primiballi

You made me say what I haven't said: I've never taken commitment as a distinguishing criterion between singer-songwriters and non-singer-songwriters, nor as a common denominator for singer-songwriters (Conte, my absolute favorite and the one I relate to the most, when has he ever been committed...???) and in no way did you respond to my modest observations (in short, you chose the easy path of the schematic). Anyway, guys, we do this either to talk or (I would hope, every now and then...) to reason. Maybe you'd be better off, under certain reviews, writing "abstain if not devoted." You would be more honest. Kisses, no hard feelings. PS: you're rambling about Battiato, but if it makes you happy...

No, the point is solely about immersing oneself in the era, being forced (unfortunately due to Gaetano's death) into an "ex post" evaluation, which should not take the present into account (and the present includes re-evaluations and -for me- over-evaluations). At the time, Battisti, Battiato, Conte, Guccini, Dalla, DeGregori, Vecchioni, but also Bennato and Daniele, as well as, of course, De André, had all expressed themselves better (and were expressing themselves better). With this, Gaetano was, in his own way, great. But even back then he was considered lesser, and I am surprised that those few (around here) who were of age at the time (and perhaps a bit more...) do not recognize this. The discussion is, indeed, about the concept of singer-songwriter, whose "etymological" interpretation, dear happypippo, is simplifying and, in my opinion, degrading. "Cantautorato" is a musical school, pure and perfectly identifiable; otherwise, even Nek and Giorgia could be defined as singer-songwriters. It is not enough to write music and lyrics to be a singer-songwriter, just as it is not enough to drive a Ferrari once to be a driver. To become part of a school (and it seems you are not naive) means accepting its tenets and stylistic elements, perhaps seeking to develop them, innovating or maybe just engaging in filology, but certainly it is not sufficient to buy a camera to be a Photographer (enough with the examples...). The means are confused with art... too easy...

One must consider whether to classify Gaetano (whom I like, even if some prefer to believe otherwise) as a pure singer-songwriter (and then he is objectively a minor figure), as an ironic and self-ironic singer-songwriter (in the style of Bennato in his golden years, which is debatable), or if we consider him an outsider (and then he escapes any classification). If we lean towards the subjective, which I hope - even in this Ratzingerian era - is still fully valid, I must say that, while appreciating him greatly, I see better music, better lyrics, and better voices from the same era. That's all (and no one laughs at funerals, but we simply try to think about how early funerals serve to beatify... try to think of the good Pino Daniele, who died - alas for him - after "Musicante"... what would be said today...)

They messed it up (in my opinion) by putting together as an album all the various collections of old 45s...I think...and there are 2 live albums by PFM, one from the 91 tour and two from the latest one (and that makes 5...ugh...). Anyway, already in today's Repubblica, Yoko Dodori mentioned that they were looking for material to "assess a possible release" when they found these 3 songs. A babe (or ex-babe) doesn’t disgust me, but morally we are in that territory...(of disgust). But, according to you, why did Faber keep them (for about 30 years) in a drawer? To publish them in yet another collection/swindle...? Or perhaps because he had discarded them...? Here we happily flutter around the only thing that matters: the artist’s will. What a shame: and I still don’t understand the enthusiasm for these operations (also represented by someone on these pages...). But download the official albums, just as they were released, which is the only morally worthy and artistically deserving operation...

I courageously reiterate my (absolutely minority) opinion: RG is, in my view, a sharp, talented but modest singer-songwriter in the excellent national scene of his time. His early death and other details have turned him into a cult figure, which he actually isn’t (and certainly wouldn’t have been had he survived), providing a classic example of the concept of overvaluation. I repeat, it’s an opinion (which, I fear, is madness to express here...)

The same argument made for Dalla (elsewhere) applies here: Vasco, the real one, goes from 1978 to 1983; during that time, he is neither pop nor melodic rock: that is simply an alternative path to Italian singer-songwriter music. After that (and you’re right there), it’s pop with guitar solos on top...

I repeat (in summary): a record that can only be deemed excellent by those who don't know the true Dalla or who (perhaps knowing him) are under 25.

I'm sorry, Poletti, but AS deserves much, much more than this (perhaps it deserves a dignified silence/listening)...who knows...

Help! It's breaking news today that the wicked and beautiful (like all princesses) Yoko DoDori has found a little box with recordings of the young Faber. Fuck and double fuck. Help!

your judgment is -alas- excessively generational...: the album with which you get to know an artist stays with you, regardless of its quality (especially if you are young). Dalla, here, starts to fade. A few rare flashes of greatness, but trust me, do the least trendy thing in the world: get "com'è profondo il mare" (album), put on your headphones and listen. Listen carefully, to the lyrics, the music, and the arrangements. There lies the greatness of that genius who is (was) Lucio Dalla.