Grasshopper

If it's not his absolute masterpiece, it certainly competes closely with "Rimmel." "Cercando un altro Egitto," "Le strade di lei," and "Buonanotte fratello" are pure poetry, while "I musicanti" is a brief flash of genius with echoes that are even Mozartian... He really didn't deserve a short and bland review like an SMS.

The most hermetic of his albums, in my opinion even more than "Bufalo Bill." Regarding the Dylan-esque De Gregori, I have a completely different opinion from lucabbrasi, and in my review of "Amore nel pomeriggio" I explained why. I would add that in "Pezzi" there isn’t just the catchy track "Vai in Africa Celestino," but also gems like "Gambadilegno a Parigi" and "Il panorama di Betlemme."

A belated thank you for restoring the truth about Enya in general, after Punisher's absurd outburst. I can't say anything about the album yet, but I "feel" that a 3 of respect can be given to it.

I don't remember who wrote it, but right here on Debaser I read that he sings like a goat in heat. Unfortunately, I can only agree 100%, and it's a shame because his stomach-turning bleats ruin an acceptable musical talent.

The thing is concerning (for you) aniel: if an A4 page written in Arial 12 seems too long to you, you’re really in a bad place... imagine if you came across a book that sends shivers down your spine!

I am saddened to see that the musical debate surrounding this great artist, who made history in the '60s, '70s, etc., and continues shamelessly to make contemporary history, is not taking off and is dying down into gratuitous insults towards poor Puppino. Yet there would be no shortage of musical insights, starting from the undeniable connections with the world of the tamarro-crooner, the Camorra, and the excellent music for weddings and funerals in the aphrodisiac Gulf of Campania. Puppino can be considered a sort of Goran Bregovic of the Phlegraean Fields, but at the same time, his masterful influence on students like Nino D'Angelo and Gigi D'Alessio is indisputable, although they lack the British-Caprese aplomb of our man, which makes him the true Campanian Elton John. In short, such an artist cannot be dismissed by saying he is worthless... he is so much more.

In a record like this, which encapsulates an entire era on its own, it can safely, without fear of being arrested, be defined as a "milestone" (heavy and tied around the neck), it seems very serious to overlook the phenomenal title track, "Champagne," a shining example of our immense Puppino's tacky-crooner style, balancing between a reimagined Elton John with onions and his (Puppino's) great antagonist so far criminally ignored by debaser reviews, the equally immense Fred Disgustoso. A 1 of esteem for the artist and the character.

A "the clash": the first part of the review, with its "sociological" approach, actually doesn't relate much to the album, but serves to introduce the atmosphere of anticipation for Christmas described in "River" and its enormous distance from the false expectations fueled by television commercials, never as intrusive as they are these days. Anyway, "Visions of Johanna" is a great antidote precisely against this syrup: while I’m at it, without even changing albums, I’d also listen to "Sad eyed lady of the Lowlands."

I completely agree that Enya's albums all reference the "Watermark model" (with the one exception of "The Celts," which is excellent), and I discussed this extensively in my review of "Shepherd Moons." The fact is, the mold they come from is of excellent quality, even though it has been overused and is starting to show some cracks ("A Day Without Rain" I found disappointing compared to the previous ones, but it still features pleasant melodies, accompanied by enviable technique and an extraordinary voice... at least she hasn't lost that, I suppose). Let’s assume this latest "Amarantine" continues to follow the same model: it will be the classic "craft" album, with plenty of technique and little imagination, but the very genre of music it proposes is so valid that it’s unlikely to be as unpleasant as the review suggests: at worst, it may be a bit flat, but that remains to be seen.

It seems to me that these noise lovers who criticize Enya don't even know what they're talking about: one calls her a "diafana inglesina" when even stones know that she is a purebred Irishwoman, another confuses Enya with Hevia, who is a (male) player of Galician (also Celtic) bagpipes, meaning Spanish... Before shooting off your mouths about musicians just for the sake of being cool, do a little research, good people!