Casanova

This is what you'd get if you asked me to write a Pulp parody album.

Was this a joke? Did someone lose a bet? Surely there must be a logical explanation for whatever this was.

On one hand, this album was the exact kind of cheesy charm that worms it's way into my heart. On the other hand, I think I just saw it slip something into my drink...

Exceptionally boring. Eminently skippable. Utterly unremarkable. SAved from a one-star score because I recognized that one song from the "Father Ted" credits ("Songs of Love") and because none of the songs are actually offensively bad.

This album was… not my jam. Sounded like some off brand Bowie wrote some insane score to a musical and arranged the songs out of order.

I've been trying to come up with a word to describe a person who uses a 27 (ish) piece orchestra to back their music but also pronounces the ells in guillotine. It's somewhere between pseudointellectual and kitsch but without the knowing wink. Anyway, this was at times painful to listen to (especially the last song, which sounds like a bad Phantom of the Opera audition), but also showed bits of promise, so I'm giving a middle-of-the-road score. Best track: Songs of Love

I've never heard of this band but the album cover is slightly intriguing in its trying-too-hard ladies man look (and name). The opening track, Something for the Weekend, opens strong with a certain nearly but not quite entirely camp attitude. The next song, Becoming More Like Alfie sounds even more like the singer is singing with a wink. Dark and funny. Very British. I dig it. \"I suggested, she protested, I persisted 'til she said 'well okay' and I said 'wahey!'\" Songs of Love is a standout, pretty song. This album has some of the same energy as a recent album I was served up, Meatloaf's \"Bat Out of Hell\". Over dramatic, with good music and clever lyrics.

I give this Casanova only one Cyrano de Bergerac

If flight of the conchords wasn't funny

I spent the first few tracks trying to figure out where I'd heard this voice before. Finally had to bite the bullet and look it up: Ute Lemper's Punishing Kiss! Yes. Makes perfect sense. I'm guessing the ratings of this album are going to be pretty split --- I spent as much time hating it as loving it. The vocals are annoyingly affected at best, creepy and menacing at worst. But the theatricality of this album got way under my skin. I do think this is an album that I needed to hear before I died. Very unique. Very interesting.

Thoughts before listening: I've never heard of this before. Must be British. Review: Yep...it's British. Over the top, theatrical Brit pop to be more precise. I don't really like it. 2-stars

Dirty old man, the soundtrack.

Meh…b-side of the Austin Powers 2 album. Filler music, forgot I was listening

If I had been a straight man born in the UK in the early 1970s who had a notorious affinity for tall French women, middlebrow literature, and frequenting chic cocktail bars, I think I’d understand this album. Alas, I am a queer trans woman born in the US in the 1990s, with a hatred for both the British and the French, and although I too like to read the New Yorker while sipping a Paper Plane, I truly don’t understand the appeal of this album. It’s too dorky and carnivalesque to be artful, but it’s too up-its-own-ass to be camp, and honestly, literally nothing about it stands out. Well, besides its weirdly misogynistic Pick Up Artist ego. I can’t decide if it’s being ironic in an obnoxious Gen X way that I’m supposed to read as ~social commentary~ even though time has made the joke incomprehensible, or if these lyrics are sincere, and if it’s the latter, then this album is bordering on immature, if not fully problematic, to the point where I’d cover my drink if he tried to hit on me at a chic cocktail bar. Either way, I hate this guy’s whole vibe. It took all my strength to not turn this off half-way through. Hell, I wanted to turn it off at the beginning of Track 3, and then I realized I was only on Track 3, so then with each song, it became more and more difficult to sit through this without wanting to cancel my Spotify subscription. Never again, please, or at least not for a long while.

A meandering pile of ocean trash. Gave me a deeper appreciation for silence.

I was worried at first, as the first few tracks were certainly not grabbing my attention, despite being the singles for the album so I was worried that despite my (controversial) love for A Short Album About Love that this album would not reach even close to the same level of quality. However, after those first tracks, this album just starts rocketing off with quality song after quality song. Hannon's voice starts shining through again, and the strings are just as excellent as always. I've also come to really appreciate the goofy lyrics, as so much Britpop takes itself too seriously, and this feels like this guy was certainly in on the joke. I do wish the album grabbed me quicker and was shorter, but I really like quite a few tracks here, and look forward to getting to know them better. This dude really likes horses, huh? You know what, fuck it, this album is also amazing. I re-listened, and while some of the early tracks are still lacking, all the tracks after are so amazing, like Franz Ferdinand's lead singer singing parody James Bond themes, its the perfect schlocky album but in the best of ways. Plus, it could use the extra help on the average rating, it seems. I suppose I can officially say I'm a fan of the Divine Comedy.

This album was a surprise for sure. It's a bit creepy with the women seduction, but the music is actually quite good. There were some genuinely good moments on them, especially for a comedy album

The Divine Comedy is a very recent discovery for me. I actually just heard one of their (his) albums, "Fin De Siecle", right before starting the top 1001 albums list and immediately fell in love with it. This album just as good and a little different. There are hints of early Scott Walker here as well as early pre-disco Bee-Gees and bunch of other influences. Great lyrics that are sometimes tongue-in-cheek. Can't wait to dive further into other albums by them.

