odradek

I am listening to it. I share everything about Little's "leggera," beautiful page. But not the generosity of the vote...

Certo, invia il testo che desideri tradurre.

W Marx, W Lenin, W Fat Boy Slim. - W the Big Beat Boutique.- Left-handed but not "sinister", with the 5 I still insist, for chubby I reserve a four, I salute your crafty style.

comma

If an editor wanted to add the abbreviation dot after the r in Jr, the other reviews would magically appear as well, in addition to the live one. I liked this, and the voice is truly languid and somewhat "narcotic." Now that I think about it, I have two copies of the vinyl, I wonder why... 4.5?

And even when they are beautiful, they are just discs. Nothing more, nothing less. And they don't give a damn about the opinion of some pompous young man who proclaimed (if only he were the first!) the death of rock that occurred in '91. What the hell is the point of establishing that date, that date? What the hell is the point of wasting time worrying over issues like this, founding schools of thought, factions? It seems to me that the significant shift occurred with the internet, with the ease of acquiring a quantity and variety of music that just a few years ago was unimaginable. This has led to changes in both the production and consumption of music. The fact that a few lines here, not even too well thought out, from anyone, spark enough interest in me to go dig up something that is no longer the object of worship for some vinyl addict like me, twenty years ago, but rather one of the many possibilities in a chaos that others, perhaps, will try to codify. In a Babel library, indeed. Or in some little article eager for eternity in Ondarock, or Blow up, or whatever. - I don’t know what I’ve written, because I don’t feel like rereading it, but I think I mostly agree. Sorry for the interruption, cheers.

Starting from these considerations and a determination that stems partly from her character and partly from the scientific framework of her studies (and her work), and applying them to music, she has built her Borges-like library, her personal version of the spirit of the encyclopedists. This resulted in such a volume of work that it invites much criticism, some of which is really easy to agree with, and I think even she would be willing to accept it if one were inclined to voice it. But who cares. It's another thing to want to find space in the crowded micro-macro world of "music publishing" for young talents, believing one is talking about some new reification of God, under the guise of new guitar icons or new messiahs of who knows what revolution. One has to stand out, perhaps vent literary ambitions, distinguish oneself. A tough life. For what, anyway? The records that are worth it survive the chatter of anyone, including my own.

Gentlemen, excuse me for interrupting. I haven't read "music magazines" in ages. I really put "rock" aside for a long time. I simply had other things on my mind. When Campo left Rockerilla to start Rumore, for instance, there were even jokes about the idea of me working with them, but partly as a joke and partly because I really thought so, I told him that we were grown-ups now and that those little magazines for teenagers should be left to the young lads. The idea that the musical production of any "rock" group should generate a metalanguage, a division into tribes, a way of approaching music typical of those living in a world whose coordinates seem drawn by some encyclopedist or new authors of a bible, seems childish to me. It is always and anyway, whether we like it or not, about products. And that’s the crucial point. Scaruffi, with whom I never discuss music, admits to having a debatable musical taste. But he believes he has delved deeply into the mechanisms of taste, industry, production, and distribution within the vast market of "rock."

Well, then I associated your name with that flood of pages on Dylan (all albums already reviewed, I believe, and some even positively), and it came back to me that you gave a 3 (?!!) to "Pat Garrett & Billy the Kid." Well, I'm not a Dylan know-it-all; I don't like the cult of personality, especially when it comes to musicians. Many of his albums fall short of his capabilities, and some are simply ugly. But 5 for these and 3 for that... Yes, evidently we are on different planets. Greetings from Saturn.

However, dear Marco Poletti, if I may say that every single "song" from this is a real piece of garbage, no ifs or buts about it, and that every time it ends the only merit lies in the fact that one can appreciate silence even more, does that make me a musical Taliban too? If I think that assigning a record like this (which of course I don’t have, but I’ve happened to hear) the highest score necessarily raises some questions about your evaluation criteria that leave me at least perplexed (5 is the maximum, I struggled to grant it to records of such beauty that comparing them to this stuff already feels like blasphemy), what do you conclude then, that it’s a personal attack? Just to clarify: I believe that evaluations and opinions on records and reviews should never contain judgments about people but can question opinions and formal aspects. And the fact that you give a 5 here and a 2 on Scacchi e Tarocchi (a not excellent record, truth be told, but dignified) raises a flood of doubts. Then, if it seems logical to you, that's perfectly fine. Let's just say that if this is the best in Italy (I have to repeat, 5 is the maximum), we would be in a much worse situation than we already are. And except for a few names, we’re not doing too well…