Morgan

Those who want to impress with these "fake metalheads" titles, I can't stand them. (Then you'll understand: French metal whose rap is already pathetic.)

Here we go, Marilyn Manson next time.

Were the other reviews signed with the same nickname also by Korn?

Jesse Mc Cartney, Hilary Duff, Christina Aguilera... we made a grand entrance.

Yes! Yes!

to make many artists who have been making records for much longer than him envious, right! right!

Yes, I repeat that Guccini, although I also appreciate his latest album, is going through a slow decline, but the fact that there is a gap of a couple of years between albums does not mean they are bad, and this applies not only to Guccini but to any artist. Take De André, for example; especially in recent times, there was a significant time gap between albums (Creuza de ma in '84, Nuvole in '90, Anime Salve in '96), and yet all his compositions were masterpieces. The last ones are even considered the most "mature" of Faber. With this, I don't want to make any comparisons, but what you say isn't exactly fair (if that’s what you meant).

Anyway, I don’t want to say that you’re completely wrong; it’s clear that the decline started quite some time ago, and then it didn’t know how to renew itself much.

No, I'm sorry, but I can't accept that. I have this album, and I love it a lot. First of all, the audience is among the best I've ever seen, and that counts a lot for a live show, warm until the very end. Then the music; regarding "Canzone Per un Amica," the sound is "very caciarona," maybe more pumped up, unlike the other versions, where the sound was perhaps cleaner and more orderly. But I like both versions; in this one, Guccini shows a more "caciarone" side of himself, letting go. You can't say anything against "Cirano," it's beautiful live.
As for the grammatical errors, those are quite common; you could say that Guccini speaks more than he sings, sometimes in a very familiar tone, and the words come out as they come out. But this is precisely what makes his live performances distinctive. In "Avvelenata," he makes up some words on the spot and sings them just like that, but that's exactly how it should be sung; it better conveys the idea of anger.

Yes Inside, take for example the Spring of Prague: in the Nomadi's live performance it's stunning, Daolio's voice has made it magical; he, in my opinion, has the ability to engage, something that not everyone possesses. When I heard it, I really felt like I was there.