primiballi

dear senior...interesting yes, but regarding our friend Braido (he played with us too, a wonderful evening...) I am a purist, and I'm not joking. This guy here braids, but far from the original, even though he is really good...

For those who like Vasco, it's worth noting that Curreri is the one who discovered Vasco (he didn't just co-write with him, even though that is certainly the most historically significant aspect...), who found him in the radio and saw him as a potential new singer-songwriter (which the Vasco of the first 5-6 albums objectively was... before transforming into an excellent industry). As for the guitarist, I believe they've changed him... I'll check the credits and let you know, this is someone who "braideggia" a lot, but not as well as Braido (there's the same "pyrotechnics" but much less soul). Regarding "un disperato bisogno d'amore": listen to it carefully, senior86, and strip it of your personal memories...: it's a rather trivial song, both in terms of lyrics and, above all, harmony (it revolves around the same tired old theme already overused by others...)

x Punisher: I have decided to give relative ratings...that is, based exclusively on the product, the genre, the protagonist's story, and that of the category it belongs to...if I were to give absolute ratings, I might risk giving 5 stars to "a love supreme" by Coltrane, "kind of blue" by Davis, "il mio canto libero" by Battisti, "anime salve" by De Andrè...and so on...but ultimately to very few...with relative ratings, you have more freedom, but it certainly involves a certain effort of democraticness (perhaps even excessive). In short...regarding the live concept and Stadio as a story, for me this album is worth 4 stars...

beautiful review and great album...regarding the role of the brothers, I point out my (parallel) review of Giorgio Conte...it’s tough being the brothers of Greats and being very, very talented...

great album and learned review...but I don’t quite agree: DF is a magnificent artist, but nothing distinguishes this album, at any level, from the previous two Steely Dan albums, so talking about an album every ten years is basically a historical falsehood...then, on the quality of what’s being heard and how much we enjoy it, we are all more or less in agreement. But the compositional vein of our friend, although very high, is always there, stuck there...Cheers

mahhh...I would agree on the endless praise for the great Chet (absolutely independent of the high, even though a certain lifestyle helps...let’s say...that some things don’t come out with Pausini...) but to claim that he is historically superior to Miles is an objective nonsense. Said with affection, don’t take it the wrong way.

anthem...but go to caghèr, we are

great artist and splendid musician (besides being a nice person). Due to some shared friendships, one evening two months ago he came to play with my band: we only did Hendrix and Stones, and I assure you that playing "under" (but also "over" and "beyond") Braido's guitar is an absolute pleasure. I repeat, a truly great person, also for his humility (like all true greats): someone at his level who enjoys doing a night of pure Stones sound in a small room with complete strangers in their thirties (and beyond...) can only be a madman or a giant.

Pop in an etymological sense: what is "popular" is pop. Then there are all the sub-genres. What has always irritated me is the mental underbrush of those who reason starting from a postulate that seems utterly crazy to me, namely, brutally, "if it sells, it must be rubbish"... (this was absolutely rampant in the eighties, while there was excellent stuff that sold a lot, and it doesn't matter if it was exquisitely "pop")...

But the important question for me is: can we compare the pop (nothing else: pop) of the 80s with that of the succeeding and preceding eras? I believe that 80s pop is an extreme and refined development of an art form that is certainly not niche, yet has not lent itself to the embarrassing banalities of what came after. Any musician can confirm that a song by Culture Club, rather than by Duran Duran or Spandau Ballet, is harmonically much more complex and "difficult" than any pop song today (or from the 90s). If we then move away from pop, I wonder how anyone can consider "Creuza de Mà" in Italy or, to name one, "Synchronicity" by the Police to be niche products... bah... (it seems that those who say this were either very young or not around at all...). The fact is that Battiato's "La Voce Del Padrone" was sung by everyone at that time and sold millions of copies, remaining at the top of the charts for almost a year, while today that kind of fate belongs to the likes of Ramazzotti, Bocelli, and Pausini. If Capossela reaches number one for a week, it’s only because of the hardcore fans who rush to buy it immediately. Then it disappears in the blink of an eye. And nothing has changed...???