tom traubert

Oh right, Primi, I almost forgot: I completely agree with comment 8.

Dear Primiballi, I rarely stop by, and I take this opportunity to send you my best wishes! I have to say that I am one of those who view this album with suspicion for the reasons you have already mentioned, but now perhaps I will give it a chance.

Comment 40 by fabiomr is precisely the reason why I hardly come here anymore. I'm not addressing it so much to my friend primiballi, whom I’m here to greet, but to those who criticize for the sake of criticizing. "To enjoy being together only to criticize" wrote the poet, right? I said I greet my friend primiballi but I disagree (for once!) on this Fleurs 2, which I find happily light and amusing, and despite a couple of less fortunate choices, it has its golden moments. I'm thinking of the unreleased tracks, It's five o'clock, Il venait d'avoir 18 ans, L'addio, the piece with Antony... the pronunciation makes me smile, yes, but after all these years it seems more like a quirk than anything else. It seems to me that Battiato has to create a masterpiece every time, and when he makes a simply enjoyable cover album, he gets crucified... go figure. And if he truly wanted to make a really "commercial" album, come on, do you really think he would be covering Dalida, Camisasca, and Barrière?

I stopped at the point where the reviewer says that Signs is a great movie... One of the ugliest films in the history of cinema, with no redemption whatsoever. Just imagine what this must be. Shyamalan is a joke.

But fuck all the lo-fi rhetoric.

Well, for me Fossati is top-tier, along with Battiato. That said, I haven't listened to the present album yet (but I will) for now quite irritated by the title, but well, De Gregori isn't bought for his charm, that's known. That the prince might be tired wouldn't surprise me, the last album that fully convinced me is Prendere e lasciare. The subsequent ones have several good tracks, some even really remarkable, but overall an uneven inspiration. On the aforementioned dispute, I support Primiballi's viewpoint. A bit of the shortsightedness of record companies, a bit of the absence of major talents but above all of originality make the music scene what it is. Then say what you want, but the baustelle, for me, are a happy exception. Many hear Charlie fa surf and snub it, but songs like L'aeroplano (just to stay within Amen) aren't heard often. There’s musicality, there’s writing, and there’s personality. And we'll be hearing a lot about Francesco Bianconi. There are decent or good things around, that's not it, but if we’re looking for genius, well…

Eh, the gymnastic sages say, u Nabuccu, school is coming to an end. And anyway, it’s “the vallone (vadduni) di Scammacca,” not the courtyard. Eh. Just this little song would be worth a solid 5.

To do justice to Scozzari as well, it's "first pay then REMEMBER".

The film is crafted as a montage of various works by Paz, complete stories but also individual vignettes; it works quite well, and even those who are fans of Zanardi and C. are unlikely to turn up their noses. Obviously, the depth and power of Pazienza's illustrated literature are unreachably something else.