primiballi

Regarding the resemblance to Bennato, I noticed it at the first listen, but attributing it to blame rather than malice, I didn't mention it. Nevertheless, it's true, even if the song takes a completely different path almost immediately. As for Bowie & Barrett, with whom I enjoy chatting, I observe: your position is strange: on one hand, you seem like an absolute purist (your opinions on the Duke flirt with musical Talibanism... I'm much more open: I even like reality... it's up to you...), while on the other, you hide behind a "make way for the new forces" which, in its banality, does not do you justice (I say this with the utmost personal respect, otherwise I wouldn't even respond...). Is it so difficult to admit that so-called light music, like all events, not just cultural ones, has a beginning, a development, a peak, and an end...? Today, what we have in front of us is not great light music (for me, but it's debatable, from around 1968 to 1983), but a zombie kept alive by the market. Therefore, when someone still creates something good (mind you: good craftsmanship, nothing more...), I am happy with that, not ashamed to realize that listening to old records is a wise and necessary activity to truly hear something - back then - innovative. I believe that, in summary, the phenomenon of light/rock/pop music has largely peaked. And I haven't seen any new ideas for a while. The socio-cultural environment in which today's twenty-somethings grow up does not seem stimulating enough to create anything that hasn't already been said. I swear I would be delighted to be proven wrong (with examples, not of course with slogans, but I'm at ease, since you understand the level of the discussion). To you.

Maybe it's that Bowie, who is at least twenty years older than me, has a physique I can only dream of... but... from every angle... to get there like that!!!! I repeat: from every angle. Having seen the DVD of the reality tour, what could one possibly argue...?

I repeat: cammariere and britti under the same (tattered) umbrella. Sorry if I seem to be bragging, but I've been playing for over twenty years, I had a jazz radio show, and I've been managing the municipal music school for over six years, so I believe I know a thing or two about music and musicians. Well: cammariere is the bluff of the century, a decent piano bar pianist and nothing more (let’s not even mention jazz, please…). britti is a commonly good guitarist (sure... medium-high level): in the school we manage, there are at least a couple at his level. Luckily, there seems to be no doubt about the crappy songs... Then musicians are judged by the product they offer; judging them is certainly not exclusive to the neighbors who eavesdrop (come on....) (PS: I endorse dreamwarrior)

I almost forgot: and the eighties of the singles...? and this is not america and absolute beginners, where do we put them...?

I may be biased, but this man from music history couldn't possibly release anything less than extraordinary, not even if he made an album of body noises (just like Roger Waters didn’t…). Anyway, the album is decent. I absolutely agree with the excellence that shines through the judgment regarding Flowers in the Dirt, a frankly beautiful album.

I would avoid interpreting the texts, partly because it’s probably right for everyone to see a little of what they want in them... Aside from this, I want to reiterate that the album is quite good, and better than Miramare and Canzoni d'amore (but perhaps the rest of the production is all superior...the first three...then...divine, although there the debt to De André and especially to the early Cohen seems at times a bit evident...)

here: better than Liga's guitarists... one of the usual Italian vices: in the USA, or in England, such a statement would horrify enthusiasts: according to this principle, Steve Vai is the best of all and BB King the worst. Want to bet on who will go down in history...? Trust me: britti is decent with the guitar, but atomic fluff in everything else, a bit like a waiter with a piano. Don't be fooled: there are plenty of people like that (medium/high technique). It's style and personality that matter, not technique.

Perhaps Vieri deserves the money of those who wrote "Yesterday"...? Beyond provocations, I've been trying for some time now to evaluate solely and exclusively the product I have in hand, absolutely regardless of promotion, industrial mechanics behind it, and so on. I even try not to let the personal history of whom I'm judging affect me (and I know, this is quite difficult...). The fact that there is an industry revolving around Macca, and that he makes money by the bucket, doesn’t personally annoy me, or at least not more than a little. Certainly, thinking that Timberlake or Williams are probably making more right now would be useful to close any discussion. In conclusion, I find that Macca, who has always been a bit of a nerd and always will be, is an honest songwriter and musician, who has had to manage on a large scale (in my opinion) the fact of being the only surviving genius of the two.

Beautiful: the usual talk, it was mandatory to speak badly about it, but it was an excellent record. It's also true that MK on his own has done even better things since then.

a character that is absolutely lacking in depth, who they are now trying to sell to us as a singer-songwriter. I admit I don't know the album, but the single is more than sufficient for me. I also agree about the overrated guitarist: in every provincial town's media, you find at least two or three guitarists like that. The only noteworthy point is the undeserved elevation given by Mina to one of his songs. The rest is pure monument to Fuffa.