mista

Don’t get me wrong, at least as far as I’m concerned, I’m not praising a multifaceted artist, but a simple showbiz character who has proven to navigate through respectable work in many disciplines. Period. The Sanremo song, although I find it musically dull, has a nice text that resonates, and perhaps it even deserves credit for surprising and momentarily capturing the attention of the viewers at that festival in '94. After all, I was 13 at the time, and I still vaguely remember that performance. Let’s try to keep the discussions in the right perspective; otherwise, if we have to confine all talks to art or music of absolute value, we should ignore 90% of the albums reviewed on this site.

I just want to add an anecdote. I read that Rosticci emphasizes how the shameless cherry pie does not reflect the complexity of the album it titles. Well, yesterday on MTV I saw a short interview with the singer (who is now completely out of it) explaining how the record was already ready and was supposed to be called "Uncle Tom's Cabin" (like the song Rosticci mentions), when the manager called the singer and told him they needed a chart-topping single. That night, the good Jani wrote cherry pie and the following weekend he presented it to the manager. Suddenly (his words): "the single became cherry pie, the album was called cherry pie, I became the cherry pie guy, and now cherry pie is my legacy... (with tears in his eyes, utterly devastated) I would trade everything if I could say I hadn’t written that song." In short, Enrico, you and Jani are on the same page!

It may be a drive-in movie, but his interpretation of Vito Catozzo is irresistible, come on! How can you deny his value as a comedian!? As for being a writer, I’ve never read his books (also because I don't enjoy blockbuster literature), but I imagine that if he has sold millions of copies worldwide, he must have some kind of quality (maybe not strictly artistic, but at least from a literary technique perspective). In my opinion, he is still a versatile and very valid personality, who has managed to be credible in every expression he has chosen.

In my opinion, there is a fundamental misunderstanding. It often seems that the judgment on the expressive vehicle of the artist is confused with the judgment on the artistic value of the artist's work. In my view, the value of a work (regardless of the degree of nobility measured according to the parameters of "c'è") depends exclusively on the artistic expressiveness inherent in it, expressiveness that is a direct expression (pardon the repetition) of the artist's "soul." Obviously, the judgment is subjective, but the artistic value of certain works is so evident that the judgment sometimes becomes inter-subjective. That said, it is important to clarify that each artist, according to their particular inclination, will choose the expressive medium, the vehicle of their expressiveness, that is most congenial to them. In this sense, Pink Floyd will choose progressive rock, Sex Pistols punk, Leonardo figurative painting, Picasso cubism. Obviously, each vehicle can be more "difficult" to master than another. The level of preparation required to compose a classical music work or to paint the Sistine Chapel is certainly greater than that needed to play "Anarchy in the UK" or to box one's feces in a jar. However, in my opinion, the judgment on the artistic value of the work should always be separated from that regarding the expressive medium, which is a different and - once again - subjective judgment. In this sense, it is still possible to assert - as I think DaveJon does - that prog or classical painting are more "elevated" or "cultured" or "difficult" means of human expressiveness compared to others. But it is a mistake, in my opinion, to believe that such a judgment automatically reflects on individual works; whose value, as previously stated, depends exclusively on the expressive charge of the artist who created them, and certainly not on the chosen expressive medium. Apologies for the convoluted comment, I hope I’ve made myself clear…

A bit too stereotypical and clichéd the character in the car...on the tires.

To all Blind lovers, if you are near Milan, drop by on February 21 at the Black Hole, I'll be playing with the Pandaemonium! Looking forward to seeing all debaserioti! If you want an appetizer, navigate to www.pandaemonium.org.

A beautiful review, descriptive yet precise and engaging.

Lethe's statement about Bonzo's drumming is also correct; technically, he is certainly not in the pantheon of drummers, but it is the originality of his compositional contribution (from an instrumental perspective) and his unmistakable touch that make him a historical drummer.

I really love Ramble On, especially the bass part.

Damn, you’re 14 years old, it’s your first review and it was chosen by the editors! Congratulations, young one, you analyzed the pieces pretty well, and you have shown a sensitivity and competence (even if not absolute) that is certainly commendable for your age. Regards.