primiballi

It's a bit of a press office thing... right...? Vasco may be liked or not. This album/dvd might be too. But let's not defend a sneaky pre-Christmas commercial move as if it were something else...

Guys, let's remember Jahn for what he did in life... come on... that's more than enough. The widows (including Dori Ghezzi… especially lately) should be a bit ashamed... already said elsewhere... these records make Mrs. Veronese in Battisti definitely very, very commendable.

a record that undoubtedly deserves more lines... still, I agree: the Born To Run-Darkness duo represents one of the happiest moments in rock history, no doubt about it.

this idea of the sublime Battiato during the pseudo-pop phase, overrated or other nonsense, really leaves the space it finds (very little) and leaves a bitter taste of fake post-adolescent intellectualism. to think that -I don't know...- Gommalacca is superior to La Voce Del Padrone, excuse me, but it's like saying that, according to the Stones, A Bigger Bang is superior to Sticky Fingers...please...

no...even better...I’m perfectly fine with the answer given. Greetings to everyone...I can't stand Russian chants...the fake rock music................

I put forward a somewhat mischievous thesis... what if those who consider the period of La Voce the commercial era were all born after '75... and that era was neither experienced nor depicted by them...? If I am mistaken, I apologize in advance, but to understand things with a historically accurate perspective, it’s not necessary to have been present... but it helps...

An album in which FB has achieved perfection in language that seems pop, but is actually highly cultured and at times willingly pre-kempt. An absolutely unmissable and epoch-making record. The best...? Frankly, it's irrelevant. The fact is that it's a beautiful album. I absolutely do not see the prevalence of electronics... "e già" by Battisti is an electronic album, this one is not. Here, bass, drums, and guitars are very evident (and their respective genius parts... in defiance of those who, in these pages, wondered what Radius had done in his career...). Orchestrations by real orchestras and choirs of real choirs. Of course... there are keyboards... but should we inaugurate a new type of racism... that against keyboards...? From a technical standpoint, it seems that FB has said that rarely—though certainly here and in L'Imboscata—the songs were born on the guitar, and not, as usual, on the piano/keyboard... can we infer something from that...?

although I prefer ice cream... I would proceed with words of love..., a record to which I am extremely attached for very personal and partisan reasons...(so what will come out...?)

as always, I completely agree

I’m primarily responding to Norma. Let’s talk about Vasco from "ma cosa vuoi che sia una canzone" to "Bollicine". If you listen closely, you’ll find the lessons of Battisti, the surreal self-irony of Jannacci, something from the pure and historic singer-songwriters (especially De Andrè and De Gregori), all reinterpreted with distorted guitars, pounding drums, and plucked basslines—essentially, in summary, with a language that could, perhaps trivially, be defined as “rock.” Vasco was, then, a very interesting phenomenon in a landscape that is nonetheless colonized (but sometimes not in a shameful way...) like ours. If we talk about Vasco from "c'è chi dice no" onwards, the amusing, caricatured, Emilian showman and especially the so-called “Vasco industry” (multi-millionaire... you know...) have definitely taken over. And everything is much, much more open to criticism. In short...: it’s the same discourse as Bennato: let’s not confuse what they were with what they are...