tiziocaio

Odra, I understand your thoughts but I think it's pointless to dwell on it. It is what it is; I'm not saying we should resign ourselves, but that's the way it is. Rino's songs, however, remain and if you pay attention, they're still damn relevant. The characters mentioned in "Nuntereggae più" are still in the limelight, like Costanzo and Bongiorno. They're still there and he's no longer with us... Rino really left us a great treasure; few like him have been able to paint such a clear picture of Italy. But I appreciate Rino a lot for the vision he had of the South; I also come from the South, that's where my roots are, there's arid land and a strong passion that will never die, despite the continuous degradation and the ugliness it endures. And then songs like "E io ci sto", how can you not relate to those words, pushing through despite everything "in the end it's beautiful though, my age and I’m in". It’s not exactly what we would want, but we keep moving forward.

Full solidarity with Enk, I also vote for you because you mentioned a great misunderstood artist. Aje, the artists you mentioned are from another planet; they were more than musicians, they were great songwriters. I remind you that Lennon, by his own admission, cited Dylan as the one who inspired him to write songs from Help onward, leaving aside the silly love tunes of the early Beatles. Dylan took the lesson of the pop generation and first transported it into folk and then into rock, but, I repeat, it has nothing to do with it.

I don't think anyone has said that The Wall or The Final Cut are masterpieces. In my opinion, especially in the last part of The Wall (songs like Nobody Home, Vera, The Trial), Waters shows true signs of delusions of grandeur. In The Final Cut, we are really at its peak, but who the hell cares about Waters' childhood story and his father in the war and blah blah blah. The Pink Floyd were great as long as they worked as a band. Already in Pink Floyd at Pompei - The director's cut that was released recently, there's a scene of the band away from the spotlight where they joke with Waters about how he feels a bit like a god. So I love Pink Floyd all together without being pro or against Waters.

I remember it well too, dearest. In fact, it seems almost more elegant than Vinicio, although I love both of them. But, believe me, after 'Dammi un pò di più' he had given his best. There's still a certain Paolo Conte alive, but the times of Paris Milonga, alas, really don’t come back anymore.

Let's not forget that at the "authoritative" Sanremo festival, he showed up in a tailcoat, top hat, striped red shirt, and the famous ukulele. Kosmo, I understand I could have done better, but really, I don't think there's much to add about Rino. His words are straightforward and pure, without evasions or baseless poetic licenses. I would still recommend his entire discography; the titles are easy to find and all are low-priced. I don't know what you think, but in my opinion, the song that gives a complete self-portrait is "Escluso il cane." Anyway, I was sure that Rino is much loved on db...

oops...the vote (where's my head??)

I don't understand...but I adapt. In the meantime, I pull the record out of the dust and anxiously await Rebecca's arrival...

Beautiful Enk. I completely agree that there is always too much talk about the son. Many don’t know that right after Grace, Jeff seems to have experienced a creative block, as evidenced by the inconsistent Sketches..., which is really a terrible album. I will make up for it; I have his second album and a splendid live double (chilling!) dating back to Happy Sad.

Nice review, a bit essential but it gets straight to the point. I would also recommend Fogerty's live album "Premonition," while the latest one seems like a bit of a jumble of things we've already heard. However, they say that live, at his respectable age, he really goes for it. Go for it, grandpa John!!!

Oh come on!! Listening to this album again would be like going back to high school and having to see that awful face of my Italian teacher who smelled of old and stale in his ways, in his way of speaking, he was stuck twenty years back, probably his watch stopped and no one told him, let’s say a sort of Buttiglione avant la lettre. I think the same of Gilmour as I do of Alex Britti, great musicians who maintain, and hopefully will continue to maintain, an authentic relationship with their instrument. But making songs is another thing. This album feels so much like the '80s, too much... that guitar... that pompousness... that voice which tires you out after two songs. And then it’s flat, it never seems to take off, forget about Learning to Fly!! If I take flying lessons from Gilmour, I’ll find myself splattered on the ground!!