fusillo

@sfascia: it seems to me that we're finally all on the same side. Thanks to you for stopping by. :) @Zarathustra: one last thing. I'm also glad that my reviews are read and commented on. But if only a few comment on them, I don’t tear my hair out, and especially when I write them, I don’t employ any strategies to get readers to read them all the way through and comment. I just write, plain and simple. If the reader appreciates and comments, I'm happy. Otherwise, oh well. But regarding the relationship between the reviewer's style and the number of comments, try taking a look at the pages of sfascia carrozze. They are justifiably among the most visited and commented on, and they don't seem to be written in a way that makes reading easy (no offense intended, messere). Sometimes the connoisseurs and experts make mistakes, and let me tell you, when that happens, I feel a certain relief. @Odradek: a small clarification on a misunderstanding of yours that might have been caused by my imprecision. In your first post, you say "This version of the palstorchester...". Well, this version of the "threepenny opera" is not by the palastorchester. The orchestra accompanying the singers is the "ensemble modern"; from the palast, there is only Max Raabe. Hello everyone and have a good Saturday.

I've made a note of everything. :) I saw some footage of the Yellow Shark rehearsals in a BBC documentary that I downloaded from the internet (if you don't know it, I recommend it. It's divided into three parts and it's very nice, there's also the last interview with Frank: Frank Zappa: BBC late show part 1, 2, 3. You can find it by searching online). Watching Zappa in pain while he catechizes the musicians was quite heartbreaking, sigh...

Beautiful review as usual, Messer Sfascia. I don't know the band, but Dave Mustaine and HM magazine open a window in my mind to a long-forgotten past. I'm sorry to always be the one to point out that the links don’t work. Here, only one works: the one for the Roman numeral converter. The others lead to a forbidden page (Oh my goodness!!) on Yahoo. The first three links instead lead to the homepage. Unless it's my computer that's malfunctioning. Regards.

@cece65: "They say (about Mogol) that he is a person of embarrassingly narrow-minded ideas": I must say, that's the impression I get as well.

@Zarathustra: I just re-read my posts and frankly, I can't see the annoyance you saw: you made a critique and I responded. Regarding the site you mentioned, it must have been created by people who know what they’re talking about, but in general, I distrust experts of any kind of writing on any medium. Anyway, I went to check the page and, as the trivial person I am, I have one curiosity: "And who the hell is Jacob Nielsen?" Oh Zarathustra, don’t feel obligated to respond by posting the good Jacob’s resume. I really wouldn’t be able to stand reading that. If there are rules to follow for writing on debaser, I notice they are applied with extreme tolerance. And rightly so, since everyone who writes here does it for pleasure, not for work. I repeat, Zarathustra: what I said, from up there to down here, I said without even a hint of anger. Regarding the dimension as not a parameter for judging a review, I quote what Odradek said. And I add that personally, I am not even worried about reviews of records that have already been widely reviewed and discussed. What interests me in a review is A: that the reviewer doesn’t say blatant nonsense. B: that they manage or at least try to establish a minimal empathy with the reader. If those two elements are present, I could read the thousandth review of a Pink Floyd album, long or short, or a nice review of Claudio Villa or Natalino Otto. @Fidia: thanks for stopping by. See you soon. ;).

@Odradek: my omission of Dagmar Krause is particularly serious on my part since she is one of my favorite singers. It was good of you to mention her, and I’ll add "supply and Demand," which is the title of her album with Weillian interpretations. And since the idea for this review came to me after a discussion with Hal, I’ll also mention his favorite interpreter, Teresa Stratas. Now it’s Lenid’s turn to choose where to start... @Zarathustra: look, I couldn’t be further from taking it personally. Furthermore, this is the second time you’ve told me I write too much (see the review of Shivaree), and to be honest, I’m not particularly passionate about the issue. If you say that overly long reviews distract readers’ attention, I understand you have little faith in the concentration abilities of Debaser visitors. And if I’m read less, and this goes for you too, Festwca, well, what can I say, it’s too bad... Hi again to everyone.

I am one of the many fans of early Genesis (excluding "From Genesis..." of course), and I find this album very, very ugly. And it's not true that the pop shift is Phil Collins' fault. Michael Rutherford and Tony Banks agreed. And to have proof of this, just listen to the solo albums of Michael and Tony from the eighties and nineties. Since Hackett's departure, the only good album by Genesis is the self-titled one from '83. Speaking of the reunion, I read last year (I believe in the Friday edition of Repubblica) an interview with Michael Rutherford who said that it was possible, if not probable. Well, I don’t even hope for it; I don’t think it would make much sense anymore. However, if someone wants to see Genesis in action during their prime, I recommend a video bootleg recorded by the BBC in 1974 during the "Selling England..." tour. I have it on VHS, but I think it can also be found on DVD. The title is "Before the Lamb." Bye.

Well, I've never liked Battisti and Mogol... By the way, now Mogol has that school for authors, I think it’s called CET but I wouldn’t bet on it, and from what I can see of the location it must be quite expensive. Now, I’m skeptical about schools that teach you any kind of creative writing (besides CET, assuming that’s what it’s called, there’s also A. Baricco’s "Holden"), but who can tell me the name of a graduate from Mogol’s school who has achieved any fame? Oh, the review seems good anyway.

Beautiful and engaging Odradek, and Miss Cibelle isn't bad either...

I had (I don’t know where it ended up, but I’m not itching to find it) the CD that contains the two concerts. They are both quite ambitious (if I’m not mistaken, there’s a piece dedicated to Hendrix whose success I would gloss over…) and when I hear the falsetto choirs of New Trolls, who also set a standard among other Italian progressive bands, I feel like covering my ears. Tell your family troll, but with affection, eh... The review seems good, anyway.