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I must say that the review is written very well. However, I believe it reflects a moment of mental sanity amidst your madness :-). How do you manage to find solace in Elisa? I find her terrifying. No one doubts that she can sing, even if she doesn't have an interesting timbre. But her compositional shortcomings are disarming. The banality of the arrangements is insurmountable. The overall production, reminiscent of American FM, is unbearable. The comparison to Björk, who is one of the few artists in music constantly searching for novelty, never standing still, stubbornly curious even when she makes mistakes, is a cry for vengeance to the heavens. Lastly, all the covers on this album pale in comparison to the originals, mere academic exercises devoid of any inspiration. I’m sorry, because I reiterate, the review is written very well, but you can't speak so well of this flatness!

@Alessio: you got me all confused, since you wrote: "Published in 2003 by Too Pure." The album was "re-released" by Too Pure in 2003. It originally came out in 2000 :-)

@ Iside, you should be ashamed, you who are the only one married and with your head on your shoulders! @Odradek: I just asked. Because I, I repeat, only find Supremes-like songs in this album without originality. And when I think of some classics by the aforementioned, this album pales in comparison. As for the vocal abilities of the Lady, I believe I mentioned in the review that they are indisputable. I was disappointed, and obviously, I would have preferred the opposite. One can take starting ideas and work on them. Here, there is no work, other than a tracing of the original. But where are "Baby love," "Stop, in the name of love," "You keep me hangin' on"? It's not enough to have an excellent producer and a great voice to make a great album if the songwriting is completely lacking.

I'll sip on "Punch The Clock," there's "Shipbuilding," and you can't live without that song!

P.S.: I knew them anyway... you didn't fool me!:-)!

Alessio, I don't know this one, but I can tell you that the next one, "The difference between you and me is that I'm not on fire," despite having one of the most beautiful titles of the last ten years, is also the worst album produced by Albini in my vinyl collection?

Captain, shame on you for giving me a 5 for this review. The road to becoming a human case is long and perilous. And then you know they will say that the caste of the Iside demeeting has been born. Say hello to Bjorky for me (I hope the night went on splendidly).

Just out of curiosity, Odradek and Gehemison, do you have a Diana Ross & The Supremes record at home? And if so, have you listened to it at least ten times?

Sorry Zion, but the Supremes don't have the sounds of girl groups from the '50s or '60s, considering they belong to this last decade? The genre "invented" by Phil Spector is defined that way… The album in many parts, too many, seems like a Supremes record, without their compositional qualities and especially lacking originality. I mean, it's a bad copy.

Oleinar is fed up. I, on the other hand, being hard-headed, will try to explain things to you for the last time. If you take a little bath of humility, you'll understand and have fun with us; otherwise, you'll always find someone to pick a fight with. One of your first appearances in here was commenting on a post, never mind that it was mine, I said it was something shared by others, saying it was "Ridiculous, from a neuron and the dumbest thing I've ever read." Well, great way to introduce yourself. The genius arrives, and everyone else is an idiot (no, for heaven's sake, you didn't use that word; just ridiculous and one-neuron, which to me, but perhaps to someone else as well, is synonymous with idiot). Instead, you could have simply said that you didn't like it, given me a nice 2, and said you found it too subjective (I don't remember who, perhaps ilpanes did that, and I didn't get mad but discussed it for a few posts). There are ways to exist democratically and express one's opinions, even in the minority. Moreover, without presumption, using the rhetorical figure of the letter to Polly, I believe I talked sufficiently about the album. It's perfectly clear that it's a turning point, that it was played on the piano, that it's intimate, that it's sad, that I prefer the angry, guitar-playing Pj, that the album contains some good songs, others not (always in my humble opinion), etc. etc. So what you say about having an aperitif with your wife is not true. Finally, despite you having gone in for a tackle, I told you twice: let's start over and pretend nothing happened. You didn't want to. So don't act all offended and think that we are the bad guys. Because that’s just not the case.