Used to love divine comedy, ages since I heard them. Wonder if this has my lovely horse on it? 😉 I'd forgotten how bloody good they were. Thoroughly enjoyed that and will listen again.

Strangely hammy, weirdly rapey, oddly energetic. Really confused by this one. So middle of the road it goes.

Dogshit

Please - a decent album, not this banal crap

From the 90s DC albums, I might prefer "Promenade" above "Casanova", as it contains "The Booklovers" and "Tonight We Fly", but this album contains "Theme from Casanova" and "Something for the Weekend". So hard to say..

This is definitely very different from all the music I've encountered before, so this website is doing its job. Some of the lyrics are a bit too much, but the overall sound is great.

This guy has to be a sexual predator.

After previously hearing A Short Album About Love, I found myself to enjoy The Divine Comedy really quite a lot. It goes without saying then, that I went into this album with some optimism. This paid off, as it is quite unlike anything I’ve heard before. It feels a little musical theatre/cabaret at times, but somehow without the cheesy side of it. The vocals are fantastic, the arrangement if very interesting, and the lyrics have a definite tongue in cheek element that I like. Overall, a bloody great album!

Loved this. Another Irish act I've been sleeping on, had pretty much written him off as the Father Ted song guy. Big fan of the unique vocal delivery, instrumentation is really well chosen to mix standard rock with more unexpected sounds. Songwriting is cool, love the full commitment to the sleaze throughout. And Songs of Love is just a great song. Have to imagine Matt Bellamy is a fan, some seriously Muse-y parts throughout. All in all I enjoyed the shit out of this and will for sure be doing some repeat listens.

Very much loved this record. Voice like Bid...very much like Monochrome Set.

Not sure exactly what I just listened to tbh. The real divine comedy was that i listened to the whole thing.

Don't know who this is but fuck him and his terrible album

Thankfully I heard this after Scott Walker's Scott 2, because this album is heavily influenced by it. It feels like an attempt to create a 90s version of Jackie, and it succeeds somewhat. The highs are not as high, the lows are not as low, and it doesn't pull off the sleazyness nearly as well. However, I appreciate the sheer theatricality of this album, it goes 10 miles over the top and it knows it. Appended: This has become, over the years since I originally reviewed it, one of my favorite albums ever made.

Neil Diamond...meets Belle & Sebastian...with a sprinkle of Rocky Horror Picture Show? I don't know quite how to describe it. Crooner Campy? I actually like good chunks of this. Would I ever listen to it around anyone else? Absolutely not. But when it's in my earbuds and I'm driving and I can absorb all the ridiculousness of it, I'm good with it. So much good instrumentation. Hits: Something for the Weekend, Becoming More Like Alfie, and Songs of Love - which feels like B&S are singing - a different style/voice than the bombast of the rest of the album.

I wanted to like this one more since it's got a lot of quirks I enjoy, but it was just a little on the corny side to me. Sounded a bit like Roxy Music in a bizzarro lounge. I wasn't really seeing why this was in the 1001 albums and as of the 2018 edition it isn't anymore. Makes sense. My favorite part was the second half of "Through a Long & Sleepless Night." That's where it really showed potential. Giving it a 3 mainly because there were moments I liked. Maybe this would grow on me, but it's time to move on.

I’d call this “Cheesy lounge singing” but that would be an insult to cheesy lounge singing. The music is entertaining but ultimately this is not worth listening to. …like ever. The truly scary part is this was the band’s breakthrough album. What the hell did the other albums sound like if this was the good one?

What is this

“Everybody knows that no means yes”?? Is this the Blurred Lines of its generation?

If feel it’s worth pointing out that the brevity of “A Short Album About Love” was a major factor in my decision to rate that record 3 stars. An hour of this is a little more than I can take.

So this is what it would sound like if David Bowie was a sexual predator and released a lounge album. This album was super cheesy and I didn't really enjoy it.

The only comedy is that this list has gotten so many people to listen to this album.

this dude is trying too hard to seem suave and cool. but he's a fucking dork. "something for the weekend" tries the trick where it repeats the chorus 100x to try to make it catchy. sick of it! this really drags i don't like how it sounds at all. i hate the way he sings. he's TRYING to be a crooner but he comes across as completely obnoxious and full of himself. "charge" is like an experiment put together to try to create the most irritating combination of sounds possible folks, the real "comedy" here is that someone thinks this is good music! "I'd rather die than be deprived of wonderbras and thunder thighs" is hands down, the worst lyric i have ever heard oh my god THIS FUCKING SUCkS

Loved it

sehr interessant

love this weird ass album. its just bombastic enough to work perfectly.

10/10 no notes

Honestly not sure if this meant to be a sincere interpretation or more tongue in cheek, but it's so well done and unique that it holds up regardless.

