primiballi

I agree on the absolute greatness of the album, even though for me the "pair" Paris Milonga-Un Gelato Al Limon is superior in terms of songwriting, interpretation, and especially arrangements. Nevertheless, these are opinions that do not diminish the genius of the protagonist.

Vasco didn't revolutionize rock (that's total nonsense...) but he applied the principles of historical singer-songwriter traditions with a rock language, sweetened with an Emilian touch... anyway, in the beginning, he was brilliant: let me repeat: never confuse the Vasco up to '82 with the one that followed...

borntorun...we often agree...but here, in your opinion, what else could there be, if not well-crafted blues made by two (now) old greats...?

But why is it that whenever a good discussion arises, there's always some jerk who jumps in...?

but don’t pay attention to him...he doesn’t deserve it. Let's talk about the Beatles instead. I would like to ask the theory of overrating what the reasons for such a curt definition might be. In waiting (and absence) of reasons, let’s stay put where we need to be: the fab four were, and are, great for a huge number of musical-historical-sociological and cultural reasons in a broad sense. However, this is not their best album (even though ranking is really tough...I personally prefer the later ones...)

To say it’s the top of Vasco means not to know, or simply not to have experienced, the first six albums of his career, which are superior in every way. Let’s say he has put together a good album here, with a couple of gems, arranged badly with plenty of keyboards and very little band. Personally, I find it superior to "C'è chi dice no," and I also find it historically important, since here (or rather with the subsequent celebratory live "fronte del palco") the first Vasco officially ends, giving way to the "Vascorossi industry"...

beautiful album, as often happens, unjustly mistreated by pseudo-intellectual criticism. there is, simply and grandly, what has to be there...

allow me a respectful disagreement on the motivations, and an absolute agreement in rejecting the Christmas spirit and opportunism of the operation (and all similar operations...). the album is beautiful because Conte is a genius, and everything he touches is gold, but the disagreement lies in the quality of the group... (a topic already discussed elsewhere). PC insists on dragging around this bunch of soulless little professors around the world, not even the faint shadow of the great group that once was (100% coinciding with that of Guccio...). these, led by the wooden Di Gregorio, the most unmusical and limited drummer/percussionist I have ever heard, with an obtusely conservative formation, completely devoid of swing (and I'll stop... for God’s sake...), are a band absolutely unworthy of the lead actor. Unfortunately, the genius Conte (who is and remains a genius...) chooses musicians worse than Mina chooses her songs...

because...doesn't he deserve them...?

I heard it and found it beautiful... I don't agree with the criticisms of the new arrangements, which seem quite interesting to me... (of the greatest classic... if you think about it, there's never a need...)