Grasshopper

I would like to congratulate and extend my best wishes to the dwarfs (if I understood correctly, they are the ones who keep debaser running) for publishing this review just two or three hours after I sent it. And to think that in the previous one, I mentioned the famous line by De André that says they have their hearts too close to the hole in their ass...

I am an expert in antiques, I don't know this stuff and I'll probably never listen to it, but you deserve a 5 for making me roll on the floor laughing with your slang. Too bad I don't have a gay cousin, and on top of that, I no longer have a grandmother to do the sangria experiment. Best wishes.

No, the nickname comes more prosaically from my uncommon build and just by chance coincides with "Cavalletta."

As they say around here, I arrived after the fireworks, but I finally got my hands on the album and I can not only confirm the 4 out of 5 in a closed box, but I can actually give it a boost to a 5, so it comes out to 4 and a half (which means 9, the score I would give out of ten). I'm not saying this to ingratiate myself, but the tracks that struck me deeply right away are, coincidentally, Elegia, Chissà, and Sonno Elefante (the ones you pointed out), to which I add La casa cinese and Bamboolah. Paolo Conte's piano is the star of the show, there's less rhythm but it's not really missed. It’s yet another album worth framing, it’s a pity that the Lawyer is now 68 years old. Let’s hope he has as long a career as the Cuban musicians from the Buena Vista Social Club.

Now it's much clearer, even though I don't agree with a single word.

PuntiniCAZ, rather than expressions like "It sucks" or "It's crap," it would be much more interesting to know WHY the Boss disgusts you so much.

I would like to clarify that didactic, at least for me, is far from an insult: it's just one way of interpreting a review. A few months ago, when I sent my first attempts, I was more didactic than you, and no one held back in their comments. Then I preferred to change my approach a bit because I felt like adding some personal notes to the album description, and CASUALLY I received more positive feedback (that is, in debaserian stars, more 5s). But this doesn’t mean that this is the rule: everyone has their own style, or what they consider most appropriate at the moment.

Finally, a little space for our dear old singer-songwriters, who have just a dark corner on this site. If this album is the one that resembles the author the most, it means that De Gregori is a bit schizophrenic, since here he alternates gems like "Atlantide" and "Santa Lucia" with more spoken than sung reflections, on the verge of listenable, like "Ninetto e la colonia" and "Ultimo discorso registrato". Good review, very accurate and a bit didactic: it feels like I'm rereading one of those from my early days, dedicated, coincidentally, to another great singer-songwriter (for me the greatest): Fabrizio De André.

It might be the fact that I am a classicomane, or perhaps the reason is that I know very little about what is happening today, as well as what occurred in the 1990s, but I tend to see more and more masterpieces as I go back in time, reaching a peak in the first half of the 19th century (Beethoven and Romanticism). However, it is also true that what reaches us from the past is appropriately filtered by time, which ultimately does justice. Foolish and idiotic music existed in Mozart's time as well, and the "market" back then (the tastes of the nobility) rewarded it, to the point that Mozart lived in debt and died buried in a common grave. Perhaps instead of ABSOLUTISM, I should have used RELATIVISM, meaning "the gray '90s not IN ABSOLUTE TERMS but RELATIVE TO THE GOLDEN AGE OF PINK FLOYD." I didn't do that because I took it for granted.

As if to apologize for having hit rock bottom with "A momentary lapse of reason," here the Pink Floyd aim to give free rein to what remains of their ancient boundless imagination. However, this is now worn out, so the result cannot be excellent, but thanks to many echoes of the past and meticulous attention to sound, a decent work emerges. In the gray landscape of the '90s, an album like this can still stand out, especially for those who are not familiar with "The dark side of the moon" or "The wall."