primiballi

@azzo...: didn't he open anything??? the discs with sounds "cloned" from tutu, then and now, are countless. Before tutu, of course, sound was unthinkable: here lies the historical significance, and here’s my point (which I refer to, obviously) on the importance of being there... It’s a bit like saying the Beatles didn’t invent anything after having heard them post-Oasis...(on the corner, a huge album by the way, is currently very trendy due to the beautiful box set - which is wonderful - but it was in absolute ignorance and underestimation, and I fear it will return there, unjustly)

Guys, how nice to see that some still believe in the honesty of Sanremo, ignoring the "tariff"… well: I would never dream of telling my daughter that Santa Claus doesn't exist… Anyway, precisely because Ruggeri is an intelligent person and a highly capable songwriter, he cannot ignore the "commercial" nature of things like Mistero or Si può dare di più… it’s precisely in the acceptance of compromise that the devil hides… (today I’m feeling apocalyptic… pardon). Ah… @dj: parallels are not really your strong suit… to love true auteur music and detest clowns like D'Alessio, do you need to read Hegel? Is this the current Italian problem, either the ignorant or the intellectuals: in the sixties, Italians listened to Tenco and De André, today they listen to Tatangelo, Ramazzotti, and D'Alessio… they read Pavese, today Moccia… shall we continue?

Thank you all. @pamparius: too harsh words, in my opinion. Criticizing "Amandla" (which I personally like very much) very well and "Tutu" very poorly is contradictory, as the former is practically the sequel of the latter... In the eighties, however, I would mention a strong interest in "Siesta" and "Hot Spot." For the rest, it would frankly be nice if the review pages discussed the review in question or, at the very least, focused on music... link rotto

I share: the perfection of that absolute work of art which is the song, the song form, is made precisely of great compositional and literary quality, yet capable of reaching directly to the heart. However, the matter changes with the era or, rather, with the bearers of the heart itself... otherwise we are forced to say that Alessio is great, which he is not, but he is just the right idiot at the right moment (historically very wrong). In short: there is Song and there is song.

thank you all, for now. @supersoul: I give it a 4 because I obviously reserve a 5 for kind of blue..., but giving a 3 to Tutu would seem, to me, diminishing. True: there's a lot of Miller, but there's also a lot of Pagani in Creuza, or a lot of de Gregori in Vol. 8, but the signature made history, didn’t it?

ok: offer accepted (guinness). However, let's finish the discussion: "Caruso" and "that one..." must also be evaluated based on whether they were listened to back then, pure and unheard in an etymological sense, or now that they have been chewed and re-chewed in every way possible. This applies, for example, to "l'anno che verrà," which has become perhaps an unbearable anthem but, I assure you, back then and live, was simply stunning. As for "si può dare di più," in my opinion, it is an absolutely terrible song and an unforgivable sell-out, something that first-tier singer-songwriters (Conte, De André, De Gregori, Fossati, ...) have never done and would never do.

I wrote "doubts," I meant "tastes"... Freudian...?

@dj: of course it wasn't a criticism of your sacred right to have doubts... of course not... It was just to emphasize that, in my opinion (and my tastes...), Dalla and Fossati are incomparable because they have exactly opposite careers. (Then, of course, I absolutely love Ivano's albums, the early ones included, mind you..., while I don't care for Dalla's latest ones). Kisses

my boy, far more than charming. Meteors indeed, but show me today meteors with this exquisitely melodic ability (in a veeeery high sense...)... link rotto

Ah, Caruso. Dear DJ, I disagree on this. For me, Caruso is truly the last great song by Dalla, where there is Italian harmony, beautifully constructed lyrics, and a desired and very Italian rhetoric. A splendid song, beautiful in its original interpretation, which then even Lucio himself, completely spaced out (or almost), contributed to ruin with various Pavarotti (numinandal da viv) and with the thousand authorized covers that are pathetically tenor-like. The singer-songwriter tribute to Caruso in itself was, however, immense. Obviously for me... link rotto