ajejebrazorf

I don't really like reviews that are so verbose, too long, cut, cut. Instead of "There's no need to beat around the bush unnecessarily. Epic, monumental, aesthetically beautiful, varied. This is what this album is." You could have made it shorter, I don't know, remove the first two sentences: "This is what this album is." But maybe that's still too long, you could just write "Here it is."

Enè, what are you talking about for goodness' sake?

Ah yes, the review is well-written, and I won't comment on the associations that at first glance seem rash, but when you say that Robbie Williams is a great artist and that he is "strong with one of the few truly 'genuine' and authentically irreverent personalities in the static and smelly showbiz", it makes me think. I'm not saying what, but it makes me think.

Yes, Donahue also appears in the video of Car wash hair. But then, doesn't he sing it? It really sounds like his voice to me.

Antonio, take Deserter but also take this one, they are two albums at opposite ends, Secret Migration is similar to Deserter but infinitely inferior for me, while this one is a great psychedelic album, both are worth the effort. Bye.

damn, I'm keeping you company too; I'm so bored... I think the little face is the first horror thing in the movie in 50 minutes, and a friend of mine rightly said when he saw it, "you have to catch the horror." It probably depends on whether you believe or not; if I believed, it might have made a completely different impression on me. My confirmation catechism teacher used to tell us things like "there are people who, when they sin, go to bed and when they turn around find the devil in their bed." Well, if I still believed, maybe I would have been frightened indeed. Anyway, I acted all tough like I'm not afraid of anything, but I shit my pants with Blair Witch Project, which I watched a few months ago. And now, go ahead and throw the bedside table at me.

Beautiful, I’m not an expert in classical music, but I know a bit about Debussy, and he’s one of the composers I’ve found it least difficult to understand, also because he has been the inspiration for many pianists, even in jazz (one above all, Bill Evans). It's said that no one captures the essence of water musically like Debussy, and that's probably true. I understand very little about piano as well, but that little helps me grasp why Benedetti Michelangeli was treated like a god.

Here, take a look at this, I'm putting it up because it's quite nice: "from the article 'The True Story of the Avvelenata' by Riccardo Bertoncelli (1998)///
'This is the best, and I swear it's authentic. It's more than twenty years ago, I have to go to the military and I'm waiting for the call-up notice any day now. I'm curious and also vaguely terrified of ending up in some remote hole in Italy (I will). One morning, finally, the postman rings the bell for the fateful call. I open the door, understand right away, and stretch out my hand resignedly, as if to say, "Come on, just here’s the thing, let’s get it over with." But no, too easy. He sizes me up, turns the postcard over in his hands, sizes me up again, and then gives me the most curious look he has. “Excuse me, sorry for bothering you... But are you that Bertoncelli who… the one from the song, what’s it called, that Guccini song I heard just yesterday on the radio." My nerves are on fire and my mouth is completely dry, and with a weak voice, but maybe it's more of a gasp, I reply, “Yes, that’s me, that’s me,” hoping he'll stop and just give me the damn notice. Not a chance. He takes the postcard, sets it down on the pile of mail, crosses his arms, all chirpy, and says, “No way, really? Because, you see, I’m a huge Guccini fan, I have all his records, all of them, even the one with La Genesi, what’s it called, the one I like so much, what’s it called?” “It’s called Opera buffa,” I whisper, barely hanging on, can I please have the postcard? “But then you must know Guccini, if you mentioned him in the song you certainly know him... And what’s Guccini like in real life, huh, what’s he like?” It went on like this for ten minutes, I was like a mobile coronary unit and he, unflappable, kept quoting those songs “too strong, the one about the unknown island, there, no wait, the island not found. Too strong”: and only at the end of that torment, after ten minutes or so like a fakir, he finally handed me that damn postcard, shooting off a last “who would have thought. Say hi to Guccini if you see him,” and I read Macomer, Sardinia, wow, and then I don’t really remember much more, I must have fainted. In my delirium, I seemed to hear Guccini’s voice: but he wasn't singing, no, he was just laughing, going “Ah ah ah.”'

alive and kicking, certainly aware that age is relentless with everyone, and that to defend Ligabue one must really be losing their mind... in my opinion, it’s the circle he moves in, I often read something of his in Musica, the supplement of Repubblica directed by the critic I like the least, Gino Castaldo. On the topic of derivative works, we completely agree, everything is derivative (ah, how true the bangs theories are, sooner or later I’ll put that one of his back in the file) and I think it's the first thing we said to each other when I ran into you for the first time on Deb about your Maledetti. Enè, I'm curious, who did Fabretti plagiarize from you?

But you know, Bertoncelli used to annoy me a bit many years ago because he tore apart my favorite album by Guccini (and he got the famous honorable mention in the poisoned "Colleghi cantautori, eletta schiera, che si vende alla sera per un po' di milioni, voi che siete capaci fate bene ad aver le tasche piene e non solo i coglioni...Che cosa posso dirvi? Andate e fate, tanto ci sarà sempre, lo sape-te, un musico fallito, un pio, un teorete, un Bertoncell o un prete a sparare cazzate!"), but on the other hand he's also a very sporting guy. I found him likable when I read that once he made peace with Guccini, the singer told him he would remove the phrase from the song, and Bertoncelli said to leave it unchanged (and as a critic he was already the most famous in Italy). In short, maybe to say that he didn't respond to Stratos not because he didn't have arguments, but simply because he wasn't interested in "winning." Then if you ask me why I started with this pro-Bertoncelli speech, I don't even know why I wrote it...