A rare album where I listen to the full deluxe version. This was the first Divine Comedy album I ever bought and it’s always been a favourite of mine. There’s not a song on it I don’t enjoy. Disc 2 has some interesting B sides and demos on it but the highlight for me are the songs Neil Hannon wrote for the series Father Ted. It’s by far my favourite comedy series but since my Girlfriend hates it, Father Jack absolutely disgusts her lol, I watch it so much anymore. Massive nostalgia hit listening to them. Top Track - Songs Of Love, it would’ve been My Lovely Horse but they need to lose that sax solo

Up there with my favorite discoveries from this project. Witty, sometimes ribald romantic indie songwriting arranged with a classical flare!

Quite good

Divine AND comedic. What more could you ask for. 4 (+1 for surprising me with the theme to Father Ted)

On paper there are many things I should hate about The Divine Comedy - the innuendo, the arched eyebrow, the occasional misogyny, the utter pretention of it all. And yet, my god the man can write a song. The orchestraion is always supportive, rather than trying to make a substandard song sound special. Something For The Weekend was already a favourite, but there are countless standouts on this album - in places it's jarring and uneasy, in ithers utterly lush. The Frog Princess, in particular, rewarded repeat listens. It's right ln the 4/5 boundary and gets the 5 just from being different to so much from the same period. Bless Neil Hannon and all that sail in him.

I never cared for 'something for the weekend' so wasn't looking forward to this album but boy was I wrong brilliant album, witty, wry, and who doesn't love brass. 5⭐ from me I still don't care for something for the weekend!

more '90s britpop? satisfactory. a campy, hybrid vintage/postmodern, mysterious and simply captivating album. i'm very surprised! this guy has the voice of... well, a casanova. a smooth-talking, manipulative casanova who sweeps you off your feet and carries you to his bedroom. it's so erotic and he has a pied-piper way of singing... i feel compelled to get closer and closer and closer.

Whoa! Incredible fusion of genres. Hard to classify as anything other than brilliant 4.6

One of my all time faves.

Oh man this is fucking great. So tongue in cheeky about the way it goes about, and absolutely rips when it goes all out. I can't imagine why people hate this, other than being britpop by a band they don't know. Which isn't fair to the album

I'm at a 5. Perhaps a little higher. Color me impressed; maybe it’s the 477-album gap between this album & “A Short Album About Love” expanding my tastes a lot more, but I found this to have much, much more character behind it. That album came out of the gates bombastically, but it felt like it was using the past as a crutch; it never really built up to a point where I felt like I could properly believe in what they were trying to do, nor did it really stand on its own original merits. This album feels far more original from Track 1, as it immediately sets the tone by introducing the titular Casanova as a living, breathing womanizer of a character in the first track, and simply explores love through that occasionally deprived, sometimes icky lens. This feels much more like a 90s album out of the gates, and that contemporary nature helps the album find its own feet immensely. I really enjoyed this. With the knowledge that this is all generally a character, I can’t find any real fault in the lyricism; a little much at times, sure, but that’s Casanova’s vaguely misogynistic character speaking. Since it feels far more grounded to me, I think I just found it far easier to believe in this album’s premise, and as such, trust the arc of the “story” they’re telling here. This does have a loose framework, and while it’s definitely a concept album, it’s not rigid. That’s not a negative; I like the looser approach here, as it allows the album to jump from scenario to scenario & explore a wider range. If this had been boxed into following a plot, I think it would’ve suffered. This album kind of reveals itself as a sort of vague radio production by “Theme from Casanova” (which should’ve ended the album, but we’ll get there), and I think seeing it as a bunch of individual scenes with the same character keeps a good consistency & moral bar to hit. Instrumentally & vocally, I think this album really really shines; there’s a lot more variety present here than on “A Short Album”, and the orchestral work feels fully earned when it comes in after setting a more traditional, Britpop-y rhythm for each track. I wish I could offer more specifics on this part, but it’s genuinely just worth listening to. I hear a lot of other British bands throughout this thing; a bit of Pulp, & a bit of Simply Red, but I’m most struck by how much this kind of reminds me of “Scott 2”, which we got back in May. This album has a sort of “Disney” feel to it, much like that one did, and while it’s a lot more horny & nowhere near as starry-eyed, the energy just feels fun & uplifting throughout, and it’s a really contagious feeling that kept me from ever truly noticing the length of this thing. Seriously, this was a brisk 52 minutes. If I have any minor nitpicks, it’s that if you’re gonna provide a sort of meta outro on “Theme from Casanova”, it should’ve ended the album. It would’ve thematically fit better with “The Dogs & the Horses” as proof of the dogs having their day & the horses having their year, and the lack of a final real orchestral lift / swirl would’ve fit better as an indication of being past your prime. Instead, where it’s at just feels like a bit of a letdown given the building tension, though “The Dogs & the Horses” is a damn good closer regardless. I think they really did hit on this album, and it makes the inclusion of “A Short Album About Love” in the list all the more baffling; maybe I need to give it a re-listen to see if my thoughts hold up, but given that this is here and immediately a superior & more satisfying album, I question its inclusion. Regardless, I shouldn’t use the other album as an excuse to lift this one up; it absolutely stands on its own merits, and I think it’s just a delightfully strong listen. Great instrumentals, great vocals, strong lyricism, and ultimately, just an album I’m far more inclined to believe in. A good first impression really can make or break an album, and this set a damn good one off the top and never looked back. Hence, a very strong 5, and arguably a bit higher. This one deserves to be on the list, for sure.

