado much more Dylan-esque than I am, so presumably you have your excellent reasons regardless. I simply limit myself to saying that the Dylan I've seen in video replays (Bologna and Portland, for instance, but also a few promotional videos, why not) seems tremendously weighed down by age, he seems worn out. He’s not a dead man walking, for heaven's sake, but in my opinion, a 64-year-old man who has given so much to music could hang up his gear and finish it, like Antimo suggests, stop using a voice that is obviously not what it used to be. Regarding the end of his creative vein, well, that’s another obvious thing. I think Densmore has more of a point when he says that at a certain age it's better to step aside and not offer a mystified product anymore, rather than Mick Jagger who says he wants to keep singing and playing with a catheter in his suitcase until death separates him from the earth. And Dylan is certainly not a fresh and youthful lad like McCartney, eh. Kisses, eh... don’t be mean ;)
Bob Dylan Live a Bologna 10 Novembre 2005
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Dear anonymous, what a very lived and personal account. In my opinion, Dylan "could at his age hang up that wonderful black jacket and stay at home writing jokes"... if he did, I don't think it would be a crime: by now his gazes are indeed too "hazy" to see within them the spark of a time past, the creative vein has almost run dry, and I don't believe his body allows him many more of these performances. Avec le temps...
Pink Floyd Live At Pompeii
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Interesting because just a few months after the masterpiece of TDSOTM, steeped in that air of a new musical course that would soon overshadow much of the psychedelic push of the days of Piper and Ummagumma. Nice account, you could have lingered a bit more on the human situation of PF described in the DVD, not just on the musical side: Gilmour's reflections, the boisterous commotion of the rehearsal room, the four seated at the restaurant (the only hint) while they eat assorted junk food; the human dimension, then, of a group that in my opinion has always had little "charisma," unlike what you say, never capable of communicating with the audience through their presence, but only through the extraordinary music and the remarkable effects of their live performances.
Adriano Pappalardo Oh! Era Ora
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Eh eh, Luca, for me the knowledge about Battisti is a must! ;D Regarding the collaborations with Minghi, Zucchero, and I’ll throw in Mietta as well, it’s clear that there is an “intrusion” (especially in Zucchero's case) of Panella into the lexical habits of the singers in question; on the others, I agree with you, but it’s worth noting how lately in the music market only Tiromancino seem to "pull" a bit, shaping popular consciousness much less than Meneguzzi and Nek. I still remember San Remo 2000, one of the few that somewhat satisfied me with the right celebration of Avion Travel as the winners: in that demoscopic ranking of bullshit, among the top were some singers I don’t even remember, while in eleventh place were Avion Travel, and look at that coincidence, among the last spots were Gazzè ("il Timido Ubriaco", with all its semantic distortions) and Bersani (with "Replay," I believe even THIRD LAST): the jury, thank the Lord, so often doubted because it was led by the old Mike Bongiorno, completely overturned the result in the face of the dumb populace: first Avion Travel, and among the top 5 were Gazzè and Bersani. Proof of what I said.