ajejebrazorf

Holden, as much as I acknowledge having the bad habit (a quirk of a passionate enthusiast) of making rankings, I don't care to reiterate that Waits is better, as much as to say that in my opinion, Capossela, in his mastery of music, instruments, and arrangements, is not very original; he doesn't have a real motive, an urgency (which I instead see in Waits) that I can't quite explain: I find him somewhat mannered, perhaps. But maybe dear Enea is right; I do spout a lot of nonsense, of course, but I have little arrogance, I just wanted to share my thoughts. Bye bye :)

Holden, I apologize if I may have offended you in any way... however, this is just my humble opinion. It may be drastic, but this is how I see it: I do not deny Capossela's talent at all, but let’s say that when I listened to him, I was coming off the entire discography of Waits, and the comparison was inevitable, and for me, inevitably in favor of Waits. I repeat: very very talented, but he didn't say anything new to me. Perhaps I listened distractedly, but I found him simply an Italian Waits who is less gifted, without particularly original inputs, although with more marked Italian popular influences. But if someone doesn’t know Waits and is looking for something special in Italy, Capossela is obviously highly recommended. Did I shoot down again? :)

I think like Odra. I’ll add that from what I’ve heard of Capossela, he seems to be a disciple of Waits in every way (even in his band; I have a feeling that if I call Ribot, he would come and play with me, he plays everywhere), but he doesn’t have a tenth of the boundless talent of Tommaso, who limits himself to copying with less genius and inspiration: a difficult feat, after all, to keep up with Waits. In short, everything is well done, everything is already heard, everything is already done. Perhaps I’m wrong that I don’t have this; I have songs on a crank and live in a Volvo, maybe here he is more inspired...

Caz, I don't have the original of this and I'm missing the booklet, but these days I've also wondered where the Area speak negatively about punk (at least in this record, not exactly brilliant, indeed definitely the worst after ticchettacche, according to moi, quite banal, see "Ici on dance" or "Hommage à Violette Nozieres," which are pop tracks, even if very pretentious pop). That said, a clarification: I also find that 95% of punk is what you describe. It’s also true that there are great albums (have I bored you enough with Gun Club from '81? I know it's not from '77, but what difference does it make?). I wouldn't dream of throwing shade on hip hop (or rap, forgive my ignorance), even though looking at MTV it seems like nothing but smoking diarrhea: I've just gotten the Wu-Tang that I haven't listened to yet (I'm deep into a Klaus Schulze trip), then we'll see. I love provocations, and I appreciate those who don’t use the usual clichés, but just shooting into the crowd like that, generalizing gives the impression that you know the genre superficially, just as I know hip hop superficially. The most wonderfully absurd comment of 2005: "Let him get insulted," worthy of a surrealist, well done Zuckina.

2 out of 2 for me as well, even though I'm missing some movies. But I miss this one, though. Metalhead, but did you get the scene with the monster behind the wall in Muholland?:)

I completely agree with Bogus, as a "singer-songwriter" Ferretti also loses quite a bit for me, even though there are always moments of skill. Musically pleasant (Belle Inquieto and Memorie di una testa tagliata), but nothing really brilliant; I preferred the more sincere and effective guitar riffs. Some see them as matured, others see them in slippers... :)

oh, here is the famous almost namesake...

I was skinny :D

Yes Trell!!! and you were there too!!! even though I don't know which one (chubby?)!!! :D

Fred, did you eat then? :D