primiballi

modest record in relation to the character (Mina). We should open a debate about Cele...: a great and unforgettable voice, but the records...??? and the recent tricks from the mogol-bella company...? bah........................

I agree...even though I would go a little further...at least until W, Italy's production is undoubtedly at levels of excellence. Then it remains "only" very high (latest included), with perhaps a small exception for Miramare and Canzonid'Amore, in my opinion two micro-failures, although there are some great tracks among the songs of both...as for the similarity to Dylan...well...there's certainly inspiration and tribute, often very explicit...but they are two very different singer-songwriters: one just needs to know them...

I've expressed my idea multiple times... it only serves to define the true spiritual testament, which not all of us place at the same time. I would say definitively that - at least for me - the pinnacle of his production (that is, the album up until which it can be said to be "growing") is "musicante". The live performance "sciò" is great, obviously, and, for me, much more than decent, even if slightly inferior, is "ferry boat". From there, a slow, gradual, and dramatic descent into the depths of composition. As for Davide Daniele: "mascalzone latino" is a good album, but it is already on the decline. Let's not overrate it. And, I believe that "iguana cafè" is unfortunately the lowest point of their career. I repeat: in all the subsequent work, the only micro-exception I make is for "medina", which, in my opinion, is a good album, original, well-played, heartfelt, and not empty like all the others. Certainly, "passi d'autore" reaches incredible levels of "presumption" (starting from the title), which at least are not present here...(even though the overall level of the latter is very low)

neither do I... but I can't find "the great sea..." or the one with Prudente... but you know, I, as my "colleague" Conte would say, am one of those who live deep in the countryside (it would be better to say in the Province)... and every time I manage to reach a city with good records, I stumble upon some surprises... (but I really fear these won't be among them...). if anyone knows anything, for god's sake, please speak up.

Thank you...: I know music because I've been playing for a lifetime and writing for fun and for work (I'm a lawyer...). No professional critiques...even though I would have liked that...of course. Anyway, thank you again. As for uds...: I always eat and only in excellent trattorias.

but this is a record of living off of royalties... what do you think...? I swear it’s incomprehensible. for me, absolutely not: it’s a very sincere and deeply genuine record (what compels him, at his age and with all his money, to lock himself in a studio with some nice songs, play everything, argue with the producer, struggle, etc...???)

Hal, I swear I wasn't referring specifically to you, but to those who here (perhaps just you... but I admit I haven't read everything) and certainly elsewhere have criticized this album. Well... I find it funny that those who criticize OAI might swoon over Franz Ferdinand... anyway, it's all a matter of opinions. My view is that, considering five DG albums (his three and the two Pink Watersless), this is the most beautiful, the most heartfelt, and the least self-congratulatory. Can't you try to listen to it again with a lot of attention, complete silence, and no preconceptions (perhaps also generated by these discussions, which somehow force everyone to barricade themselves behind their own personal barricade...?). If you still don't like it, well... respectable opinions (and please don't react to me nervously anymore... okay...?).

In my opinion, this is a beautiful, heartfelt, and excellently conceived album, played and interpreted. It's interesting to see it criticized (absolutely), especially by those who perhaps fall into pretentious prostrations in front of the latest kids who just copy the greats. DG has already innovated a lot and has been around in history for quite some time. What did you want him to do...? This album. Exactly.

What I think about this album I've already expressed in my review, which I refer you to if you're interested. These micro-invective distortions of names in perfect Emilio Fede style really show their limitations and are very poor, both in form and content. Anyway... Debaser is a very democratic place, so it's all good.

Here it is... if I'm told that everything "after" is base profit or almost, I'm on board... I still see the soul and madness of the Doors here... they were obviously quite "under the influence," he simply divine, the whole being more than beautiful. It's not a Doors album, though; it's just a wonderfully strange record, and absolutely not useless (if the JM of these scores is beautiful just to read, dear donjunio,... why the hell was it recorded...? meditate, people, meditate...)