primiballi

@gardy: yours is a passionate/generational judgment... "liberi liberi" is an album I love very much, but it’s messy, written without much attention and with too much electronics (there’s a "live" drummer only on one track). The genius Vasco (who I’m sorry to say you don’t think so, but he’s also the one behind "bollicine", a ridiculously aware, deliberate, provocative anthem) who outshines any Rino Gaetano in the salad, is the one from '78 to '83. Pure genius, the only true leap forward, or rather "elsewhere," compared to our traditional French/Cohen singer-songwriter scene (which, as I believe you know, I love very much). From then on, Vasco will alternate modest albums, more or less beautiful, more or less "real". All, however, entertaining, at least in my opinion. @lux: I could counter almost everything you’ve written, but I’ll limit myself to a "banal question even in the '60s"... do you think the '90s were superior to the '60s? In other words, are Afterhours and Oasis better than De André and The Doors...!!!??? Explain a bit, come on... kisses.

Thank you, Gardy...I am like the outstanding pianist Renato Sellani...I have a cult for the "intro."

True: I primarily work in family law, and the things I write (not just songs and blues) are definitely inspired, perhaps indirectly, by the realities (sometimes hilarious, sometimes dramatic) that I encounter...

@iside & others: that producers are cowards, retrograde, fearful, and unprepared is a certainty. There’s no arguing that. The only one who got to me, for instance (long before I became a lawyer, at the end of the '80s), is a guy - then very significant, now pathetic - from Milan, who, because I have a hoarse and rather powerful voice (now my group delights in a tribute to the Boss), wanted me to perform a Sanremo painted by a Black person with a choir of Black people painted by white ones behind me. I understood that it was over, in some way, and that the value of what you propose is practically zero. Nothing came of it, rightly so. Today, my judgment is surely influenced by affection, age, and the reassuring aura that some can still give you, but I remain deeply convinced that the weakest record of Guccio, for example, is extremely stronger, well conceived, and well written than the best of many acclaimed ones (for example, with respect to those who love them, I mention Afterhours). But perhaps, I repeat, it’s my loving affection for the concept of pure singer-songwriter, which might still exist, even on a mass level, if producers were braver and less foolish. Kisses to all (@muitosaudosismo: almost all of us avv play because, as young people, we dreamed of something else and we have a present, no matter what many think, from which we have to "escape" as we can...)

@zzo: sorry for not replying. You're right...; so, let's take it step by step. First of all, I've always thought (the title track of this album is an example, just like the first two albums and vol.8 written for -more than with- De André) that the debt is greater to Cohen than to Dylan. He borrowed the "fake blues" and the refrains from Dylan, but the great love, perhaps not so openly confessed, is Cohen. Regarding the "pension framework," I obviously disagree. Being a singer or songwriter is just like any other job, or at least that's how I see it. If one can still create beautiful songs with 4 chords... well... why shouldn't they? I work (besides being a musician for pleasure) as a lawyer... should I stop writing citations or pleadings after what are deemed to be the best-written ones... I don't think so. Besides a more "elevated" line of reasoning (or what I consider as such), that is, I firmly do not believe in retirement, in the concept of retirement. Everyone should do what they know how to do until the Great Step. Amen. Anyway, I too am satisfied (very much so) when the discussion takes place in a civil manner: Thank you.

ghemison, discussion closed. We don't understand each other, and I think we'll both sleep on it without losing sleep over it...as for me, I neither hate, nor despise, nor detest anyone or any idea...but, you know, everyone reassures themselves as they want and can (including finding something great in the miserable Italian music of the '90s - the names you mentioned are well known to me, and I find them quite modest - and criticizing the fathers of Italian song). Alright...kisses always and anyway @nickman: I will read with great attention (and, as you can see, get ready for a tsunami of criticism from the devotees of Gaetano and his grandchildren...)

@cacchione: I love Vecchioni so much, his latest work is good (in my opinion not excellent) and I consider good Roberto to be a secondary figure (even though he has written gigantic pages) because I judge the top tier to be only Faber, Conte, De Gregori, and Guccini, with a doubt about Fossati. @ghemison: I could counter that my ancient world made the history of music and singer-songwriters, while this is just creating mass idiocy and cult for a very few (which, objectively, doesn’t seem comparable, neither as a system nor as individual artists)... but I prefer to point out that you didn’t mention a single name...? Don’t you trust my wide-open ears? If you knew me better, you would trust me. @tobby: thanks.

It would all be dignified and fair if you carried the opinion of God in your mouth. While yours is just a small opinion, like mine, from little people with a passion for music. It simply seems to me that in the comments of many of you there is a substantial lack of respect for others' ideas and a total attachment to your own little modern world as the only and the best. I, being old and getting emotional when Paoli sings with Rava, and even liking Vanoni, make a sober exercise in modesty and guilty ignorance and ask you: can you name a few artists you consider valid in the post-Capossela...? I swear I will listen with my ears wide open (those who know me know they are very open) and I will tell you, listening without prejudice. Kisses.

And I add, have you seen my reviews...? all of them? just big well-known oldies...? hmm...

Dear Ghemison, that I review the old, that they sell, write and record again, is simply called democracy. Many of you young people (of any idea, regardless...) don't like it, and that's not a good thing. That I say an old person, even if not in shape, today is often better than a young person at the peak of their form is an opinion, I hope as respectable as all others. Certainly based on the fact that everything has a beginning, development, and end, and there are no reasons why pop music should be an exception. It's a long discourse; shall we engage in it, or shall each of us stay behind our reassuring walls...?