At first, I was thinking how the slip-something-in-your-drink description is accurate. Then I read more about the album, and discovered how it's a concept album about an 18th century Venetian guy called Giacomo Casanova. And how it’s a bunch of critique of the slimy behaviour Songs of Love has a nice swing to it. I like Theme from Casanova. Site node: National Express (not on this album) is a fun song Originally at the start before learning more, I was thinking a lower rating… like a 2/5... But damn I didn't expect the shift away from the recurring theme at the end with The Dogs & the Horses. Was unexpected and sad and good. And the theme makes sense now with the concept album-ness. Surprising boost up. A memorable album The more energy I put into an album, the more I tend to like it or appreciate parts I wouldn't have. A more general thing to remember for life 4/5

Despite it becoming a bit of a novelty at times, I enjoy this! Harmonically exciting, lushly arranged and full of a old school cabaret aesthetic that I really like in a strange sort of way. If he wrote a novel in the same aesthetic, I would probablly rate that 5 stars. (I deeply dislike the cover though)

Liked this. I don't think I ever heard anything by this band but found it interresting, fun and enjoyable music. Added this and other albums to favorites for furure listening. Easy 4.

This album was an absolute surprise in more ways than one. Took me most of the first track to recognize it's wasn't being serious. Kudos to the dry, British humor. The music was actually good, the humor on point and overall enjoyable.

Pleasant and unique album. This sounds like the lovechild of Frank Zappa and Randy Newman.

The Divine Comedy is an odd group that I quite enjoy, but I feel like this was a worse attempt than the record that follows it.

An oddball record to be sure. Theatrical, excessively so. Bet it would be fun seeing with a full orchestra. Sometimes the lyrics are eh, and I feel like that's the foundation of the song. Can't say I didn't enjoy it though. Favorite tracks: "Through a Long and Sleepless Night", "The Frog Princess", "Becoming More Like Alfie"

#271 Heard Before? Yes. It's not my favorite Divine Comedy album, so only a couple of times. Notes: - it's tricky because the overstuffed arrangements are my favorite part of the album, but they tend to drown out the vocals and distract from the songwriting. - "Frog Princess" has everything I've ever wanted from Neil Hannon. So snarky it turns on itself and becomes genuine. Verdict: His most popular album for a reason. Boldly silly, painfully clever, loads of genre play and goofy references. Listen Again? Probably not, although the "Theme" (if not the whole album) really is the best starting point for his discography.

Scott Walker if he smirked more.

interesting for sure. not exactly for me but it was cool hearing the father ted theme song. i liked that one and a woman of the world. fuck the creator of father ted though, i hate that guy

Sometimes fun, sometimes a plod, undermined by its frequent dips into what is meant as satire but comes off as lazy sniggering. When Neil Hannon puts on a joke voice, he sounds like a man who has just discovered his penis. Better the closer it gets to Brel, but doesn’t establish its own identity outside the stupid jokes. When it approaches Scott Walker, someone whispers “karaoke” in my ear. “A Long And Sleepless Night” heads somewhere interesting in structure. I remember a contemporaneous interview in Melody Maker with Hannon and Noel Gallagher, and I remember Gallagher cruelly and funnily ripping Hannon to bits of bits. He may have suggested no one wearing the jacket that Hannon was wearing that day could ever write a good song, that he substituted extra chords for tunes. Wonderfully mean. Nowadays, I think I’d rather listen to this than “Definitely Maybe”. Great laughter at the start, though.

Bit close to home this one (my sister's giggles start the record); my least favorite of the three I was involved with by a long way. I encourage people to check out Liberation and (especially) Promenade, which are much better. [EDIT: Some of this is still quite good, the opening pair, "Songs Of Love" and "Through A Long & Sleepless Night" with the vocal highlight: "You deserve to be horsewhipped, but I've no horse; that joke's so shit!" Always *hated* the pervasive faux-pervert persona, and "Charge!" especially. Spent most of the day listening to Promenade, which still holds up as excellent. Good times.]

Where is My Lovely Horse

Neil Hannon of the Divine Comedy wrote the songs for the movie Wonka, and with the benefit of hindsight, I do think musical theatre is a better fit for him than vaguely indie-ish pop. The man can write a tune, but there’s an archness to this that sometimes threatens to tip into flat-out novelty songs.

