Eneathedevil

The personal data provided is false STOP I used a non-existent character to express my defense of catchy genres STOP I don't like masini vallesi etc. but I consider this a pleasant record just as masini vallesi can be pleasant for some for the same reason STOP smuack STOP cha cha cha STOP

Unshareable opinion. Deep down, and even on the surface, there is a vivid fresco of the wild state of hallucination that characterizes contemporary man. Aestheticism is perhaps only partially present in The Great Gig and Us And Them, but they are digressions that fit, perhaps even more than the displays by Wright like Sysyphus and by Waters like Grantchester Meadows, just to mention Ummagumma since it has been cited. "Time" is a masterpiece, for example, while "Brain Damage" reveals more about Waters and his alienation than the entire "The Wall" does. Then again, I repeat, the veryoriginalprehistoria attitude doesn't quite fit when Zion rightly states: "For me, it's not the best of Pink Floyd; I prefer "The Piper..." and "Ummagumma", yet I can't give it less than 5 :)"... previous works may be better in one's personal judgment, but from there to devaluing DS, there's a gap...

Well, actually, DS should be listened to with the mind as well, and above all.

I see you guys are having fun with the seimpols... anyway, the best is Breathe's :) Sallu, are we joking? I understand the niche judgment, but saying there are no songs seems exaggerated to me. Then I don’t understand from what point of view there wouldn’t be: from the content perspective "The Dark Side" seems a bit more substantial than "The Piper" and others, musically I believe there are more songs to discuss here than in others. In my opinion, the veryoriginalprehistoria-verycommerc ialcagatinposterior attitude is a setup.

@ Kosmo: Well, let's face it, Trudell wasn't exactly refined! Let's put it this way: the true songs of the natives are the true songs of the natives, those in special editions that are now hard to find (something in particular about the Cherokee and Apaches).
@ Mago: Are you sure? I think you're mistaken! Maybe a piece appeared during some parade, but generally, the Nonsolomoda column has been "Struggle for Pleasure" by Wim Mertens for a few years now, if you’re referring to the theme and jingle of the advertisement.

So, debasers, if it wasn't evident from the last line of the text, this review is absolutely FICTIONAL. The personal data listed at the top are as false as the mozzarella on pizzas, so I am not Alessandro, I don't play, I don't live in Trieste, and I don't like "melodic" blah blah blah blue blue. I clarify this for those who have posted for the first time in my reviews, even for the Kosmo, for which I apologize if it identified a bit with the initial situations (which means we don't have much in common :P)... The underlying idea is generally true, and to make the message current, I simply put a series of considerations that I feel are more or less "mine" into the mouth of a "normal" character. First of all, the catchiness of a work that ensures that the listener cannot lie to themselves if they find themselves humming a piece they've just heard, even if they think it’s not valid. Setting aside the fact that Carboni, Antonacci, and Vallesi make me rather uncomfortable, with my review, I stand up for pop and genres like world music and new-age, which are somewhat mistreated here on Debaser. I don't make an outright apology for the GENRE, since new-age ideologically depresses me, and certainly pop, especially the made in Italy kind, seems a bit off-putting: it's simply a defense of FREEDOM OF THOUGHT. This CD remains "pleasant" in more than one aspect, nothing special: often gaudy, it lacks the strength of a masterpiece, but I'm not hypocritical; I enjoy humming it and putting it in the car radio from time to time.

We risk repeating what's already been said, but I believe that Dark Side had among its merits, why not, the ability to present itself commercially to the audience. If we then have to discuss musical merits, however, we won't get out alive because it's very hard for a record of excellent quality to ever aspire to great success, precisely because it is difficult to reconcile great quality with marketability. Apotheosis and decline, that can be, even if "Wish You Were Here," with its formal imperfection, is in some ways even better, and, speaking experimentally, more convincing.

Useless yes and no... but is it ever possible that even if the P.F. have been abused on this site, there are still no reviews that do justice to albums like this one or "The Wall"? We wait... of course, nothing personal, Angelo

Just Kosmo, I vote for the review, I can't manage the album :)

Good job, Alex, although perhaps a bit too rhetorical... Ajeje, great analysis, I agree with you about a certain Manichean attitude of good old Guccini, who at the time was certainly a bit "totalitarian" in his dogma. However, it must be said that the character should be contextualized in the tumultuous period of the era, keeping in mind that his song has always been certainly more partial and "partisan" than those of De Gregori, Dalla, and Fossati, even if they were similarly framed within the same ideology. Excellent work, I agree.