Basettoni

Alright, alright, technically and in an absolutely impartial manner, I find the comparison between the Beatles and the 883 quite risky: the Beatles invented a genre, they created pop harmonies, while the 883 have repeated, well, let’s say reworked pre-existing music, they are a blend of melodies from early pop and sounds derived from '80s influences. Mostly, the pop of the Beatles is just the beginning of an evolution that led them to lay the groundwork for much of the music that we now so highly praise: the pop of the 883, on the other hand, is stuck right where it was invented; in fact, over time it has undergone an involution due to the obvious creative crisis of those unwilling to budge a millimeter from a genre. Of course, everyone is free to think as they wish, and the 883 can be liked or disliked (subjectively, I find them terrible, but that’s my opinion), but the comparison with the Beatles, which I have nonetheless referenced in this mini-text, seems to me to be very little relevant, historically absurd. I wouldn't be surprised if some of the guys from Liverpool turned 180 degrees in their graves or if Ringo's ears were ringing: one of those annoying rings...
Furthermore, we were talking about Capossela, not pop...

Sanjuro, subjectivity is limitless, but if you say that Vinicio Capossela speaks like a "handicapped" person (and I've listened to a long interview too), no, that's really not it. You have a way of thinking that doesn't sit well with me. Da da!

Okay, I completely agree. I just want to say that in the end it doesn't matter much to attribute Waitsian borrowings to Vinicio in every review, starting from the principle that if we look at any review of the great De Gregori, we will never find a back-and-forth like the one we just had about the plagiarizing connections between his music and Dylan's. Anyway, unless there's a different (lexical, and not conceptual, WHICH IS A TRIFLE) interpretation of the word plagiarism that has created misunderstandings, we have arrived at a common conclusion... Good... Let's enjoy both Vinicio and Waits, what a delight... and also De Gregori and Dylan... Yes, that's life...

Ah, I’ve listened to all of Tom's records... To play the smart guy, I had to (you can redo right away), I even gave a lecture on Waits at the Bologna Culture Festival. There were ten people watching it... :-)

You are really very presumptuous. I appreciate Waits more than Capossela, but that doesn’t mean that if I say this album is beautiful, I’m a fan of Vinicio and I defend him because, "ovunque proteggi, ovunque proteggi" is a copy. I have ALL (ALL) of Waits' albums and I think I know the artist from Pomona pretty well. In "ovunque proteggi," the themes don't seem Waitsian at all to me; moreover, I find the arrangements of the pieces quite original and with an experimental edge completely different from the Waitsian style. Perhaps you are judging the matter superficially: you hear a spoken-song and think WAITS!, you hear a piano intro and say WAITS!, as if those two attitudes solely belonged to Tom Waits. They tell you that "Al colosseo" is inspired by "In the colosseum" from Bone Machine, you believe it and shout WAITS! when it’s easy to understand how much Capossela feels the episode of the Colosseum and how that piece lends itself to quite varied interpretations. Vinicio has a very personal poetics that is so loaded with layered meanings that it is reductive to just point to the record and say TOM WAITS! Perhaps someone here doesn't know Waits deeply, but I assure you that you haven't listened to "Ovunque proteggi" thoroughly. And then, if you give me similar arguments, I could review a Captain Beefheart album and start poking at our Tom for plagiarism, which I don’t want to do because I find it stupid and pointless.

If I may say so, I must point out that this latest album is quite different from Tom Waits: If you tell me that the Tarantella di San Vito is an inspiration for some of Waits's tracks, I can agree. To say that Capossela is always on the edge of plagiarism, considering the depth of his art and the uniqueness of many of his compositions, is not only exaggerated but shameful...

already...

If you listen to it over and over again, you won't have any doubts: it's the best album of our

In Italy there's culture??? In Italy there isn’t a damn thing!!! Culture is about creating and valuing, discussing and above all not moralizing!!! The young people around me only know how to bullshit, and the only thing they create is crap! for Killgod: with "coglione" I meant the frog, but since you replied to me like that, fuck you and fuck anyone who ties culture to curses and who moralizes my posts! fuck off!

I'm giving you five not so much for the original content, but just because you had the damn idea to review that crap PAZZA by Aldo Busi... you're such an idiot!