donjunio

Great job, Sanjuro (especially in the reference to "Big Long Now," one of my favorite Nirvana tracks, although it is incredibly overlooked). This review was exactly what was needed.

Mythical Jerry Drake, hero of my childhood, you take care of it then. I was thinking of doing something on Buffalo Springfield, or at the very least déjà vu.

Dear wrecking corrections, thank you for your comment. I believe the purpose of "de-reviews" is to cast a hook, to suggest the recovery of groups that received less than they deserved rather than engage in the comforting review of the known. The case of Satchel is emblematic, as they were forced to disband precisely due to lack of commercial response. I myself bought "The Family" second-hand a few years after its release, only to fall in love with it. I hope someone can follow my example.

vote

The MTV Unplugged operation is intrinsically commercial only in the way it was marketed, between Cobain's death and Christmas. For Cobain, it was an attempt to break free from grunge, to create the only type of music that interested him, as he was now wearing a t-shirt that read GRUNGE IS DEAD: the acoustic one, inspired by R.E.M.'s Automatic for the People. The acoustic dimension as the ideal gym to exorcise ghosts and anxieties, indeed. This was the music that Kurt would likely have played if he hadn't killed himself. If he had really been "dangerously tamed," as our wrecking-ball friend hypothesizes, he would have continued to churn out grunge laments, just like Bush and Silverchair would soon do, becoming billionaires.
After all, with In Utero, Cobain had already tried to close the door to the easy hooklines of alternative rock at that time. He only succeeded partially because Steve Albini's production was diluted by the record label.
I don't think the sound of this Unplugged is aseptic. It would have been if Cobain had done unplugged versions – thus sweetened – of grunge anthems like Smells Like Teen Spirit, Lithium, or In Bloom. Like all the bands that took on MTV Unplugged, for which it was an opportunity to create a nice greatest hits in disguise. It's an album marked "works in progress," but which – of course, de gustibus – precisely from this uncertainty, from this putting oneself on the line clinging to the most fragile emotional threads – provides truly remarkable moments, particularly in the reinterpretations of the Meat Puppets or Leadbelly, or in a spine-tingling "Pennyroyal Tea."

Dear Luca: When it comes to fairy tales being put in people's heads, no one beats Ramazzotti. It's been 6-7 years that the media have been shoving his "troubled" love life down our throats, complete with a set of seven, lovers, children, etc. Covers on weekly magazines, in-depth articles even in Repubblica and Corriere della Sera, news segments on TV, even the reunion with his girlfriend at the Telegatti before he sang an awful song. And it's repeated in every possible way that these events have inspired his work. One doesn't need a master's from Bocconi to understand that it's all a marketing scheme. Given that his albums sell in hundreds of thousands of copies, it's clear that others are the ones believing in fairy tales.
Musical chapter: it's evident that most users of this site listen to different music, so for many it would be completely redundant to explain why an album like this sucks. Alex 77 has lovingly taken the trouble to explain it to you. Personally, I limited myself to asking for clarification on the meaning of a phrase like "the melancholy of our fathers in search of lost energies and friendships that we never see." A phrase you deemed highly mature, but which is primarily incorrect from a grammatical standpoint. Then again, perhaps I missed Eros's Quasimodian evolution. If these are considered mature lyrics, well, you do you.

Dear Luca, I don't believe I'm biased or stuck in my ways. When you wrote about the Keane, I expressed a favorable opinion, even though they aren't one of my favorite bands. As for Adams, I've been following him since "Heartbreaker," which I found interesting. But since then, he hasn't hit the mark anymore. That's a highly debatable opinion, just like yours: it's somewhat redundant to point that out. However, someone who writes a review must be prepared for their assumptions to be dissected and possibly criticized. Otherwise, what would be the point of coming to this site? Especially for a grandiloquent review that labels the artist in question as "the most significant singer-songwriter of whatever" or compares him to established legends. You need to be consistent with your grandeur: instead of responding hysterically with "don't get stuck," discuss, argue, try to broaden your perspective. I've criticized your review mainly because it seems to me that you haven't explained why Adams is such a brilliant artist. You've only said that you like him a lot. If I'm the one stuck, then what would you be, calling someone who has been around for almost 10 years a "new talent in American rock"?
As for Nobody Girl: I haven't judged the character. I wrote that her eclecticism, in my opinion, is verbose. It's not enough to take pieces from different styles and assemble them to necessarily create something new. For example - and here I also respond to my surfer friend - I've never liked Dylan as a character. I've always found him to be a pretentious know-it-all. But he could afford it because he was objectively one of the greatest. Best regards to all.

Dear surferkangarron, I believe Dylan was a genius musically as well. Certainly, he conceived songs as an accompaniment for his poetry, but that would be limiting. He has always had a broad MUSICAL VISION, and that's what matters. From the moment he decided to electrify his songs in '65, to when he anticipated psychedelia in '66, or when he invented rap in "subterranean homesick blues," he has always been ahead of his time. When he was then joined by technically excellent musicians like Levon Helm or Robbie Robertson, he created remarkable things (just to mention one album: Blonde on Blonde). Such achievements were made precisely because he was the one directing the musical traffic. Lou Reed has also always written three-chord songs: then you go listen to a piece like "Sister Ray" by the Velvet Underground and it scares you to think of how ahead they were. The same can be said for the Beatles: without the production of George Martin, with Abbey Road studios becoming a magnificent pop laboratory, they wouldn't have had the impact we know.

Poor Eros: he still had "a heart with wings," and he had not yet discovered the scale to dedicate songs to the Swiss cow, to dawn, to the Hunziker who became a slut and is missed, to the mother-in-law, to the magician, to his lovers. Such events would make his career soar, even leading him to discover thanatos in "fire in the fire."
Anyway, Ramazzotti went down in history for a phrase he uttered at the 1995 MTV Awards. Mad as a monkey for not winning an award - despite being nominated - he exploded: "They awarded the Smashing Pumpkins: have you heard them? Noise and nothing else!"
Thank goodness they gave him the telegatto. At least that, in our marketing plan, is never missing.

Explain to me what the phrase "Malinconie dei nostri padri in cerca di energie perdute e di amicizie che non ci si vede mai" means. Honestly, I can't grasp it.