Casanova I don’t think I particularly liked the Divine Comedy when this came out - they’ve got all the hallmarks of a band I wouldn’t have liked as a teenager - but listening now has triggered a long forgotten memory that I bought the Becoming More Like Aflie single. Something for The Weekend and Becoming More Like Alfie are a great start, both excellent 60s-lounge adjacent pop songs, but it’s definitely a bit of a mixed bag after that. Some of it I really enjoyed and some of it grated. When it’s on the right side of knowing archness it’s a great cabaret-chamber-pop album with some nicely wry lyrics - Down and Out in Paris and London, Songs of Love and Through A Long and Sleepless Night I really liked and The Frog Princess is excellent. But it often stumbles the other way, and you get a sense of slightly smug self satisfaction, the feeling he’s not quite as clever as he thinks he is and the music becomes too cabaret and too musical theatre - Middle Class Heroes, Charge, Theme from Casanova and The Dogs and the Horses are all quite irritating. He has a great ear for a melody and a hook, and he's more often than not a very good lyricist, and I quite like the 60s cinematic lounge style of Something for the Weekend and Becoming More Like Alfie a lot, I just get a bit lost when he leans to heavily into cabaret. It’s probably just about tips into a 3. ❤️‍🔥❤️‍🔥❤️‍🔥 Playlist submission: Becoming More Like Alfie

Totally sidestepping the prevailing guitar-driven Britpop of the day for lounge pop, some of this hits a sweet spot, and some of it is rather cloying. He looks a bounder with cravat, neckerchief and cigarette on the front cover. But I found the English cheeky chappy Terry Thomas character, becomes one-dimensional very quickly ('everybody knows that no means yes'; 'hello what have we here - a young lady!'). A whole album of this schtick is too much to swallow (Neil Hannon: "oh I say!"). There are clear highlights, aside from 'Something for the Weekend', not least 'Songs of Love' and 'The Frog Princess'. It's hammy, it's obsessed with the sexuals. Its 'Carry On'. At it's worst it's like a Space album track. It could have done with a trim of about 10 minutes. But it's comforting to have this sort of schtick being created in the swell of Britpop, to be pushing against that ubiquitous tide. I admire that. There are some very solid melodies, and a tongue in cheek mentality. There's humour, there's wit, there's fun. We need this sort of album. It's an easy three.

I can’t make my mind up if I liked it or not

At first I was like, I like this and then by the end I was like is aight

What a weird first 15 second to the album. Who wants to open an album like that ? It just some overproduced 90's cheese. Not very good. Aa far as 90's baroque pop/chamber pop goes you could have picked many albums like Elliott Smith's "XO"(well I guess they picked figure 8, wich is weird because XO is better ,anyway) ,but this is like not it. I usualy dont like male vocalist with low voice and this guy isnt a exeption. And the songs are all similar, wich is usualy not the worst thing exept when your album is bad. It makes the whole thing feel so much longuer than 50 minutes. "Charge" is probably the most dogshit song ive heard all week.

1.5/5 mayb need to listen more but not a fan

2 parce que c'est pas inécoutable, mais c'est pas loin.

2.1

This guy sounds creepy and weird. The kind you’d want to keep your drink in sight around.

Casanothanks.

"The futon of dreams fufilled" "I contemplate my navel hair, and slowly slide into despair" "The casualties of sex, the child of 3 with xray specs" These are lines written by someone who is trying way too hard, yet has created nothing of quality. Also...someone who should not be left unattended in the presence of children.

I couldnt work out if it was taking the piss and I wasnt quite getting it or really serious. I decided it was an attempt at satire. Wasnt my thing really but wasnt actully that bad, theres worse shit on the list.

Started out thinking I was going to like this, but that thought lasted about a minute.

sounds like so many of the pop bands out of the UK during this era and though they do not pretend to be anything they are not this is just too much like so many other albums that including it on a must listen list is a bit of a stretch. Not a 1 star effort but definitely can't be more than a 3-star even if you are a fan.

Scott Walker: The Britpop Years

Some whiny shit.

Nothing that stands out after listening. Maybe it takes more that once for it to resonate. Felt like I have heard a similar sounding style but can't think where. Meatloaf?

One of these songs used the same preset sound on keyboards that’s used in Mario 64’s Dire Dire Docks.

Pretentious pish

Sooooo boring.

David Bowie meets 90’s Brit Pop. This feels so pompous bro wtf is this. There’s a comedic element to it, and quite honestly I can’t tell if that’s by design or not. Super cheesy loungey esque music. What the fuck is “a woman of the world” man. It’s like if Ringo Starr, Neil Diamond and some pervert had a baby. Nothing stands out as fun for me here. I’d say the one song I came remotely close to enjoying was in & out of Paris & London.

WTF.... Worst one yet.

What the fuck was that? A sleazy, churlish, melodramaic, uninspired, insipid album that doesn't deserve more of a review. Fav tracks: Songs of Love, A Woman of the World

oh god. I hated this. so show boaty.

