voiceface

It's possible to create intelligent mediocre music and excellent stupid music... Laura Pausini falls into the first category, as she sells tons of records and just won a Grammy... As for the reviewer’s somewhat trivial and faux-ironic comments, I’ll only address the theory on simple chords, remembering that many cornerstones of world music revolve around a few major chords...

What can I say, Morricone is a colossal composer; the fact that he hasn't even received an Oscar so far is outrageous... although considering to whom they award them lately, maybe it's better this way...

the umpteenth band that was supposed to revive rock... it seems to me that the reviewer is convinced that it was the Libertines who brought it back to life. I don't know, I just observe how many pop and rock bands from England have emerged in the last decade... but if I had to speak highly of one, I would have serious difficulties, and not just from pure ignorance...

With this, I'm done, at least in this topic, I swear... I was reading an article by Lucarelli yesterday about Tenco, who noted how the late singer-songwriter had all the traits of a cursed star. OK, he didn't do rock, but when it comes to existential discomfort, talent, and untimely demise, he had and has all the qualities to be a worldwide legend... Instead, he went down in history as a poor, depressed loser who wrote a few good songs, and no one outside of Italy gives a damn about him. Good. This is what we need to avoid: trivializing our greats, idolizing myths we don’t even understand why they became such, dismissing enormous local talents as clones or imitators of much greater foreign talents. I am a fan of Pink Floyd, Smashing Pumpkins, Queen, etc., etc... but I think that artists like Capossela, Battiato, Battisti, De André, while not having a huge market, are simply envied abroad... instead, it's us who don’t appreciate them enough.

I agree with Fedo...he's amazing live, and it's a shame he has lost, hopefully only temporarily, his creative spark.

Right, but I see that we’re starting to think... the taranta wasn’t invented by Waits, one down...

Maybe when I say that the cultural level of Capossela is higher than that of Waits, I'm being presumptuous, and I'm willing to admit it. However, I will not concede in any way the equation Waits=Capossela. Because this means having listened only to Waits and Capossela and nothing else. It’s not nationalism; it’s yesterday’s news that the Chinese have finally admitted that the map certifying their discovery of America was false. We Italians were already about to forget Columbus. This is exactly what we must not do: give in to the idea that others are better, cooler, and surely more credible than us. Not least in music. Waits is an enormous singer-songwriter who has drawn heavily from other music, other authors, other currents... Capossela has Tom Waits among his references, but he is only one of many. In short, we’re talking about someone who borrowed dozens of instruments from a museum of ancient musical instruments to enrich the sounds of one of his albums. But how can you think that such a talent exists only because Waits existed? What does Waits know about taranta? About Balkan music? About Duysen pianos? About jazz nuances?...oh, maybe he knows something too, but why deny Capossela the status of the greatest contemporary Italian singer-songwriter? And among the greatest there are around? Why tarnish an immense artist with the story of the Tom Waits clone?...there you go, we are the usual Italians, those willing to lower our pants even with the Chinese, ready to take the dry shit for gold...regards, voiceface, who will never back down on this...

I respond publicly as I did privately... I, who am neither an Einstein nor a fool, tell you that I would never have had the stomach to publish a review like that on one of the most important repositories of knowledge that can be found on the web... so perhaps the one who thinks of themselves as an expert is not me.

no, your sister...

ok :-)