Gigi D'Agostino
Il Programmino

Humiliated, saddened, mortified. How to describe the feeling that grips me after 4 months of (free) collaboration with the DE-Baser project?
Rock music cornerstones debased by superficial comments (Pink Floyd - Wish You Were Here), ordinary stuff celebrated as masterpieces (Subsonica), true "prized pieces" of the century (Hancock, Can, Coltrane) that collect one or two votes per album, indicating that very few have listened to them and no one finds in the reviews, however beautiful, the slightest incentive to get close to them!
And what about Slipknot?

The absolute disinterest in the Eva Cassidy review pushes me to drastic actions.
So, to celebrate the anniversary of 4 months from the start of this collaboration, I present you with the review of a CD that, perhaps abusively remastered, will certainly fill many and many CD cases taken in cars.
In "Il programmino," Gigi D'Agostino (what a rhyme, is it a coincidence?) includes personal tracks and tracks from other authors. These latter are very close to his style, an evolution that the Cecchetto sound has known in the last twenty years and which, with the powerful structure of Radio DJ, has almost imposed a monopoly on the national scene.
Among these, there are some slightly dated ones that we can imagine were inserted as a tribute by a romantic D'Agostino, to underline the importance they may have had for his professional culture.

And perhaps "Face to Face- Heart to Heart" is the cutest track, as it at least has the merit of reminding us of the evenings when, as teenagers, we watched the beautiful girls who made us sigh but whom we didn't dare to approach (which with hindsight, who knows, maybe they would've given us a chance...); I also highlight Soulkeeper and Jay-Jay Johanson on CD1 and Van Dyk, Nebular B, and Allure on CD2 (such abundance), which, however, would deserve another context for the style in which they are inserted and which likely represents the maximum freedom D'Agostino allows himself (is allowed?) when preparing something.

Among the various omissions, there is a lack of acknowledgment for the works of LFO, William Orbit, and company, which certainly, even if "on the side," appear in D'Agostino's production.
Among his present works, not all the best, some ruined by senseless remixes, I would save only Hymn.

A compilation from which, with an appropriate use of scissors, an adequate CD can be made to listen to in the car, strictly at full volume with the windows down, with the not insignificant advantage that it will manage to conceal the distorting effects of our system's power and will make us so happy.
I'm ready to bet that we are facing a great Best Seller.