voiceface

truly incredible how he always stayed ahead of his time, even if he didn't always reach the compositional heights of others who followed closely behind.

A few words on the initial concept of "children of art," which seems to me the only one worthy of some comment... My opinion is that sometimes talent is hereditary, sometimes. An Alessandro Gassman would have struggled if he weren't the son of Vittorio, but he is talented, and perhaps if he had persevered, he would have made it anyway. I believe this goes for many others as well; a certain Eduardo de Filippo was also a child of art... but... but... but this Francesco Facchinetti, known as DJ, has artistic merit only from his father and the name DJ... maybe a nice tattoo... and nothing more... he can't sing, he can't write songs, he can't present (on L'isola dei famosi it seemed he was just reciting a script) and frankly, he's not even very likable... so let’s say that, as far as I’m concerned, I dismiss him outright... for me, he won't have a future in show business despite his father's kick in the ass... but I could always be wrong...

It is the forerunner of '80s music, for better or for worse... the album anticipates trends that many artists will soon make their own. One example is the almost techno-music of mammagamma.

Agreeing with the reviewer, even though the album is a trivial collection of singles, we are faced with a handful of songs that represented a revolution in Italian pop music... an endeavor that Battisti took to the utmost consequences with the masterpieces with Panella.

It’s bewildering to hear a 62-year-old artist creating more beautiful and modern albums than younger generations of musicians... just as it’s astonishing to read opinions from listeners who would appear to be young, who fail to grasp the depth of albums like Gommalacca and this latest one, 5 al disco.

Roger Daltrey at the Freddie Mercury Tribute, a little before you, realized what a Queen concert must have been like, as he sang with a trembling voice I Want It All... In short, to find something better than Wembley in terms of pathos and future resonance, one has to bring up the mega group concerts like Woodstock and Live Aid... then you can think what you want.

dear friend of '86, in the year you were born, Queen were doing what is almost unanimously considered the best rock concert of all time... so help me understand what your reference points are...

I don't want to be mean to the little jedi, after all, he seems to have been born in the year I first walked into a record store to buy a Queen album, Innuendo, for the record. So we're from two different generations. I'll add a few personal comments...the track is nice but not amazing, clearly influenced by the excellent Roger Taylor, who confirms himself as the most on-point composer among the remaining Queen members. The sound really reminds me of Happiness by Taylor, a beautiful album from '94. Brian May embellished it compared to the bare original version with one of his solos, even though it's not memorable. Rodgers comes in strong with the song, although he gets lost in a very personal, less Queen-like, and rather ugly finale...there you have it...nothing to despair over while waiting for the album. The name of Queen won't be further tarnished by this track. Regards.

all things considered, there are worse things out there…

Well, I must preface that I am neither a fan of REM nor Radiohead, and I am not even a big admirer of the former. However, I wonder what reasons lead you to put the two bands on the same level and even suggest that Radiohead descends from REM. First of all, their approach to music is absolutely incomparable. REM, aside from a period in the '80s, have been anything but experimenters; they have focused on refining their style, which is the blend of pop-rock that we all know. Radiohead, on the other hand, abandoned the language of conventional pop after their first two albums; with OK Computer, they were, in my opinion, on another planet, and with Kid A and Amnesiac, they explored new territories for a global rock band. They have since declined in their last two albums, but their language remains completely detached from the standards. So, can you explain to me what the musical debt of Thom Yorke in Kid A is compared to Stipe's in Reveal?