primiballi

As for the dating, it can certainly be excluded, beyond any reasonable doubt, that it is a last work, since the text is absolutely by Panella (recognized) and the album Lucio was working on when he died, which is unknown whether it was recorded as (if home demos or "stuff" already presentable), was very likely an ideal follow-up to "E Già," that is, a pure singer-songwriter album with his wife as a front for the lyrics... (it seems more probable that it was merely rough takes since LB only entered the studio after the contract was signed). Anyway, regarding the "gabbianone," I would say with certainty either "Don Giovanni" or immediately afterward, and thus not included in "L'Apparenza" since it is not organic... if it is pure "Don Giovanni," from the same sessions, the exclusion is frankly inexplicable. (primiballi.blogspot.com)

but... come on... it’s nice to find them like this... like hidden and rare treasures... and I assure you that you’ve found some of the best things, and I hope you managed to find those that are qualitatively perfect (which are out there... along with others that are poorly recorded). the version of "il nostro caro angelo" you’re referring to is stunning, and the "gabbianone" is definitely one of the best pieces by Battisti/Panella. what can’t be known, I repeat, is whether the record he was trying to "sell" in recent years exists and what happened to it, which, it seems, was in vain—a fate that also connects him to another great Italian genius, Fellini, who died without any producers. (primiballi.blogspot.com)

true, a very heartfelt, moving, and commendable text. it had been on his site for a while. even from his way of facing the illness, one can notice the intelligence of the person, which may have little to do with talent... but of course, it doesn’t hurt... (moreover, the album I reviewed here, like the latest ones from BL, is "dedicated" to the research against Parkinson’s) (primiballi.blogspot.com)

For me, every author has a perfectly placed egg in their basket, a doughnut with a hole... or whatever you want to call it. Here it is...: Zucchero, with Bluesugar, has absolutely demonstrated his skill (which, if you like, in other contexts could be seen as a drawback). Zappa was a musical genius in a broad sense, with very little "sense of song." Therefore, talking about him in a "pop" context is certainly out of place.

Great review and an amazing album...even if there are different interpretations to the wonderful "Luci a san siro", a true masterpiece by the professor.

agree on the absolute value of the work and the splendid Doors live, where Jim's "shamanic" role shone through and the band's lust took center stage. That said...: to say that the Doors gave their best live, which implies that they gave their "worst" or "less good" in the studio, seems to me to be a false and ungracious statement...: the Doors made a couple of albums that are part of rock history of all time, and this cannot be overlooked... (primiballi.blogspot.com)

a record I have always appreciated as a complete album, alternating fun with depth (in a good way). Sure, the review is shamelessly biased, but being confessional, that can be overlooked. However, I believe that "bluesugar" and "zu&co" cannot be grouped together in the end, as I see the former as an absolute masterpiece, the most referential album in history and undoubtedly a complex and never trivial work, while the latter is just an American gimmick...(primiballi.blogspot.com)

Thank you all: deliberate tautology. Lauzi is truly great. "Ritornerai" is entirely his, not an interpretation. Meanwhile, the pieces by Battisti "L'Aquila," "E Penso A Te," and "Un Uomo Che Ti Ama" were written "for him," in the sense that the Lauzian versions did not precede Lucio's, and see Battisti himself as producer and musician in the foundations (which are, moreover, different from his own and beautiful). Furthermore, Battisti and Mogol wrote and produced "Mary Oh Mary," a beautiful unreleased track where you can clearly hear Lucio on the backing vocals (a classic Battisti song), of which there’s not even a trace of a demo by the author, and, of course, "Amore Caro Amore Bello," an absolute masterpiece, of which there are some Battisti traces, but not in the official discography. Small traces that show how this small great artist was, at heart, a giant.

I, who fundamentally agree with you, believe that eras are conventions of us humans, and that everything, at its core, is comparable. Homer with Pennac, if I want, or fois gras with a Big Mac. But that's just how I am... I was born with the conception (subjective and of implosive conflict) of beauty and ugliness. I find Manzoni rhetorical and trivial, even if technically brilliant. Just like Steve Vai compared to BB King: he plays a thousand notes where the latter plays two... but I will always love those two to madness... (in this album... not to stray too far off-topic... I find technique and soul, and courage, and that pleases me) (primiballi.blogspot.com)

@wanderer: with advanced and multiple listening, I can say that we are not in masterpiece territory, but certainly in the "great courage" zone, which should be appreciated... of course, the DG is doing what you say... as often happens, mutatis mutandis, with Blue Note or Verve... but is that really a bad thing...? (an entirely open discussion and probably a very long one)