panlio malmieri

The album is okay, but I don't like it. Too sweet, and the more purely country tracks (glitter gulch, the big light) leave me quite perplexed. Eisenhower blues is one of the major skips on one of his albums (he didn’t write it, but it’s not clear why he included it, anyway).
I don’t like the review: it suggests that the album is made up of 20 tracks when, in reality, that number is only reached through the bonus tracks, which are also incorrectly mentioned as if they are part of the original album (people's limousine, shoes without heels, they'll never take her away from me, which is a cover). No mention of the content, or the lyrics, or the texts, or whatever you want to call them.
Furthermore, as far as I'm concerned, he has made better albums before and after.
By the way, he continues with pop-rock to this day, contrary to what the guy above stated in the last comment.

beautiful record, generally rather vilified, whispered, intimate, discreet, nocturnal, slow, lethally sentimental in its own subdued, sophisticated, jazzy way. to be listened to only when one is in the mood, and not wanting any noise.
I don’t like the review. those aren’t French horns that open the album (THEY ARE STRINGS! SIMPLE STRINGS!), and Costello was only tangentially related to punk, so the various references like “no future” (to which Costello responded with “what's so funny about peace love and understanding?”), and the nonsense about punk entering Mozart's house are simply inappropriate.

first debut album? how many debut albums has it had?

ok. then I feel good.

I don't really like song descriptions, and the analysis of meanings seems incomplete to me. But I'll still give it a 3.
The album is the same as in the other review. So I guess I have to reiterate the 4.

terrible review. the reviewer didn’t understand a thing about the record, and how it represents the personal dimension contextualized in the social, and determined by it. okay, maybe not a thing. but they are too focused on the aspect of individual suffering, overlooking the political meanings. moreover, god’s autarkic iconoclasm contains very little humor. that is truly an existential reflection, the nullification of the "divinized" reference figures, in order to confront reality without hallucinatory pseudo-religious solutions. here too, the personal is also political, anyway.
in any case, there are beautiful metaphors and so on, so I can’t give the review less than two. sometimes I’m moved by my own generosity.
the record is excellent. but it's a torment.

Well, no. But I think you always keep a little box of cotton swabs with you, in case you manage to sneak away with someone. "Or someone."

a competent review that sufficiently conveys the essence of the tracks.
imagine, in any case, is a communist piece - more than just generically "idealistic, pacifist."
the album is okay. not the masterpiece it’s claimed to be. the title track is fabulously overrated.
the nice thing is that everyone likes it: there are a lot of people who are communist and don’t know it.

I'm afraid to ask you what you do to them in intimacy.

the hyperbolic-pulpous-Tarantinian effort of the review did not yield a proportional result. n.a. (I can't come up with anything).
the album consists of tracks from a completely tamed and harmless Lennon, lacking tension, yet still listenable. Yoko's tracks are a bit less. a bit less listenable.
as far as I’m concerned, however, the best track on the album is hers, titled "every man has a woman who loves him."