Mandrake

Nice review, beautiful album.

Because even street artists have their dignity! Just think that even Woody Guthrie, now an icon of American folk music and a source of inspiration for numerous musicians including Bruce Springsteen and Bob Dylan, started his career as a street artist (in fact, Dylan called him "my last hero"). It's these popular artists, who now seem to have vanished in favor of the growth and rise of commercial genres. Let’s hope to hear about this Rock John again. The samples?

A ajejebrazorf: regarding the cover with the photo of past youth, it was nothing but a little joke. Among other things (I didn't include this to avoid making the review any longer), it seems to me to be a mockery from Guccini to keep putting the same cover from Via Paolo Fabbri on concert posters for 30 years. But as I've already said, it's just a joke, a little jab.
I don't agree with you on Due anni dopo and Asia. I believe that the versions on this album are significantly inferior to the original studio ones. If we're talking about better versions, I can only point to Statale 17 and Noi non ci saremo (thanks to the Nomadi, too bad they've already been heard...).
A tom traubert: the old tracks with rearranged music I was referring to are mainly the following: Disc 1. - 1. Canzone per un'amica (from Folk Beat n° 1, 1969), 12. L'isola non trovata (from L'isola non trovata, 1971), 13. Asia (as above), 14. Un altro giorno è andato (as above). Disc 2. - 2. Auschwitz (from Folk Beat), 6. Due anni dopo (from Due anni dopo, 1970), 12. Statale 17, 13. Noi non ci saremo (from Folk Beat).

Thanks for the vote, Punisher. What’s the address of your blog so I can check it out?

Thank you for the advice, Fusillo; I'm missing this documentary. As soon as I can, I'll "make the mule trot" ;) I found a very nice hour-and-a-half concert of The Yellow Shark, where most of the pieces from the album were performed (including the "spoken" ones like Food Gathering In Post-Industrial America). Thanks again for the advice :)

Incredible album, to be listened to alongside "The Grand Wazoo". Good review. The only criticism I can make is that you didn't translate the instruments of the various musicians in the list. It's a shame that Zappa's jazz phase only includes "Hot Rats," "Waka/Jawaka," and "The Grand Wazoo"! (and maybe a bit of "Roxy & Elsewhere")
For Fusillo: the first thing Zappa wrote is not the soundtrack for "Run Home Slow." In fact, in '58 - a year before "Run Home Slow" - he conducted the school orchestra, and "A Pound For A Brown" and "Sleeping In A Jar" were also performed, pieces that would later be revisited for "Uncle Meat."
Since I'm here writing and you opened the topic of "classical" Zappa in the comments: for fans of Zappa's orchestral works, there’s also the album "Everything Is Healing Nicely," largely made up of previously unreleased pieces; the tracks on the album are essentially the rehearsals of the Ensemble Modern before the concert series of "The Yellow Shark." Speaking of orchestra, in the last year of his life, Zappa had the compositions of Varese recorded by the Ensemble Modern, as he believed the composer would have wanted them to be played. On Zappa's official website, you can also hear some samples.

Good review, the only thing that bothered me a bit is what you said about "Little Beige Sambo"; okay, maybe it’s not among Zappa’s best works on the Synclavier, but saying it “sounds like it was composed randomly” :)
Anyway, this is not one of my favorite Zappa albums, even though some tracks are truly masterpieces like "Alien Orifice" and "What's New In Baltimore?".

Poor Poletti, forced to use swear words and insults to compensate for the lack of arguments... I don’t think I poked you, you’re probably too sensitive to accept any comment.
Maybe you know nothing about music, given the nonsense you’ve spouted in various reviews.
Anyway, the film was "Febbre da cavallo," and, in line with the theme of the film, instead of writing reviews, I suggest you take up horse racing.

It seems that you can't realize the irony of my statement when I said that the meaning was escaping me (and I didn't have to go that far because I had given you the explanation for my statement a few lines later).
You were the one who asked me to "play the know-it-all" by stating, "Mandrake says that my review is full of typos and then he only cites one, and he contradicts himself." Furthermore, I find it a bit childish to start saying things like "if you're so good, write the reviews yourself" and similar remarks.
If you had paid attention, I like the album, and I don't think I've made a single negative comment about it; in any case, just look at the rating on the first comment I made to demonstrate that...
Anyway, from now on I will try to avoid your reviews, so as not to upset you since you take it personally...

The issue is not with the choice of terminology (which doesn't seem particularly sophisticated to me, by the way) but with the content of the sentences themselves: "parts that can be broken down at will," "a rebirth as explosive as it is convincing," "heavenly musical notes and lyrics that are never trivial or redundant," "and boldly reasserts its unwavering political incorrectness," "contaminating, in an exhilarating way, multiple musical genres together," it's in these that the meaning often escapes me (and not due to the use of advanced terminology...) because most of them are empty phrases, made - as Geenoo rightly points out - more in form than in content. Another quote: "Even in this album, the sound montage sends shivers down the spine (even Zappa will define it as 'xenocrony')," this technique invented by Zappa is only used in Rubber Shirt, while in your review it seems to be applied to every track on the record.
As for typos (and I hope this is just a typo...), another example is "po'" which is written with an apostrophe and not with an accent as you did, being an abbreviation of poco. Another is "pesino" instead of "persino." I didn't want to mention them to avoid being pedantic, but since you asked me with the accusation of contradicting myself...
Furthermore, as I already asked in the previous comment, could you indicate the references to classical music that would be present on this album? Thank you. And while you're at it, could you also show me which are the studio inserts that "magically and interpretatively surpass the live tracks"?
Aside from this, it seems that the vinyl of the album (which unfortunately I haven't heard) has better sound quality than the CD version: can anyone confirm this?