coolermaster

Gustavo, don't pay any attention to them, just look and move on, as the poet used to say... The Tiromancino are great... They give me a lot of "Good vibrations"... and that when you listen to music (and I’ve really listened to a lot) is the only thing that matters... Bye

I consider Tiromancino one of the best realities in the Italian light music scene... This album is complementary to an excellent, delightfully dark comedy... The beautiful thing is that it works even without the film... To say that this "revised and corrected blues" comes from a 70s Floyd outtake seems absolutely inconclusive to me... So? It's like saying that "Since I've been lovin' you" by Zeppelin comes from an outtake of Muddy Waters or John Lee Hooker... What the hell does that mean? Hats off to Zampaglione who manages to combine electronic sounds, a certain Dark Wave with rock and pop... In Italy, there are undoubtedly not many like him... Sappy lyrics? Oh right, but for many of you, if rock or pop isn't shouted and angry, it's crap... Come on... The sappy voices (with inconsistent lyrics) in Italy are elsewhere... And I won’t name names... The fact that Zampaglione is a jerk doesn't bother me at all... Do you know how many jerks I meet every day? It’s just that they wouldn’t even know where to start composing "Due Destini", "Angoli di Cielo", "L'alba di domani"... Tiromancino, in other words, elegance... And today we need that so much.... Liquid music, I would dare say, that glides almost dreamily and has the merit of relaxing and prompting reflection... Modern instrumental solutions, yet steeped in Italian tradition, harmonic solutions that are nothing short of predictable... The rest is bar talk... Regards.

I remember the first time I bought Aion, the first CD by a band I didn’t know, but about which a colleague had spoken enthusiastically. It was one of those rare cases where I had to interrupt the listening after a while... Alone, at night, in the living room of my house, where my gigantic speakers were giving life, form, and body to arcane anxieties... It must have been the music, the alien voice of Gerrard, which seemed to come from another world, from another era... Perhaps it was the esotericism of the band, or maybe it was that when you listen to the DCd, it's like hearing the soul of humanity for the last 2000 years, or maybe more... An ancient music, yet ultra-modern, epic and chamber-like at the same time... Chills, unexpressed emotions that remain silent, subservient to this assault that deeply shakes the strings of the spirit... After Aion came the other albums, but this one (while recognizing some objective limits compared to WTROADS, for example) remains the first for me, the one most anchored to a journey that thereafter radically changed the kind of music I listened to... That changed my concept of contemporary music... Immense!

Well, Iron Maiden, like all the artists of the NWOBHM, were inspired by Black Sabbath, but let's not forget the significant influence of Punk on Metal in the late 70s and early 80s... Iron Maiden drew inspiration from the early Ozzy-era Sabbath, not from the later Sabbath who were much more "electronic"... If you listen to the first two albums by Maiden, you can easily trace the germs of Punk, along with Motörhead, who were in a league of their own... Then Maiden began their "ante litteram" Progressive Metal era with Dickinson, but they were certainly no less important... As for Metallica, believe me, I lived through that period; they are a case apart... Perhaps the most important Metal band in history, on par with Black Sabbath, took what was already there (thrash, speed) and modified it... And this led to absolute masterpieces like Master of Puppets and ...And Justice for All.

oops...I forget the grades
Rece too didactic and without feeling...Sublime Work

Continuing to assert that Mogol wrote trivialities is more than inappropriate... There are two possibilities regarding Mogol... Either he is the biggest hoax in the history of Italian music (and I have some proof about that) or he was struck by Alzheimer’s in 1980... Mogol, together with Battisti, wrote verses that would not be out of place in any school anthology instead of so much overrated junk... "La cavallina storna," "La donzelletta che vien dalla campagna," and similar nonsense... The lyricism of Mogol is beyond doubt... too bad he died one day in 1980... Because after Mr. Giulio Rapetti, a great schemer of the esteemed Ricordi firm, hasn’t done a decent thing even vaguely similar... And I emphasize vaguely... Ah, yes maybe.... "E io rinascerò Cervo a Primavera per colpa di una puttana di scogliera..." Now, the serpentine hypothesis (which today sees several testimonies) that in reality, many lyrics were written by Lucio himself seems more concrete... It's a bit like giving an "Honorary Degree" to Vasco when even my doorman knows that the lyrics have ALWAYS been written for him by Curreri from Stadio... Because Vasco, as has been emphasized several times, is incapable of putting together 2 sentences in correct Italian... I believe that the conspiracy theory of the famous "Battisti-Mogol Agreement,” which went up in smoke due to percentage issues, is increasingly valid... The lyrics were written by Lucio and he always put Mogol's name "by contract," just as many artists have done and continue to do... From "McCartney-Lennon" to "Jagger Richards"... My mother, who met Grazia Letizia many years ago, claims that many (not all, of course, but a great many) lyrics were written by Lucio... Others in collaboration with Mogol... And from "Il contrabbasso....." Grazia also intervened... Regards

Valerio, know that I hate you because you're handsome, a good-looking guy, so I hate you for that...
But if the music on MySpace is yours, change your profession because it wouldn't even come last at the "Lamezia Terme" festival....
Bye

I only say: "I giardini Di Marzo," "Pensieri e Parole," "Emozioni," "Il Mio Canto Libero," "prigioniero del mondo," "Vento Nel Vento".... All that IMMENSE MASTERPIECE that is ANIMA LATINA, which anticipated "Creuza de ma'" and World-Ethno-New Age sounds by 10 years.... These things are part of the Italian cultural heritage... Battisti's 2nd period ended precisely in '74 with Anima Latina... Then there’s the last period with Mogol, where the music became funkier, very "American," and the lyrics also, with MOGOL, gradually became more cryptic... Just think of "Con il nastro rosa" or "No dottore"... The second period is less memorable than the first... That which spans from "Era" to "Anima Latina".... 1966-1976... The last period is musically very valid, but I don’t agree with the lyrics... The best things Panella said with Enzo Carella, one of the most underrated Italian singer-songwriters, who for a certain period was likened to Battisti.... for the talent and quality displayed... I recommend listening to Panella's lyrics set to Carella's music, like "Barbara," "amara," "La miseria".... The fact remains that in 100 years people will still remember and find themselves singing on the beach "La canzone del sole" or "Acqua azzurra, acqua chiara"... At most "Io vorrei, non vorrei, ma se vuoi"... Not certainly Hegel or CSAR.... Best regards.

The review is stunning...I hope my favorite woman's album is just as great.