Did everybody have that one theater kid at their high school who wore a cape unironically? Because he made this album and he's very serious about it

Get this off this list. 96 had so much good and more impactful music. You know what's not on here? Spice girls. Do I like them? No. Should they be on this list? Absolutely. Crazy. This is ragebait

Casanova The Divine Comedy 1996 Genres: Pop, Rock Styles: Baroque Pop, Chamber Pop, Lounge, Music Hall, Pop Rock, Indie Rock 1. Something for the Weekend (★⯨☆☆☆) -Contexto: Un mujeriego intenta seducir a una mujer, pero ella sospecha que hay algo extraño en el cobertizo. Él insiste en que no pasa nada y termina entrando en la trampa: los cómplices de ella lo golpean, lo atan y le roban el auto y el dinero. Es una historia cómica de seducción, engaño y revancha donde el supuesto Casanova termina siendo el ingenuo. 2. Becoming More Like Alfie (★⯨☆☆☆) -Contexto: El narrador recuerda que alguna vez fue más romántico e idealista, pero empieza a adoptar la personalidad de Alfie, el mujeriego de la película de 1966. Se convence de que para conseguir mujeres tiene que abandonar el sentimentalismo y comportarse como un tipo más cínico, directo y sexualmente despreocupado. La gracia está en que reconoce que está convirtiéndose precisamente en el tipo de hombre que antes despreciaba. 3. Middle-Class Heroes (★⯨☆☆☆) -Contexto: Una sátira de la vida de la clase media intelectual y bohemia. El narrador imagina parejas rodeadas de decoración pretenciosa, espiritualidad oriental, comida alternativa y sueños de realización personal, que finalmente terminan criando hijos y enfrentándose a una existencia mediocre. La canción presenta la adultez, las responsabilidades y la reproducción como una especie de destino inevitable y absurdamente trágico. 4. In & Out of Paris & London (★⯨☆☆☆) -Contexto: El protagonista se entrega directamente a una vida de conquistas sexuales. Se enamora de una mujer diferente prácticamente cada día y trata el sexo como una actividad divertida que no debe tomarse demasiado en serio. La repetición obsesiva de "in and out" convierte la canción en una representación deliberadamente mecánica y banal de la promiscuidad del personaje. 5. Charge (★⯨☆☆☆) -Contexto: El sexo es presentado como una batalla o una carga militar. El narrador utiliza imágenes de guerra, ataque y conquista para describir la persecución sexual, exagerando la tradicional idea masculina de que seducir es una especie de enfrentamiento que hay que ganar. Es una de las canciones más deliberadamente grandilocuentes y absurdas del disco. 6. Songs of Love (★⯨☆☆☆) -Contexto: El narrador observa a las personas enamorándose mientras él se dedica a escribir canciones sobre el amor. Hay una distancia entre experimentar el amor y contemplarlo desde afuera, como si fuera un tema artístico. Es una de las canciones más cálidas y sinceras del álbum y funciona como un pequeño descanso frente al cinismo y la obsesión sexual de las anteriores. 7. The Frog Princess (★⯨☆☆☆) -Contexto: Una relación presentada como un cuento de hadas perverso. El protagonista se siente atraído por una mujer a la que llama "la princesa rana", pero detrás de la fantasía no existe un amor verdadero: hay deseo, fascinación, superficialidad y finalmente rechazo. La canción subvierte la idea del príncipe que besa a la rana para convertirla en una mujer ideal y plantea una relación en la que la transformación no conduce a un final feliz. 8. A Woman of the World (★⯨☆☆☆) -Contexto: El narrador está fascinado por una mujer sofisticada y cosmopolita que abandonó su entorno anterior para convertirse en una mujer del mundo. La desea, pero también parece envidiarla y sentirse intimidado por ella. La canción mezcla atracción sexual, admiración y una especie de crisis de identidad masculina: él no sabe si quiere poseerla, ser como ella o simplemente formar parte del mundo que ella representa. 9. Through a Long & Sleepless Night (★⯨☆☆☆) -Contexto: Durante una noche de insomnio, el protagonista entra en una crisis personal. Sus antiguas ilusiones se han convertido en sueños podridos, su pasado lo persigue y empieza a contemplar las consecuencias de una vida dedicada al sexo casual. Sin embargo, incluso mientras reconoce su frustración y soledad, sigue tentado por volver a la vida bohemia, irresponsable y sexual que intenta abandonar. Es probablemente la canción que muestra con mayor claridad el lado inseguro y desesperado detrás del personaje de Casanova. 10. Theme From Casanova (★⯨☆☆☆) -Contexto: Una especie de falso tema de presentación para la propia película imaginaria de Casanova. Funciona como una parodia de las grandes bandas sonoras y presentaciones televisivas, introduciendo al personaje y convirtiendo todo lo ocurrido en el álbum en una especie de espectáculo. Es deliberadamente teatral y exagerada, como si el disco se burlara de su propia pomposidad. 