Luca-LJ

Cla, "they continued to do what they did in high school" is referring to what I said? If that's the case, look, when I said "it's high school nonsense," I wasn't referring to what the Prophilax do, but to what those people say who want to forcefully reduce the Prophilax to just technique, making it their strong point (when in reality it's just a secondary factor). I've always liked the Prophilax.

But yes, no one is saying that he isn't incredibly skilled. I'm just responding to someone who said he's the best in Italy (I mean... that's a bit of nonsense, right?). And if what he does in concert is only 1/3 of what he can do, why shouldn't the same apply to Cesareo from Elio E LE Storie Tese? What you say only confirms what I've been saying:
1- At this level, it's impossible to establish rankings.
2- There are quite a few who play like that, practically all those who graduated from a music school. I don't play like that (and I never will since I'm focusing more on other things), but I've seen a lot of guitarists in my short life and I've come to these conclusions.
P.S. I don't feel like finding out how long it took him to graduate from the conservatory in classical guitar because it's of no interest. Anyway, it seems to me that the guitar course at the conservatory lasts 10 years; if it took him longer, that's a point against him. Look at how you've turned this review into a discussion! It's become a childish argument about who "plays the most" on guitar. It's high school nonsense, come on! Fortunately, the Prophilax are not just about technique! If that were the case, they would just be a circus and nothing more. Instead, thankfully, the pieces are also beautiful and the lyrics are hilarious. Trust me, if we keep insisting on discussing their technical level, we are doing them a disservice.

So it's not me who has to go see the Prophilax, something I’ve already done with mucho gusto, but it’s you who should go see Elio E Le Storie Tese if you get the chance, and then let me know.
PS
I’m not a die-hard fan of Elio E Le Storie Tese, quite the opposite. I only saw them live because the concert was free. I mentioned them just because they seemed like a great example.

One must get it into their head once and for all that, barring very rare cases, once you reach a certain level, you can no longer compare musicians, because the level is more or less the same. Anyone working as a session musician for established names like Vasco Rossi, Jovanotti, or whoever you like is a beast on their instrument. I think Saturnino has nothing to envy from the bassist of Prophilax, quite the opposite!
Anyway, I assure you that during my time studying at St. Louis, I met many masters of the highest caliber! It was there that I understood the real stature of many famous musicians. For example: Steve Vai enjoys a reputation as a virtuoso on his instrument. Well, there were guitarists of the same caliber there! I’m not devaluing Vai; I’m simply saying that continuous practice on the instrument inevitably leads to that level, and therefore anyone who has conducted serious study for the necessary time can reach that level. Let’s stop seeing these types as supermen. And also about the Prophilax, know that their technical level is the standard in these music schools I’m talking about! Inside, they wouldn’t be an exception but the rule.

I saw them live and I say they are really good. But I’ve seen others of that level, it doesn’t take much, just take a tour of the music schools in Rome like St. Louis, UM, etc. In all major cities, there are music schools where characters like this regularly emerge. Elio E Le Storie Tese have a similar formation but are muuuch more experienced. Compositional-wise, the Prophilax are mediocre, not because they can’t do better, but because they’re not interested in doing so; their purpose is different. By the way, the musicians Capa Rezza plays with are aloooot more skilled, they just don’t need to showcase their talent with unnecessary virtuosity when the only thing they are paid for is to accompany the singer (and I’ve seen them live, and I can tell you that it takes a certain level of preparation even to do that).

But what are you saying? I like them too, but let’s not exaggerate now! In Italy, they are not the most skilled band; I could just mention Elio E LE Storie Tese, but there are thousands more I could use as examples! Capa Rezza is a very capable musician, certainly more gifted than the Prophilax; only a spotty metal kid could argue otherwise. Cicciolina had already brought porn into music (sad choice of words) back in '79! In short, it’s fine to joke around (and after all, what better place than a review of the Prophilax for that?) but let’s not go overboard! That said, I reiterate my admiration for this funny group of jokers!

I'm listening to Shawn Phillips right now. It has almost nothing to do with Daniele! The influence you're talking about must be purely conceptual, but musically our guy hasn't taken anything from him at all.

Besides melody, there is more, we agree. But music without melody is barbarism. San Remo is not melody; even there, there is an incredible melodic flatness. The fact that you associate San Remo with melody makes me realize that you don't even know what melodic creativity is; you don't know serious musicians who can invent original and interesting melodies. Instead of digging up old English records from the early '70s or buying the encyclopedia of "Musica cosmica" or similar stuff, listen to Franco Battiato, Pino Daniele, Fiale, Beatles, Pink Floyd, George Brassens, Inti-Illimani, Ivano Fossati! I'm not saying this to give you lessons on "musical listening"; I'm saying this in case you want to understand what I mean when I talk about "interesting melody." In these musicians, there are melodies that I consider interesting; by listening to them, you should grasp what I mean. You can do all the experiments in the world, invent anything, fuse different genres together, use unusual instruments, sample noises, you can do whatever you like! But melody must not suffer for it!

I had said that I wouldn't intervene anymore because I was tired of repeating the same things, but since you brought up more, I’ll respond briefly: I did admit that I don't know much about Fripp's solo career (this means I don't have much material, not that I've never heard it! I've heard it, and I hated it! However, I will give him other chances when the opportunity arises). But I didn't say that I know little about King Crimson, quite the opposite! I have listened to them, and I liked them, but not too much: Fripp bores me. My judgments about him are based on this, but also on that little I have heard of his solo work. If he has made totally different albums, even though the few listens I've had don't suggest this, then I will listen! Tell me two or three albums where he doesn't put you to sleep!

For Ajeje: "three groups that don't have a damned thing in common with each other," but that's not true! They share one very important thing in common, which is their melodic flatness (especially regarding the vocal part). I don't know where you got the idea that I have a superficial understanding of Faust and KC. If you focus solely on innovations without paying attention to quality, it's obvious you’ll make reckless statements like "an album like Faust IV could be released today and it would still be a great album." Sorry for the telegraphic style, but I'm tired of having to clarify what I have already explained clearly in previous comments. Anyway, don’t worry because this is the last one; after this, you can say whatever you want, I don’t care anymore. I just wanted to make sure I had clearly explained my positions, and if someone insists on saying my arguments are contradictory, so be it! They certainly won't understand what I mean if I explain it to them for the umpteenth time! What I think is written there; anyone with a minimum of intellectual honesty will understand me (even if they don't share my ideas).