Grasshopper

Excellent and abundant... everything: the album, the review, and even the comments, although some could easily have been avoided.

As a true traditionalist, I am more of a supporter of the "earthly" and beautifully melancholic Tim Buckley in "Happy Sad," "Blue Afternoon," and "Goodbye and Hello," rather than the astonishing vocal acrobatics of "Lorca" and "Starsailor," albums that are undoubtedly original and captivating, but also quite challenging, at least at times. I don't know this, and apparently, I haven't missed much.

Surely one of the best swan songs from a Pino Daniele already in free fall, released just at the worst time for his precarious health. Not exactly a masterpiece, but an excellent album based on an outstanding acoustic guitar (Pino's technique has grown in inverse proportion to his creativity) and enhanced by a true gem like "Anna verrà," worthy of the Pino from the late '70s. A good review, even if, as usual, a bit too overflowing with unconditional love for this former great musician.

It’s not up to me to act as the defender of the reviewer, but that uppercase “Musica Colta” seems to denote a certain irony, albeit subtle and polite, towards the pompous world of classical music, rather than an elitist attempt to distance it from us common mortals. And I say this as a devoted lover of classical music.

Noname is at least partially right. Even though statistically it’s very likely that a record by this individual is a 1, it would be wise not to dismiss it before even listening. In fact, I won’t give it a chance, and I don’t think I ever will, as it’s unlikely that I’ll find myself listening to it. The same goes for the review: for me, it’s modest and predictable, but not completely unreadable. What truly sends chills down my spine, however, is seeing the names Pausini, Fossati, and Battiato mentioned together. It’s true that money makes the puppets dance, but you wouldn’t expect an attempt at self-sabotage from two of the most intelligent singer-songwriters in Italy after more than thirty years of a successful career.

@Giona: thank you. I think I will follow this sequence: moreover, it's the one that suits a methodical type like me the best.

As a great admirer (even today) of the best Genesis, and a more lukewarm supporter of Phil Collins' '80s hits, I will sooner or later have to decide to explore the third life, the least known, of this inexhaustible little man (and not just his, of course). This review is an excellent push to do so, perhaps starting right from this album (or are there even better ones?).

@Il Paolo: Mr. Grasshopper (actually, I would say that we can easily drop the "Mr.") has nothing against the spread of music in supermarkets and/or department stores, having himself, before discovering the immense potential of e-mulo, taken advantage of discounts and various offers in such places. However, he smells a scam when the proposal is too persistent and hammering, and in the past months, anyone entering an Esselunga supermarket was almost obsessed by hundreds of images of the face, which is quite nice and smiling, of this "new promise," presented to say the least as a phenomenon capable of overshadowing not just the national Mina, but even the legendary Ella Fitzgerald, Billie Holiday, and Sarah Vaughan combined. As for Laura Nyro, a truly excellent artist who I've only come to know recently, I highly recommend the two masterpieces "New York Tendaberry" and "Eli and the 13th Confession." Additionally, I refer to the excellent review, if I'm not mistaken still among the latest, by oldman on a live performance for solo piano and voice, which I imagine to be stunning. I don't know what you mean by heavy, but we are certainly talking about a singer-songwriter whose lyrics have meaning, in the style of Joni Mitchell, if you will. This certainly doesn't mean that the musicality is sacrificed; on the contrary. It's a pity she lived such a short life, but this seems to have been a fate that has united many authentic musicians for centuries, even if I've never understood why, except for jazz musicians, since a good 80% of them indulged in everything that was available around. I return the admiration, especially regarding the ability to write well about records and/or artists that generally attract only insults, sometimes (let's say it) rather understandable, even if not elegant.

@Azzo: the reason why this kind of product has had almost 900 visits (including mine and yours, which also count) is a very sad but obvious reality: this product is on every shelf of large department stores (especially Esselunga, of course) and at least by name everyone knows it, even I (who, however, have never heard it, so I was careful not to give it a 1 out of trust, even though I imagine that the value is that). Laura Nyro, on the other hand, who practically changed the history of female singer-songwriter music, I would be optimistic if 3% of Italians knew her, and already 200 visits to her review seem like gold to me, as well as a sign that debaser, despite the annoying incursions of some good-for-nothings, is basically still a site for music lovers.

What a surprise: the old dear and always somewhat underrated Dmitri makes a reappearance on debaser! I thought my ancient review of his 7th Symphony "Leningrad" was destined to remain forever without company. An interesting mention, to be seized as soon as possible since I know quite a bit about Shostakovich's symphonic work and also about his chamber music (string quartets above all), but little or nothing about his piano compositions, aside from the two splendid concertos.