11. The Dogs & The Horses (★⯨☆☆☆) -Contexto: El álbum abandona finalmente la obsesión sexual y se enfrenta al envejecimiento y la muerte. El paso de las estaciones funciona como metáfora del paso de la vida y el narrador imagina su propia muerte rodeado por sus perros y caballos. Después de pasar todo el disco persiguiendo mujeres y placeres, termina descubriendo que el verdadero límite no es conseguir otra conquista, sino que el tiempo se acaba y todos terminamos muriendo. -TOTAL = 1. Something for the Weekend (★⯨☆☆☆) -Contexto: Un mujeriego intenta seducir a una mujer, pero ella sospecha que hay algo extraño en el cobertizo. Él insiste en que no pasa nada y termina entrando en la trampa: los cómplices de ella lo golpean, lo atan y le roban el auto y el dinero. Es una historia cómica de seducción, engaño y revancha donde el supuesto Casanova termina siendo el ingenuo. 2. Becoming More Like Alfie (★⯨☆☆☆) -Contexto: El narrador recuerda que alguna vez fue más romántico e idealista, pero empieza a adoptar la personalidad de Alfie, el mujeriego de la película de 1966. Se convence de que para conseguir mujeres tiene que abandonar el sentimentalismo y comportarse como un tipo más cínico, directo y sexualmente despreocupado. La gracia está en que reconoce que está convirtiéndose precisamente en el tipo de hombre que antes despreciaba. 3. Middle-Class Heroes (★⯨☆☆☆) -Contexto: Una sátira de la vida de la clase media intelectual y bohemia. El narrador imagina parejas rodeadas de decoración pretenciosa, espiritualidad oriental, comida alternativa y sueños de realización personal, que finalmente terminan criando hijos y enfrentándose a una existencia mediocre. La canción presenta la adultez, las responsabilidades y la reproducción como una especie de destino inevitable y absurdamente trágico. 4. In & Out of Paris & London (★⯨☆☆☆) -Contexto: El protagonista se entrega directamente a una vida de conquistas sexuales. Se enamora de una mujer diferente prácticamente cada día y trata el sexo como una actividad divertida que no debe tomarse demasiado en serio. La repetición obsesiva de "in and out" convierte la canción en una representación deliberadamente mecánica y banal de la promiscuidad del personaje. 5. Charge (★⯨☆☆☆) -Contexto: El sexo es presentado como una batalla o una carga militar. El narrador utiliza imágenes de guerra, ataque y conquista para describir la persecución sexual, exagerando la tradicional idea masculina de que seducir es una especie de enfrentamiento que hay que ganar. Es una de las canciones más deliberadamente grandilocuentes y absurdas del disco. 6. Songs of Love (★⯨☆☆☆) -Contexto: El narrador observa a las personas enamorándose mientras él se dedica a escribir canciones sobre el amor. Hay una distancia entre experimentar el amor y contemplarlo desde afuera, como si fuera un tema artístico. Es una de las canciones más cálidas y sinceras del álbum y funciona como un pequeño descanso frente al cinismo y la obsesión sexual de las anteriores. 7. The Frog Princess (★⯨☆☆☆) -Contexto: Una relación presentada como un cuento de hadas perverso. El protagonista se siente atraído por una mujer a la que llama "la princesa rana", pero detrás de la fantasía no existe un amor verdadero: hay deseo, fascinación, superficialidad y finalmente rechazo. La canción subvierte la idea del príncipe que besa a la rana para convertirla en una mujer ideal y plantea una relación en la que la transformación no conduce a un final feliz. 8. A Woman of the World (★⯨☆☆☆) -Contexto: El narrador está fascinado por una mujer sofisticada y cosmopolita que abandonó su entorno anterior para convertirse en una mujer del mundo. La desea, pero también parece envidiarla y sentirse intimidado por ella. La canción mezcla atracción sexual, admiración y una especie de crisis de identidad masculina: él no sabe si quiere poseerla, ser como ella o simplemente formar parte del mundo que ella representa. 9. Through a Long & Sleepless Night (★⯨☆☆☆) -Contexto: Durante una noche de insomnio, el protagonista entra en una crisis personal. Sus antiguas ilusiones se han convertido en sueños podridos, su pasado lo persigue y empieza a contemplar las consecuencias de una vida dedicada al sexo casual. Sin embargo, incluso mientras reconoce su frustración y soledad, sigue tentado por volver a la vida bohemia, irresponsable y sexual que intenta abandonar. Es probablemente la canción que muestra con mayor claridad el lado inseguro y desesperado detrás del personaje de Casanova. 10. Theme From Casanova (★⯨☆☆☆) -Contexto: Una especie de falso tema de presentación para la propia película imaginaria de Casanova. Funciona como una parodia de las grandes bandas sonoras y presentaciones televisivas, introduciendo al personaje y convirtiendo todo lo ocurrido en el álbum en una especie de espectáculo. Es deliberadamente teatral y exagerada, como si el disco se burlara de su propia pomposidad. 11. The Dogs & The Horses (★⯨☆☆☆) -Contexto: El álbum abandona finalmente la obsesión sexual y se enfrenta al envejecimiento y la muerte. El paso de las estaciones funciona como metáfora del paso de la vida y el narrador imagina su propia muerte rodeado por sus perros y caballos. Después de pasar todo el disco persiguiendo mujeres y placeres, termina descubriendo que el verdadero límite no es conseguir otra conquista, sino que el tiempo se acaba y todos terminamos muriendo.1. Something for the Weekend (★⯨☆☆☆) -Contexto: Un mujeriego intenta seducir a una mujer, pero ella sospecha que hay algo extraño en el cobertizo. Él insiste en que no pasa nada y termina entrando en la trampa: los cómplices de ella lo golpean, lo atan y le roban el auto y el dinero. Es una historia cómica de seducción, engaño y revancha donde el supuesto Casanova termina siendo el ingenuo. 