Eneathedevil

Well, Bogus, we need to distinguish between finished product and experimentation: Lucio experimented but not much came out of it; what emerged, as the good Grass says, is a HYBRID work, placed there knowingly by a Battisti who already understood the transience of the album. The fact remains that he would wait a full four years before doing something like that again and instead opted for something better, knowing that such a musical direction couldn't belong to a new record course of his. It paves the way for "Don Giovanni," it's true, and I also hinted at it at the end, but from here to saving it, there's a long way to go, and it's not like "Don Giovanni" was such a masterpiece as to justify its predecessor, at least not so imperfect that it could prepare the arrival of "L' Apparenza," which is also so imperfect that it could prepare the advent of "La Sposa Occidentale," which may be over, but just in case of doubts, two years later there’s "C.S.A.R."...

Ringo... piece of a cuckold! I had said since "Io Tu Noi Tutti" by Bogus that I wanted to do this review!!! But I procrastinated, and in the end, struck by inspiration, I reviewed "E già", which inadvertently spared us from having two identical reviews at the same time. First of all, good review; it partly corresponds to what I thought about the album, to which I will add just a couple of words. Apart from Grazia Letizia, who I don’t think was the woman on the cover (where did you read that news?), what I would like to highlight is primarily the connection between the title and the content: the love situations correspond to the sung tracks, while the non-love situations correspond to the instrumental ones. I would also emphasize the beautiful performances specifically in "7 agosto di pomeriggio" and "Una Poltrona", with the splendid string orchestration in the first case and the symphonic setup in the second. Another noteworthy characteristic is the provincial setup of songs like "Dio mio No", through which Lucio brings the fervor of the recording room into the finished musical product by gathering the members of PFM before closing the song with "Batto quattro e finiamo": an innovative feature that will be echoed in "La batteria il contrabbasso..."; then there's the entire prog-folk setup (well done, I agree) of the album, truly visionary and prophetic in its homeland: Battisti anticipates the times by breaking delays and even exposing himself to the bigotry of censorship. For all these reasons, I consider it one of Lucio's greatest albums, perhaps even the best for its innovative value, capable of changing the history of Italian music, paving the way for new experiments more than what the other great masterpiece, "Il Mio Canto Libero", could achieve. Cuckold but good.

What beauty, to explore further

Sex, pussy and rock 'n' roll

Really nice name, Claudio. A name of a left-wing warrior that can also adapt to the right-back position when needed. I value courage, and maybe you're not completely wrong about the album, which I must say looks reassuring with that curiously cultured name. cremonini annoys me, but don't speak out of prejudice; you've listened to the record. Giada and Diana are more fake than Falchi's tits.

I go against the tide: I don't really like this review of VV, it's authentic but too self-pitying... in my opinion, the problem is the generalization you're making: everyone is alone in their own pain, this may be true, but you can't put everyone in one pot, because there are those who dwell on it, sing it, iron it out, and play it, and perhaps they don't even need music to console themselves after a love ends; indeed, maybe they find as many loves as they want like pleurotus mushrooms... that's not my case, but it makes me a bit turn up my nose to read something from someone who wants to "generalize" their feelings, no matter how true these reflections may be... you see, even with the truth that everyone feels pain, it should be considered that everyone—if and when they feel it, considering the above clarifications—experiences it differently, and maybe many from Cave don't want to meditate on human sorrows, perhaps they prefer something else: you, on the other hand, generalize Cave, elevating it to a local prophet of all humanity: that's all. I'm signing up for Ajeje's selavist party and I make amends.

Yes, exaggerated rating, "DADMEDAS" is a decadent work and cannot rely on its decay to appear as an exceptional album... the rating scale, in my opinion, is as follows: 5: excellent album from 8.5-10; 4: good album from 7-8; 3: adequate album, broadly or barely 5.5-6.5; 2: mediocre 4-5; 1: disgusting crap 2-3; 0: unspeakable garbage.

Oh, finally after the precious tips from Antimo, the Falafel has arrived. And yes, it’s all a copycat affair, and after all your marvelous nickname is also a copycat in its originality; you've argued well about the whole copycat world of the K., which after all, as has been said, aren’t the worst of the genre; L.S.F. was for months and months the tormenting theme of the opening titles of Fifa2004 when I played on PS2...nightmare.

No, Marta is gone and she’s not coming back...