primiballi

Micropost dictated by the rush of the morning work-family routine: I already see that Marpado (more aligned with me, honestly) is doing an analysis and making distinctions, while Stoney is essentially saying: Pausini and Vasco are the same, all crap, Italians are sheep and I know what music is, and that isn’t it. In short, a moderate and a maximalist. And this is not inherently a bad thing, we just need to talk about it. Later on, I’ll intervene more extensively. One question for Stoney: can you name 10 (there are, right?) artists of great, if not immense, fame (not cult stuff, we can all appreciate that) that you truly love and consider historically important? Let’s say from the '60s to today (or even earlier if you prefer)? Catch you later and sorry for the rush...

That the market commands and directs where it wants the tastes of the people is an absolutely established fact. That little Italy is mostly filled with sheep, too. But to say that everything that is "in" the market is shit... well... that would be a mistake that hides some compulsive little vice to be uprooted thanks to a good psychoanalyst... What I mean to say is that I’m among those who prefer to think (or at least... try) about social/cultural phenomena. For example: Pausini and Vasco fill the stadiums for the same reason, and for the same historical reasons...? Is the audience the same? 15 years ago would they both have filled them? In short... questions and answers, provided one wants to... obviously... Kisses.

worse: Brass, if nothing else, has surrendered to that ambiguous goddess that is (porno)goliardism, and we could discuss it for a hundred years... Argento has lost technique, soul, and talent... stuff that's almost impossible...

if nothing else Vasco, at your age, had doubts... you seem like final judgments... but is this a place where we can discuss music and cultural phenomena or is it a bulletin board for personal rants and (far too often) ultra-teenage ones...? bah (and I remind you that the review, if you read it, I wrote it, and it is anything but good or politically correct... it's just that insults are a weapon too, too easy, and often very weak...). You (we) insult (insult), and Vasco and Pausini fill the stadiums. Do we want to try to understand why or do we just throw up our hands in frustration and move on...? kisses

check out the various trailers on YouTube...I don't have a good feeling about it

@stoney: unfortunately, it's as clear as ever. You write: "Vasco can be innovative and original only for those who have never even heard of rock." Well, I (unfortunately for me) am certainly much older than you, I've known (and played) the Stones, the Led, and many others in times that were absolutely not suspicious (to put it into perspective, for me grunge is already a declining phenomenon). Yet I believe the comparison with Mondo Marcio is totally flawed (at least, let's be clear, if we’re talking about Vasco between '78 and '83). MM is pure trash, meaning a failed imitation of a different, certainly higher model. Vasco in his early days was original in the most logical sense of music, as a puzzle of other people's ingredients mixed with self-irony and a distinctly provincial Italian sense (especially Emilian). We can't say that some things (i.e., mediating Americans with our land) are only okay when - very well - Capossela does it. Vasco did the same thing in another field. As for the overall discussion on Italians' critical sense, I fully agree, but I would apply it much more willingly to people like Pausini, Bocelli, Ramazzotti, Negramaro, and the like... (all people towards whom I don't notice your saliva dripping... why is that?). Maybe not you, but I feel more horror when San Siro is filled with Pausini...

From phenomena (included or excluded...?) to today, this and trauma are certainly, if not the best, the least horrific. The paper man, on the other hand, is definitely the minimum level, with that absurd air of a poorly shot and poorly acted TV show... let’s hope for the third mother... but I have many doubts.

a very valuable mention for a record I don't know (alas...)... I will make amends. I know the protagonists very well, having listened to and bought their music many times (I have even met them in person, especially Petrin, from whom one of my musicians went to specialize for a long time). However, you mentioned two supreme records for me: radici and in cerca di cibo, truly sublime. Well done. Nice review, and as always, well written.

@stoney: do you see that you contradict yourself? Whose imitation would Vasco be? Vasco's problem is not of an "imitative" nature, but rather of inconsistency in content from the mid-eighties onward. But before that? Denying Vasco the fact of originality between '78 and '83 is a rather objective historical mistake, in my opinion...

I subscribe to the above, albeit in different terms: this is a record of pure "fusion" in the etymological sense, which has equals, as I have already said, perhaps only in "shadows & lights." It is a brave work and one that has never been repeated. In summary, it is an album that is not only important but also beautiful, indeed: stunning (let's say that the first judgment aims to be objective, the second is my own, though I believe it to be justified…).