Grasshopper

Dear vainly, saying that there are only captions here seems a bit exaggerated to me: as you can see from the previous comments, there are those who found more than that. However, it is true that I tend to give a lot of importance to the descriptive part, and this for the reasons I explained before (I always try to put myself in the shoes of those who are not familiar with the album). On the other hand, the Zingarelli (which is not a friend of mine, but a dictionary) defines a review as "critical examination of a work," and to conduct a critical examination, one inevitably needs a certain detachment; otherwise, one falls into apologia or panegyric. No hard feelings, and respecting your opinion.

Have you ever tried to put yourself in the shoes of a curious visitor to Debaser who has never heard this album? I could tell him that "La pianta del té parte seconda" sends me into a wild ecstasy, making me dream of places I've never been to, or that "L'uomo coi capelli da ragazzo" gives me a lump in my throat, or even that it would be nice to have an adventure with one of the "Signore del ponte-lance," and so on. For little effort, I could fill the few lines I have with "mythical" and "awesome," or even try to show off with flourishes like a Sunday poet... However, he would walk away knowing even less about the album than before after reading such a "review."

Notice it, vainly: by the end of the review I was so moved (while writing I was listening to Wallflower) that I wrote "commozione" with 3 m's... if this isn't passion!

What a surprise: a controversy over the Jodel, a rather secondary and incidental aspect in a complex work like "Le nuvole." But at this point, before the controversy degrades into a brawl, I think a clarification is appropriate, even though "Hal" has already thought about it in a precise and more than convincing manner. So, to "djd," I say that no one dreams of considering the Jodel silly, of course not. The adjective SILLY refers to the SATIRE, as is evident from the reading, and not to the JODEL. The latter is just one of the various means that De André uses in this SPECIFIC CASE to give "Ottocento" a certain irreverent and grotesque character, just as the Rococo minuet that serves as the backbone of the entire song, the repeated and bizarre rhymes in "iglio," the maccheronico German, etc.
To the anonymous person who finds nothing better than to insult "djd" (who I don’t know if is Grillo, but is definitely not Cavalletta because that’s me), I say that if the intention was to defend what I wrote, they completely missed the mark, while if, as I think, they are simply targeting "djd," if they absolutely cannot help but insult him, they are kindly asked to do so elsewhere, since this site is meant for discussing music.