primiballi

I have always had an idea…: this album was born with Faber already ill, and it was a bit “stuck there”… However, how can one not be moved by the “Tarantino-like” circularity of a career that closes with a rearrangement of Marinella's song (you could have talked about it a bit…) that is absolutely perfect, which wraps up Faber's studio work practically with the notes that had brought him success...? For me, this version, along with “smisurata preghiera” at the end of anime salve, proves that Faber was from another world, and that destiny exists…

and I greet you yes... indeed! Sorry. Let's be clear: what I meant to say is that Vasco, as I have loved him and for how well I know him, was great, for me he was truly exceptional, between '78 and '83. Revolutionary, new, not necessarily beautiful (free jazz wasn't beautiful, but it was revolutionary and new... Vasco was quite bothersome and spoke a new language compared to other singer-songwriters... certainly less sharp, less cultured, but definitely not trivial, even if the transposition of lyrics from that time may seem trivial). To put it provocatively, Vasco of that time, like Bennato of that time, was light years ahead of the much-praised - and in these virtual pages decidedly overrated - Rino Gaetano. Then he became successful, and he couldn't handle success as no one ever can (brilliant exceptions like Faber and De Gregori, or Conte, even though Conte was never "mass appeal"). What he offers today is an incredibly efficient and entertaining industry, certainly less harmful than Amici della De Filippi in the squares and on the TVs of Italy. Then you can enjoy it or not, but trust me, the kids who go crazy for Vasco there will think differently in a few years and will listen to (also) other things. Or maybe they won’t listen to anything at all anymore. But in all this, I see nothing wrong. Absolutely nothing. Some reactions, those yes, seem to me pure hysteria (obviously, marpado, not yours, as stylish and affectionate as always, and very well reasoned). Kisses

Dear Stoney, seeing you get mad is one of the funniest things of the week... I had forgotten the flavor... I wanted to go back to reviewing some jazz.. but I’ll do a couple more of the Blasco, because I’m really into it and you’re not (you like it this way... if you want I can keep going, so you can confirm all your ideas and your next Marletta will turn out better, love yourself, love yourself, and love yourself again)... kisses, you’re amazing... even Bowman doesn’t joke around...(by the way, young lad of the classics with Benigni's DVDs, if you can, regarding Italian literature, mention Pavese, Buzzati, Calvino, not those wankers Dante and Petrarca, please... assuming you’ve read them, of course...). Kisses (really: casting these hooks with Vasco is just too, too funny)... fix Sunday... arribaci

a little food and wine observation...: rather than a pizza, I see myself with the cugini di campagna at 150 euros. Kisses

Who do you want to influence...? Take the "Pausini case"... the only Italian to win a Grammy (though I'm not sure what that's worth...) considered by everyone to be a great singer (while she is just a loud girl who grew up, with whom the loud girls who haven't yet grown up identify, and nothing more), sadly a symbol (it's certainly not Paolo Conte, unfortunately) of Italian music in the world... Look, Ramazzotti and Pausini have destroyed Italy's musical image, perhaps irreparably; we should keep Modugno and even Celentano for a thousand years... Vasco is a national phenomenon, in my opinion less harmful than detractors believe, and also quite entertaining. For me, one of the mistakes/horrors is precisely asking Vasco to be De Gregori, which he is not, has never been, and will never be. Vasco was a genius boy and a bit toxic; today he is a splendid fifty-something, somewhat of a freak show, entertaining and with a few rare flashes... so, in the end, this is how I see it... (@Tom: as always, I agree with your post)

@umbertino: the discussion would be complex... Basically, when talking about regression, is it more damaging that Vasco, who, more or less, has been saying the same thing for years, or the various Pezzali-Giorgia-Britti-Pausini (I could go on forever, up to the heights of tatangelian-d'alessiane) who have given and are giving the world this wonderful vision of Italian music...? The discussion on regression, applied to Vasco, in my opinion doesn’t hold much... Instead, it would be useful to focus on how much and in what way the music of today’s Vasco, yesterday’s, and the day before yesterday’s is actually music... but that’s an exegesis that is far from obligatory... right? In my view, the greatest damage has been done by others, and I would see real regression in Bocelli bringing our music back to a pre-Villa phase, not so much in Vasco, who is doing his thing in the house (of everyone)... but I could be wrong, of course... Kisses

@iside: good to see you again! "too old for these games"...nice...and true! Anyway, I closed my blog because I couldn't keep up with everything (even now I'm writing frantically between one thing and another) and mainly because it was a desert (except for a few debaserian friends...)... Now the intention would be, among other things, to write a few more reviews here...where the debate, one way or another, is always very interesting. Kisses

beautiful but incomparable...

Look... the technique of Guccio is practically absolute. He is brilliant at "manipulating" words, has a soul for sale, and an incredible taste. For me, his unbeatable peak, from every point of view, remains "autogrill." Of course, "Odysseus" is a great piece, and we are still talking about giants and beautiful songs...: certainly Fossati (anime salve is mostly his) is Genovese/Piemontese, and Guccio is from Modena (that is, the former writes the essential or very little more, the latter is pleasantly verbose) and therefore perhaps the "technical" comparison is even improper... In any case, I repeat, we are talking about all beautiful things. Cheers link rotto

In fact, Battisti was not ahead (if he had been ahead, the others would be there now... not singing like Pausini or pretending to be singer-songwriters like Britti or Giovannotti...). Battisti, I have always maintained, was "elsewhere." Like Bowie and very few others. link rotto