odradek

I apologize for typos and various mess-ups. I imagine the meaning remains understandable anyway. Bai bai.

Apart from that 3 you assigned to Dylan's "Pat Garret &..", with a comment that caught my attention for the peremptory way you dismissed it, I took a random look at some of the hundreds of comments and I'll point out just a few of the 3s you delivered at the end of your judgemental posts, just to supplement the previous one: Can-Monster Movie: 3 - The Beatles-Yellow Submarine: 3 - Otis Redding-The Dock Of The Bay: 3 - Red Crayola-The Parable of Arable Land: 3 - The Kinks-The Village Green Preservation Society: 3. In your last comment, there’s a nice closing line that I'm forwarding to you for whatever use you wish regarding this Padano hero of rock and roll: “And even here on DeBaser, we often tend to overrate.” Quite funny, coming from you, don’t you think? I still maintain that everyone’s tastes should be understood and respected. So my question arises from sincere curiosity, as I find the logic behind certain ratings absolutely incomprehensible, since it’s dispassionate opinions that you would want to be “logical,” which you stick to the 3s I indicated, pulled from among many. Bye.

Dear Marco Poletti/Viva Lì, could you please explain to me, based on which mysterious criterion this mediocre album by a mediocre derivative singer somehow manages to earn your 5 stars while dozens of excellent albums, in the reviews of which you leave definitive and harsh comments, only receive 4 or 3 due to your always so assertive critiques? I hope the question is clear, at least as much as your scale of values seems obscure.

Iside, there’s a review where we revealed our respective ages, which are no longer a taboo: Hal is 35, if I’m not mistaken, and Symbad is a new fifty-something. I’ll be 47 before long. How old are you, handsome youth?

I didn't go to the concert; I've been missing them all lately, and I'm perfectly fine without. But I found them at the bar (il Pastis di P.zza E.Filiberto) and they seem like nice guys. I didn't even hear the last one, the first one wasn't that bad, quite fun. - P.S.: Ivano, sorry but could you pay a bit more attention when you write, please? In just a few lines there are quite a few mistakes, (describing a rec. - the punctuation before estetica - riche - a me .... mi - posare gli orecchio and then more punctuation...)

A beautiful review, Hal's tone is soft and enchanting. For me, his pages, along with those of a few other very talented individuals, are becoming a sort of handbook in the vast world of classical music that I know so little about. This is public service, don't you think, Stoopid? And we don't even pay a scrap of a fee...

Yes, Nick is right, this review is beautiful. Even if some definitions can be questioned or misunderstood. The mood comes across, however. I completely disagree, though, with the idea that it's pointless to mention the titles, since the link in FreeDB doesn't work and those are necessary pieces of information, not opinions. I'm listening to "Coltrane Plays the Blues" and I love it, just like the first time. And I like knowing that track 2 is Blues to Bechet; I don't think one title is as good as another.

Sorry for the nitpicking, Morning. But, although it is mainly known for the film adaptation with Lando, the subject of Il merlo Maschio was worked on by Luciano Bianciardi, who was nearing the end of his life, also participating in a marginal role. I'm glad to mention him, since the opportunity arises. Along with his perhaps most significant book, La vita agra, which I feel compelled to recommend, albeit with some critical reservations that are not worth delving into here. I recently discovered that there is a curious online initiative, a kind of hypertext created by the writer's family. Sito ufficiale di Luciano Bianciardi (1922-1971) - Hi.

I left them after You All Look The Same To Me. I had listened to some of the subsequent work and it was clear they were running out of steam. Welcome back Sylvian. Too bad it happens on the occasion of a disappointment.

I agree. With a few years ahead and some more "esoteric" and "experimental/progressive" connotations, the most likely comparison seems to me to be with Third Ear Band (especially in the first one, "Alchemy" - 1969 where the ethnic component is quite strong). If I find the record, I'll try to talk about it, even though perhaps the second, self-titled one is more "mature" and unique.