nix

Ah, goodness. You're scribbling too, as I can see. And I bet your Villa Arzilla is located in Turin just like my hospice.

Blessed are you, CosmicJocker, I envy you because you possess a gift that I clearly lack: conciseness. You manage to be reasonably succinct without losing richness of content.

I like to tell stories. The stories behind a single record, a concert, or an artist are fragments of a larger History that has exploded behind us. Knowing them allows us to give the right depth to today’s music. The problem is that storytelling requires significant space and time, exceeding the ten lines of a review. The web, I fear, is not the right place for all this, because the internet appreciates things that are brief, quick, and fast. In fact, despite the goodwill of Debaser (who has highlighted my contributions) and a few benevolent and patient readers—always the same five or six—nobody reads me. Who wants to shoot through five pages narrating the story of an old blues or a sixty-year-old studio session? Almost no one. Anyway, my gratitude goes to these five or six brave souls. A heartfelt thank you to all of you for your kind words. They truly made me happy.

Congratulations. It is extremely rare for me to express myself, but this review is truly well done. It has a melancholic and emotional rhythm, like the story of these two outsiders who, for various reasons, finally deserve their place in the history of global pop music (so not just Italian). The Krisma ooze Italian history from the seventies and eighties from every pore. And the Italian history of the seventies and eighties is a history that doesn’t always smell good. It also carries a whiff of death, let’s be honest. But the fact of BEING IN HISTORY, which was their strength, makes them worthy of being remembered. And, at least in memory, no longer as outsiders, but as true protagonists. Congratulations again, lector. I hope to read you again (at this level).

review too long for a mediocre album.

This is a perfect review of a good (but not great) album by one of my favorite artists. Five for the review, four for the album. To anyone who would take advice from a passionate fan of over twenty-five years, I would recommend acquiring:
Astral Weeks: his timeless masterpiece
Excellent albums:
Moondance (1970)
Saint Dominic's Preview (1972)
No Guru, No Method, No Teacher (1986)
Good albums:
Tupelo Honey (1971)
Into the Music (1979)
Poetic Champions Compose (1987)
Enlightenment (1990)
Hymns to the Silence (1991)

I appreciate this review because it concludes with a brief overall judgment on the work that I fully share. We are faced with a great artist (some may not like her, but it is undeniable that Mitchell was a great artist) who pays tribute to one of the major figures in twentieth-century music. However, she undertakes this incredibly ambitious task in the worst possible way. They hire a string of some of the greatest and most extraordinary musicians available, who are presented with exquisite scores. In short, an atmosphere of extreme ambition and frightening demands. The result is a glacial, polished, and impeccable work that is fundamentally devoid of authenticity and soul. A perfect work on paper, mediocre in reality. For my tastes, it’s a complete miss. Well done, EverardBereguad; we think alike. You even managed to maintain a balance without excessively harshly criticizing musicians who are, after all, unforgettable artists and may not deserve overly violent words. Mingus by Mitchell is just a complete miss made by top-tier musicians subjected to an overly ambitious and pretentious proposal. Five stars for the review, three stars for the album. Cheers to all!

Sobs and waterfalls of tears... crying crying crying. A review too moist for my tastes, although not without its reasons.
As for the flute concerto... it's the best music I've ever heard. Immortal.
Three stars for the review - I can't give any to the Mozart concert. A million million galaxies of stars.

Noooo!!! I made a mistake!!!
I went to check out the reviews by minogue83. On January 7, 2013, in a review of "gnam gnam style," he ended his review this way: "The fact remains that we will definitely see Gnam gnam style at the Festival di Sanremo 2013, and it’s no surprise if it continues its rise until the coming summer, hoping that a nice new album by Paola&Chiara will save us from these extravagant characters."
This is not a joke!!!
THIS IS SERIOUS!!!!
A whole new world opens up for me, new horizons!!!
Minogue83, I want to meet you! Tell me about yourself!

Indeed, it’s truly amusing to read the comments from devoted debaserian colleagues who, over the past few months, I’ve seen passionately and knowledgeably review or comment on albums by Terry Riley or Robert Wyatt or who knows what else (I’ll mention just a few like hjhhjij, korrea, Cunnuemammadua, SydBarrett96, Lao Tze), going after this guy. However, I suspect it’s a joke. I can’t believe that people could actually resort to lynching in this way, with such conviction. Moreover, you see he doesn’t respond. Either it’s a prank, or he’s someone from the record label making a publicity stunt. The remaining hypothesis is that he’s crazy.