ajejebrazorf

But you're really exaggerating with the ratings! Or maybe we just understand them differently: from now on, I won't give any more, we should agree on the meaning. Now I’m serious: do you really like Mollica? ;). Anyway, I’d rate it 2/5, which would make it a pleasant album but nothing more. Maybe I’m being so harsh precisely because I know Guccio so well... You write very well, I’ve said that before, but this time I don't agree: I know that "Cyrano" is one of Guccini's hits, it definitely grabs you at the beginning, but even though it’s by Bigazzi, it alone summarizes Guccini's strengths and weaknesses: great strength in the lyrics, but also great rhetoric, and that excessive pathos that should be his strong point actually bothers me a bit. "Lettera" is nice, but I find the whole album a bit pointless, just like much of Guccini post '70, except for flashes like "Amerigo," for instance. I’ll take my leave. I feel a bit like the pompous idiot that Bangs talked about...

I believe this album might be the best by Dream Theater, and it’s not to be dismissed; here they even have good taste for counterpoint, but aside from the countless breaks and solos, there’s very little substance (it’s one of those to skip, evidently): the lyrics and interpretation are cloying, songs like Surrounded, Wait for Sleep, and Another Day are fine for Sanremo, Pull Me Under is quite banal, Under a Glass Moon is excessive and long-winded. The exceptions are Take the Time and Metropolis, which despite sharing the same interpretative excesses as the others (for me, LaBrie is the Al Bano of metal), and also leaning more into the ego trips of the musicians, are good compositions (but the phrase "now that I've lost my sight I see more" is an immense load of nonsense). I mean, in the genre this album is probably the non-plus-ultra, but out there, for me, there’s much better...

the vote slipped away from me, let's do it this way

Bravo, one of de André's most underrated albums, which I know was heavily criticized at the time. It contains a song, that is the "Canzone del padre," which has, in my opinion, some of the most beautiful verses of de André's entire career, those about "Berto, son of the laundress": ...he turned around for a moment to suggest to God to keep minding His own business / and ran away with the fear of rusting / yesterday's newspaper reports him as dead and rusty / the pallbearers often collect him / among the people who let the rain fall on them.

Yes, but shouldn't the grades be visible without comments? It's not that I'm particularly interested in the topic; I just took a look at the grades and saw this...

Of course the average is calculated perfectly: uhm, for the review all 5, average 4.79...

Well guys, you’ve really put in a lot of effort, I’d say… without getting into the issues between Don Camillo and Peppone (even though I lean more towards Peppone, not out of bias but just because of the circumstances), Caz, I think something similar to what’s between Biafra and the others also happened with the Area, exactly between Area and Frankestein, whose name I can’t remember, the guy who wrote the lyrics and who I believe was the boss of the Cramps, a clever guy but also an opportunist who would do anything for money, just like the one who wrote “Luglio Agosto Settembre”, “Arbeit macht frei” etc. For rock and roll, there are heirs from almost all the bands you mentioned, I believe.

Your speech is valid, but for any genre, though. There are a billion groups, it's the time of EmptyV (I don't know who said it, but I really like it), in metal on one side there are Metallica, Fear Factory, Sepultura, Tool, on the other side a bunch of crap (you know how good and smart I am about that), in Jazz there’s Miles and Ayler and Coltrane, on the other side Kenny G and MaicolBublè. But for me, you're making too much of an argument about "not earning the bread"... later I’m going to eat.

I don't know, I understand what you're saying but I don't think the Du just messed it up; sometimes the emotion matters more than beautiful handwriting. It's a bit like the difference between art and craftsmanship; the latter is a chiseling job that, in my opinion, can fit into the former but not necessarily.

I completely agree on the political nonsense, but you already know that. Music must be "political" in a different sense, certainly not in the way of currying favor with the audience by shouting "death to the fascists." However, it seems to me that you’re also focusing on technique, or more precisely on complexity, and I don't share that view. I mean, a lot of blues would also be dismissed, being always or almost always the same old soup...