2. Becoming More Like Alfie (★⯨☆☆☆) -Contexto: El narrador recuerda que alguna vez fue más romántico e idealista, pero empieza a adoptar la personalidad de Alfie, el mujeriego de la película de 1966. Se convence de que para conseguir mujeres tiene que abandonar el sentimentalismo y comportarse como un tipo más cínico, directo y sexualmente despreocupado. La gracia está en que reconoce que está convirtiéndose precisamente en el tipo de hombre que antes despreciaba. 3. Middle-Class Heroes (★⯨☆☆☆) -Contexto: Una sátira de la vida de la clase media intelectual y bohemia. El narrador imagina parejas rodeadas de decoración pretenciosa, espiritualidad oriental, comida alternativa y sueños de realización personal, que finalmente terminan criando hijos y enfrentándose a una existencia mediocre. La canción presenta la adultez, las responsabilidades y la reproducción como una especie de destino inevitable y absurdamente trágico. 4. In & Out of Paris & London (★⯨☆☆☆) -Contexto: El protagonista se entrega directamente a una vida de conquistas sexuales. Se enamora de una mujer diferente prácticamente cada día y trata el sexo como una actividad divertida que no debe tomarse demasiado en serio. La repetición obsesiva de "in and out" convierte la canción en una representación deliberadamente mecánica y banal de la promiscuidad del personaje. 5. Charge (★⯨☆☆☆) -Contexto: El sexo es presentado como una batalla o una carga militar. El narrador utiliza imágenes de guerra, ataque y conquista para describir la persecución sexual, exagerando la tradicional idea masculina de que seducir es una especie de enfrentamiento que hay que ganar. Es una de las canciones más deliberadamente grandilocuentes y absurdas del disco. 6. Songs of Love (★⯨☆☆☆) -Contexto: El narrador observa a las personas enamorándose mientras él se dedica a escribir canciones sobre el amor. Hay una distancia entre experimentar el amor y contemplarlo desde afuera, como si fuera un tema artístico. Es una de las canciones más cálidas y sinceras del álbum y funciona como un pequeño descanso frente al cinismo y la obsesión sexual de las anteriores. 7. The Frog Princess (★⯨☆☆☆) -Contexto: Una relación presentada como un cuento de hadas perverso. El protagonista se siente atraído por una mujer a la que llama "la princesa rana", pero detrás de la fantasía no existe un amor verdadero: hay deseo, fascinación, superficialidad y finalmente rechazo. La canción subvierte la idea del príncipe que besa a la rana para convertirla en una mujer ideal y plantea una relación en la que la transformación no conduce a un final feliz. 8. A Woman of the World (★⯨☆☆☆) -Contexto: El narrador está fascinado por una mujer sofisticada y cosmopolita que abandonó su entorno anterior para convertirse en una mujer del mundo. La desea, pero también parece envidiarla y sentirse intimidado por ella. La canción mezcla atracción sexual, admiración y una especie de crisis de identidad masculina: él no sabe si quiere poseerla, ser como ella o simplemente formar parte del mundo que ella representa. 9. Through a Long & Sleepless Night (★⯨☆☆☆) -Contexto: Durante una noche de insomnio, el protagonista entra en una crisis personal. Sus antiguas ilusiones se han convertido en sueños podridos, su pasado lo persigue y empieza a contemplar las consecuencias de una vida dedicada al sexo casual. Sin embargo, incluso mientras reconoce su frustración y soledad, sigue tentado por volver a la vida bohemia, irresponsable y sexual que intenta abandonar. Es probablemente la canción que muestra con mayor claridad el lado inseguro y desesperado detrás del personaje de Casanova. 10. Theme From Casanova (★⯨☆☆☆) -Contexto: Una especie de falso tema de presentación para la propia película imaginaria de Casanova. Funciona como una parodia de las grandes bandas sonoras y presentaciones televisivas, introduciendo al personaje y convirtiendo todo lo ocurrido en el álbum en una especie de espectáculo. Es deliberadamente teatral y exagerada, como si el disco se burlara de su propia pomposidad. 11. The Dogs & The Horses (★⯨☆☆☆) -Contexto: El álbum abandona finalmente la obsesión sexual y se enfrenta al envejecimiento y la muerte. El paso de las estaciones funciona como metáfora del paso de la vida y el narrador imagina su propia muerte rodeado por sus perros y caballos. Después de pasar todo el disco persiguiendo mujeres y placeres, termina descubriendo que el verdadero límite no es conseguir otra conquista, sino que el tiempo se acaba y todos terminamos muriendo. -TOTAL = ★⯨☆☆☆ (1) -Un pedazo de basura sin importancia alguna, no tiene valor más que hacer perder el tiempo. Para mí fue un 1, sinceramente es un álbum vacío, no suena bien de manera consistente, en realidad es bastante mediocre, pero con la intención pretenciosa de hacer parecer otra cosa. Cuanto vi un título sugerente y 1996, pensé en rock de esa época y me tocó este álbum de mierda...

really not for me

i like my share of camp but this is too far for me

Sometimes I get an album that’s so, so painfully bad that I have to share, and I make other people listen to it too. This is one of those albums.