Il_Paolo

DeRank : 6,49
DeAge™ : 6728 days • Here since 8 january 2008
Angelo Badalamenti Twin Peaks
Voto:
The series was beautiful (at least in the first episodes and before the absurd - but Lynchian - twist into the paranormal). The diary of Laura Palmer included with "Tv sorrisi e canzoni" was beautiful too. The soundtrack you rightly describe was the perfect complement to it all. Including the punchlines.
Miles Davis Sorcerer
Voto:
I'll take it: from this quintet I have E.S.P., one of the best works of Miles & Co. Even though the times of Kind of Blue are unrepeatable.
Bob Marley Survival
Voto:
Yes! Strangely, Bob Marley is not highly reviewed on Debaser; he deserves more (give it a try).
Roberto Benigni Johnny Stecchino
Voto:
LaRock goes on! Perhaps the best Benigni (I believe that "Life is Beautiful" is a clever trick). The fact remains that the Tuscan comedian expresses himself better when he is free from frameworks and fixed roles, and not in movies. Yours sincerely, Il_Paolo
Litfiba Desaparecido
Voto:
Sorry, I'm throwing out a request/provocation to anyone passing by: in the mid-'80s in Italy, was there really all this space for English "alternative" music? As far as I remember, the market was dominated by Duran Duran, Spandau Ballet, Boy George... perhaps the most famous group from the dark scene was The Cure, and listening to U2 back then made you look sophisticated. Obviously, in such a context, the music of Litfiba had its reason to be. I'm waiting for insights. Semper Vestri, Il_Paolo
Cowboy Junkies One Soul Now
Voto:
One vote less just for forgetting that among the musicians of Toronto, the Rush stand out above all.
Titus Groan Titus Groan ... Plus
Voto:
Very good!
John Norum Slipped Into Tomorrow
Voto:
Write well. The cover of this album is terrible. As for him, I don't know what to say: honestly, Scandinavia has produced better, from Bergman to Marina Lothar.
Litfiba Elettromacumba
Voto:
Fake or not fake, the review isn’t bad, especially if it’s (deliberately) ironic. As for Litfiba: in my opinion, their best was up to "Pirata" ('89); the idea of a Latin rock from "El Diablo" ('90) to "Spirito" ('94) isn’t bad either, although the band’s stylistic evolution confirms, in my opinion, the main limit of the Pelù-Renzulli duo: the lack of identity, originally compensated by the Maroccolo-Aiazzi duo, but gradually revealed in all its nakedness.