bogusman

Excellent review for an absolute masterpiece. However, be careful, behind their work there wasn't a genuine political commitment, rather a kind of masquerade to defend themselves from American invasions; From an interview with Pier Vittorio Tondelli: "We can’t take it anymore of disco, funky, rap, colored lights, we can’t take it anymore of non-waves; we can’t take it anymore of reggae, jazz, blues, because we have no blackness to reevaluate: we are educated white Europeans."

I agree with those who say it's a clever and fake carefree film made just to attract the aimless youth of the '90s (soundtrack included). However, visually it reveals some serious talent, just look at the overdose scene resolved with the protagonist’s physical "sinking"...
But, dear devotchka, the review could have used a bit more effort...

Great review. I stopped by Frank around Waka yawaka, and the stuff I listened to after '73 didn't really excite me, but I've always heard good things about this album and Joe's Garage. Is adrianbliù playing there too?

"In the early 80s, Neil (Young) said: ... rock is dead." Perhaps he said it to excuse the crappy records he produced during those years... easy!

But how can one say that in the 60s and 70s everything possible was written and afterwards it was all crap? Rock is an endless recycling of previous ideas (both one's own and others'), metabolized, digested, and regurgitated in different forms from the 50s to today, without any artist being excluded.
And how can one say that the rock of the 80s and 90s is trivial compared to the greats like Coltrane, Davis, and Mingus? These are contexts that are absolutely incomparable from a qualitative point of view; the language that rock has developed (while drawing on many sub-genres, including, of course, jazz) is definitively autonomous and "finished" in itself, it makes no sense to compare it to fusion with remarks like "they knew how to compose (or play)." Just as it makes no sense to judge Punk and New Wave by the yardstick of "virtuosity." LONG LIVE THREE-MINUTE FOUR-FOUR SONGS!!!

"precise scenarios, like the theatrical one, much more precise than the little pond with the shrimp of Mother Pennuta" is entirely your opinion, which I do not share at all. Maybe it's just that I see Mp adorned with certain cinematic quotations... it seems quite clear to me from the beginning, "with the truck pulling out" in the dead of night, the shrimp/rosebud, the souvenir ball, and the subsequent dive into the childhood-prison with the figure of the mother preventing the chick from taking flight, etc. etc.

In my opinion, in DG, it's quite clear that there is a musical framework predating the writing of the lyrics. The songs in DG are very diverse from one another and suggest a musical experimentation by Battisti, which was later overlaid by PP’s writing... "you only talked about a linguistic issue rather than a content one": I know, and I did so precisely because I believe that the linguistic aspect is an important key to understanding this work, the contents of which (that you interpreted in a personal, if not debatable, way) are a consequence of that choice.

One thing at a time, as you rightly said. Let's start from the end with a statement by Pasquale Panella regarding the composition of the songs: "On Don Giovanni, I wrote the lyrics to the melodies composed by Battisti, etc. etc." Should I also cite the sources?
For the other responses, you'll have to wait a little, dear Enea, both because, as you rightly pointed out, I am lazy and sluggish, and because I am a bit busy these days...

I completely agree with you, metallarobuono: I associated M. Bava with B-movie cinema out of inertia, but I agree with you that he had a poetic quality that set him apart significantly from his fellow epigones. I haven't seen "la ragazza etc", but I found all of Dario in "6 donne per l'assassino", while in "terrore nello spazio" there are some little ideas that R. Scott would later remember in Alien (the extraterrestrial mummy). Absolutely stunning is Operazione Paura and also very enjoyable is "5 bambole per la luna d'agosto"...

Returning to appearance, it didn't seem right to say "listen to how beautiful this record is," because it was absolutely not the intent of the authors to offer anything even remotely appealing or easy! It seemed more appropriate to limit myself to providing some indications about the stylistic direction, the type of register chosen (basing my statements, among other things, on declarations from Panella himself).