primiballi

I repeat my: (very high) quality record (and I believe Guccio would agree...)

Well... it may be a piece of crap, but if it made beautiful songs I wouldn't give a damn (with the utmost respect for your friend, obviously). I don't question whether Picasso, Jarrett, Kubrick, etc. were good people. Think about it: it's totally and absolutely irrelevant. Kisses

@ales @stoney: I almost forgot the "rewind" video...! I risk eternal flames if I say I like it not because it references Bertolucci (and the stunning Liv...the most beautiful teenager in film history) or because it has an amoral text (...???!!!), but simply because she, the protagonist, is an imperial babe and moves soooo well ??? (tell me how many lashes I should inflict upon myself, and I'll take care of it... obviously, ales, I'm not referring to you). Kisses

Yes, undoubtedly a non-canonical receipt, well written, far from my taste (but this, of course, is not a problem). An absolute record, the latest one, in my opinion, from Waits' "evolutionary phase." After this, he will repeat himself, at sublime levels and as always very high, but he will repeat himself. Kisses.

A nice, fair reception that inevitably makes you feel old: well... let’s say that if my daughter, one day, thought like you (right now she’s just too small), I would be happy (and I believe this is a compliment). An album, of course, fundamental, one of the peaks of Waitsian music.

obviously Copeland

The real doubt, having also downloaded some stuff from Mulo, is: Are Summers and Copeland still themselves, completely? At times it seems so, at times some doubts arise... I obviously have the (very expensive) tickets for the Delle Alpi.... We’ll see, we’ll judge, we’ll definitely review.... (technical note @misterno: but isn’t Summers' solo in the "police" version of "bring on the night" better, more dramatic, more "crazy" than that of "message"...?)

Regarding the discussions that were held, and with the editors' permission, I would like to point out a "mini-depth" of mine on the subject: Erectill 2

@stoney: you are firmly convinced of your ideas, that’s clear, just as it’s clear that they have been understood well. The conversation to be had is another one, at least in my opinion: in other fields we are (or rather: we have been) at Christo’s packages or Fontana’s cuts, like the screams of Ornette Coleman on alto sax. In others still, we find the trills of Villa or, more recently but no less annoying, those of Pausini. The doubt is this (and, for me, it cannot be resolved with two slogans - neither for... nor against): Is Vasco (or has he been) just a cultural/freak show phenomenon, or has he also been an expression of contemporary and "post-classical" singer-songwriter culture? This is the doubt, in my view. I, in a democristian manner and risking to upset everyone, say that he has been both an author and a freak show. Lyrics like "siamo solo noi" or "canzone", but even "Toffee" (I imagine what you think of it…) have an absolute perfection, in their context, and also stylistically; obviously very linked to the moment, but they possess it. Certain other songs or especially the whole industry around… well… that is what it is: Mirabilandia. There are those who go there and have fun, who are drawn in, and those who wouldn’t set foot there for anything in the world...

because being three and having "message" a riff that you just can't skip, you either do one or the other. At live earth they had a supporting guitarist...: did he do it, the solo, Summers...? I'll go check and then we'll talk.