frantz

I go crazy for much less dear Zurkolo, for example, just mentioning the word "form....." damn, I can't even write it down because the mere thought disgusts me! (Antimo and I are VERY much brothers in this)

Dear Koppa (I prefer a cup to a video game), I am observing in admiration, and in ecstasy at the thought of how much everyone is laughing while writing, the strength with which you defend yourself against this long, crossfire attack. I truly admire you, even if sometimes you come across as tedious, always so pedantic and nitpicky, but honestly, I admire you!
By now, you must have understood (if you’re not silly, let someone else explain it to you who definitely is) that when you enter de-baser, but only for those for whom it is recognized that they have something interesting to say, you are subjected to a crossfire whose length you are the only custodian of. It’s practically a kind of price to pay, a "sacrificial" initiation that the newbies have to go through if they promise active participation in the following times.
In short, almost all of us have been through it: I for that damn T in my nick or for Brazilian music, Hal for his Sardinian nature, Vanamente because it never ends..., most metalheads, Emily for her cute and precise reviews, Mr.Iko because he is to the masculine what Vana is to the feminine, Kosmo and many others for their not-so-happy debut as reviewers, and so on and so forth...
As they say around here: Koopa, don’t take it personally... take it in...! Then if you have the desire to stick around on these pages, you’ll realize that the truest part of this whole crossfire is just the sincere WELCOME!
Of course, you certainly drag it out a lot!

Koppa, how much are you writing me, man?
You're doing well because people close to me describe you as an interesting person. But I’d like to remind you that during that chat one evening, you expressed ideas about a forced return to the past, and someone else (in 2) countered that it was about going back to where it was done to overcome youthful impulses with maturity. In short, the dick is straight because it is aware and strong; it's no longer just strong like when it was young, and it doesn’t get caught up in mental gymnastics like when it studied hard... maybe it's like this only because it took a blue pill, but that's honestly another story.

Gabri, I really hope that this album accompanies an important continuity solution in your life. You know that I hold you in high regard and I've always thought that anchoring yourself (to a lake) was limiting for you. Leaving behind so much of your self is not just a condition of existence; it's also hygiene, MENTAL HYGIENE! For me, doing it cyclically every new decade of life has meant finding new drives, new vitality. And if you manage to do this too, as long as this is what you want, not just by throwing away a mountain of accumulated junk, the feeling of well-being will be so deep that it will be disorienting, but it's a breeze that you can only breathe in a few times in life. I'm with you... or have you thrown away de-b too?

Yeah yeah, who would ever dare challenge the gods? I've tried many times to sit down and write it, but even for me, it's impossible.

What an awesome review, damn you really are a piece of shit!

I respond to you Koppa, my intervention arises from the considerations of Battiato, Ferretti, and Battisti whom I know. I know "l'era del cinghiale bianco" because it was, as a pre-teen, one of the records I listened to at home. Then I abandoned Battiato without regret and began to listen almost continuously to Ferretti & co. Battisti, on the other hand, is part of a more mature listening experience, let's say from a decade ago, and now Battiato has returned to my stereo in the full "Sgalambro" era. So, all my discourse arises from what I know; you will surely be more knowledgeable in this field and I acknowledge that, but you seem a bit partisan when you use terms like "divine Franco." Nevertheless, it's up to you.
In conclusion, however, I ask you a favor: many of us already do this and perhaps too much, so please try to avoid talking to yourself ad nauseam. Reading your words, I realize how heavy I can also be to those who read me.

On the topic of Battiato vs Ferretti, I believe that both insert historical references, but Ferretti does so with a more social twist, while Battiato, in his "own" search, appears to be less secular. However, this aspect is not where the comparison lies; rather, the result changes when evaluating the overall song. In PGR, the lyrical dimension consciously prevails over the musical form; GLF’s voice is an instrument and the main instrument in the PGR ensemble. In the time of CSI, he didn’t even grant space to Ginevra di Marco, using her voice as a musical counterpoint to the male voice, trivializing it, much like a salad to garnish a dish... sometimes it fits well, other times it makes it heavy and pompous. This concept can be proven by listening to the latest "d'anime e d'animali," realizing how the departure of the "magnellophoni" and the warbling of chirps have lightened and made the music and singing flow more quickly in that album.
As for Battiato, on a common thematic research basis, the result diverges from that of PGR due to the purpose and the position that the lyrics find within the overall song structure: the point is that here the texts are not written by Battiato himself but by Manlio Sgalambro, poet by profession, and in my opinion, this pairing works better as a final result when compared to the famous precedent of Mogol/Battisti rather than with PGR.
In Battisti, the lyrics were important as well, and the voice, like in Battiato, was a prominent instrument, but the interesting thematic research in Sgalambro and "musical" in Mogol hardly overshadows the music of the main authors and performers in the final result, as happens instead in CSI/PGR (much less so in CCCP). After all, Ferretti, Battiato, and Battisti are/were all strong personalities, central figures with a significant ego, and while the former puts his "instrument" at the center, the others appropriate the "means" of others to make it their own, so it is obvious that they do not highlight it in comparison to their central work, which is to create music.
In conclusion, simplifying and perhaps with a hint of banality, GLF cannibalizes the PGR with his voice, while FB and LB vampirize the "great" work of others to enhance their own.

It won't become a de-crossing because the record is too beautiful and I want to keep it, and if I crossed it, it would stop at the first destination without continuing the journey for the very reason mentioned above. But maybe something will reach you...

This album, in my opinion, sounds terribly familiar, already heard in a thousand other current productions. I discarded it, but then I picked up other things that turned out to be even worse.