primiballi

Thank you all. The discussion about the composition of "anime salve" is absolutely fascinating. Two personal notes: at the time, I met both Fossati and Naco, the splendid and (alas) late percussionist, who was present in both Macramé and Anime Salve. Naco told me that there was an exceptional record coming out (anime), and I asked him, "But is it possible it could be better than Macramé...?" and he gave an unequivocal affirmative gesture. Fossati later hinted, or rather suggested, in a conference I attended that things didn't go particularly well with Faber (but it seemed the issue was more personal than artistic, which is why the two-voice album project, which obviously was supposed to be "anime," fell through...), just as De Gregori hinted in an interview at the time ("Fabrizio was an incredibly easy person to love, but impossible to get along with," more or less verbatim). Finally, there's Faber's own declaration, that he surrounded himself with excellent collaborators (De Gregori, Bubola, Pagani, Fossati) because "they are always more skilled, and I'm always lazier." I don’t know what to say... In Anime Salve, which I consider the great swan song of High Italian Singer-Songwriting, and an absolute masterpiece in the broadest sense, I see Ivano's "hard work," and Faber's brilliant strokes. But that's just my personal opinion. Certainly, those he performs live, including Fossati (anime, preghiera, and Nina), are definitely more his than anyone else's...

What a shame...: forgive me, but I find the style of your review too youthful (but it's probably just me getting older...). Nevertheless, the recommendation is very important: this album is Coker's best, excluding (obviously) the golden years...

Okay... it seems we might agree more than we think... it all comes down to the term "plagiarism." Well, I believe it shouldn't necessarily have a negative connotation: De Gregori surely loved Dylan a lot, and in some aspects, he "plagiarized" him, meaning he paid such an overt homage that it was too close to the original, which, in itself, is undeniably someone else's idea. That doesn't take away from the Career and the Figure of the Prince being absolutely indisputable. Just as Vinicio’s excellence is also indisputable. I repeat: the best singer-songwriter reality of the second (and for me, last) generation of singer-songwriters, without a doubt. Do you agree...?

thank you (especially to Viaggiato Ascoltatore). For those who didn’t love the previous one, I’m afraid this might be seen as a step back; for those who did love it, a step forward (with some judgment). For me, it’s a strange album, I would say “to chew on,” even though I usually use that expression for difficult albums, and not for those that seem quite simple…

here... someone notices things. what I mean is that the razor-thin line between homage (as open and explicit as it may be) and plagiarism is very, very delicate. sometimes. then "ovunque proteggi," in my opinion, is still a very beautiful album. it fascinates...

In the historical reality of events, in '91 (a concert I saw two (wonderful) times, Faber walked on stage in a suit, and with a beautiful play of lights, began the concert standing up singing "ottocento". Still, it's nice to imagine him as you say. The discussion would be another: is it better to have De André being carried away by the PFM arrangements or the later one who has an almost manic instinct to recreate the studio albums exactly...? It would be a very open discussion... and I think also interesting.

I repeat: great album by Capossela, and, above all, of great (and independent) literary inspiration. To be precise: bought (not downloaded) right away and listened to it countless times. The discourse I'm having is purely musical: a piano intro isn't enough for me to say "Waits" (even though I found it a charming and very English way to call me an idiot). What I'm saying is that "nel blu" wouldn't exist if "I'll take New York" hadn't come first...: same conception, same sensitivity, same disharmonies, and above all, the same underlying idea (only Waits' idea is almost twenty years old...). I've never mentioned "in the Clolosseum," even though there’s surely a citation reference (only to then diverge significantly in all other respects). What I struggle to understand is why VC is so calm in admitting his Waitsian inspiration, while you become so hysterical....: this makes me talk about fans and not enthusiasts...(a bit like those fans for whom Juventus' penalties are always valid....). With this, I'll repeat it until I'm nauseous..., I find "ovunque proteggi" simply a beautiful album....(should I make a sworn declaration with the papal seal in wax...?????????)

Sorry for the professor-like tone, basettoni, but may I ask (and of course I trust your honesty) what albums you have and, more importantly, which ones you know and have listened to (in the age of emule and similar, having them doesn’t mean much...) of Waits...? To say that there’s little Waits on this VC album raises more than one suspicion... I fear that here we are reasoning like fans, not like connoisseurs.... (please prove me wrong)

Absolutely agree: Gilmour is a giant, and I eagerly await the upcoming new album. One note, I find Division Bell overly self-referential (although very beautiful), while this one is definitely superior. I have always considered it the best Pink since the times of Animals, but that’s just my opinion, and certainly not born out of a lack of knowledge of the band (whose cult I have always nurtured...).

we could go on forever: De André was initially the Italian Brassens, then he drifted away a lot. Vinicio is at the beginning...??? I repeat: exceptional record, but the step from plagiarism is often really minimal (and I reiterate: to talk about it you need to know, and well, Waits, which seems a bit rare to me, given the vagueness of the comments...)