Il_Paolo

Well Lavalin, okay for D'Arcy, but there's always the subtle snobbery of Auf der Maur... the funny thing is that we both forgot the best of the lot, that is the ever-praised Kim Deal! Regarding the women/bass duo: it's the instrument that fascinates me the most and that I always go to "seek" in the arrangement of various tracks because, in my opinion, it defines the architecture and the intimate harmony of a piece (very subjective opinions and certainly not from a "techie"). A woman playing the bass squares this idea of mine, as I believe women – here, not without the typical flattery of a good Latin boy – are bearers of an intimate and ineffable harmony. Let me keep this naive illusion! Harmonically Yours, Il_Paolo

Well done, a nice vote of encouragement. Your personal page is also lovely. I appreciate your postulate: reviewing mediocre or supposedly mediocre albums rather than duplicates!

Here’s what Caterina Caselli says about herself (from link rotto "Beyond my hair, another revolutionary element in my image was the Fender electric bass, which I had been flaunting since 1965. 'I have always liked the bass. Then it was necessary: partly because I couldn't stay still and sing, I had to keep moving - and then I realized that to be useful in a quartet playing in venues, you had to do more than just sing and play the tambourine. I thought to myself: if I can be more than just a simple singer, maybe I'll have more chances of being hired… When it came time to record the song by Them, 'Baby please don't go', I already had an incredible technique. In the recording studio, there was a 16-year-old bassist who was just starting out, and the song was really difficult, so I ended up playing it myself… Today, girls are in control of their music, they know how to play - but in my time, it was very rare. I played the bass and the vibraphone, I knew music, I loaded the instruments onto the bus, I was one of the group. In Emilia, everything was quite easy: there was a tradition of dance halls, there were many bands playing in venues. But the rest of Italy was a different world. When I went to play for the first time at the Capriccio in Rome, they didn't understand why I didn't undress. They didn't expect a girl to be a musician and not a 'vedette'."

Here’s what Caterina Caselli says about herself (from link rotto "Beyond my hair, another revolutionary element in my image was the Fender electric bass, which I had been flaunting since 1965. 'I have always liked the bass. Then it was necessary: partly because I couldn't stay still and sing, I had to keep moving - and then I realized that to be useful in a quartet playing in venues, you had to do more than just sing and play the tambourine. I thought to myself: if I can be more than just a simple singer, maybe I'll have more chances of being hired… When it came time to record the song by Them, 'Baby please don't go', I already had an incredible technique. In the recording studio, there was a 16-year-old bassist who was just starting out, and the song was really difficult, so I ended up playing it myself… Today, girls are in control of their music, they know how to play - but in my time, it was very rare. I played the bass and the vibraphone, I knew music, I loaded the instruments onto the bus, I was one of the group. In Emilia, everything was quite easy: there was a tradition of dance halls, there were many bands playing in venues. But the rest of Italy was a different world. When I went to play for the first time at the Capriccio in Rome, they didn't understand why I didn't undress. They didn't expect a girl to be a musician and not a 'vedette'."

Great, since I'm the one to bring up the term "minor," I better explain what I think about Grand Funk: in the melting pot of rock from the '60s and '70s, they were among the most overlooked. This doesn’t mean they didn’t sell well at the time (in fact, they sold like crazy, just like Peter Frampton), but it does mean that over time, their image has faded a bit, and their career has spiraled (you can recognize this too). I also agree with you (see also Shooting) that they weren’t naive, but - when it comes to '70s rock from the States - I lean more towards Blue Oyster Cult than these guys. Funkamente Yours, Il_Paolo

Beautiful is the summer I spent singing from morning to night Joan Jett's version of "I Love Rock'n'Roll"!!!! Thank you Mien for your reply: well, you say my derecensions help you reconcile with what you hate, evidently, for others, hatred is essential, they believe that removing these things from their memory implies their removal from the world. Instead, they exist, regardless of the censors!

Applause. And that's it.

@Lavalin: I'm sorry again, while browsing the web for Joe Chiarello's lyrics, I noticed that the song was also written by the Califfo... Strange, very strange stories. Anyway, as a corollary to what you rightly said in previous posts, I think that if you dig deep, the first true emancipated figure in Italian music was the legendary Caterina Caselli (but let's not underestimate Mina, a single mother in the mid-'60s). What a beautiful "Insieme a te non ci sto più"!!! And she played the bass, and I have a weakness for those who play the bass (from Kim Gordon to Melissa Auf Der Maur, not to mention Tina Weymouth). I definitely prefer them over those who play my favorite instrument, like Lemmy from Motorhead. Semper Tuo - and with obvious unwavering respect - Il_Paolo

A minor group as well, perfectly in line with the taste of the average American, à la Homer, as you rightly say, or à la Griffin. In prehistoric times, they would have appealed to the unconfessed model of both—my favorite cartoon alongside Lupo de Lupis—Fred Flintstone. Indeed, as I would have understood, Fred was their progenitor, as his name translates to Flint stone. Milestones as well, then (and not as loud as history would have it). You're concise; the vote is encouragement to continue.

Well, under the same conditions, Bugo is better. But the one from Sanremo isn't bad. If he dies young, though, he becomes a legend. Apotropaically Yours, Il_Paolo