sanvalentino3

DeRank : 1,97 • DeAge™ : 1920 days

Soli nella Città - Tony Borlotti e i Suoi Flauers (Demo Version)
Watch out Sonics! We're coming to get you from Cilento!!!!
 
NOMADI CONCERTO CON FRANCESCO GUCCINI " COMPLETO"
Thank goodness I was a teenager when this album was released: an endless passing of cassettes that I believe undoubtedly taught us where the right place to be was. Even now!
 
Ivan Graziani - Il chitarrista
If you don't like him, you can go take a hike...!
 
Adriano Celentano & Raffaella Carrà Prisencolinensinainciusol
Adriano sings in Esperanto and Raffaella is the queen of fetish!!!!
What more do you want to enjoy?!?
 
Le Orme - La solitudine di chi protegge il mondo
Forget Sinfield, Aldo Tagliapietra is better.
 
Fu Manchu - Evolution Machine
In this track, they packed in such a huge amount of riffs that others would have made at least an EP out of it.
 
Lucio Dalla - Nuvolari
I have always thought that besides being a great song, it is also a highly successful example of Italian progressive music.
 
Rio (2009 Remaster)
Being mad at Duran Duran is for the frustrated... Go Saimon!
 
Black - Wonderful Life (Official Video)
#notallethsynthpopcomesforharmed
 
ALPHAVILLE - Sounds Like A Melody (Special Long Version) (1984)
Not all German synth pop should be completely dismissed, you know...
 
Marillion Warm Wet Circles
In the mid-80s, when you turned on the local radio, there was no shortage of options: Sabrina Salerno and/or Samantha Fox. One time, who knows why, the DJ played this track by Marillion...
 
Skip James - I'm So Glad (1931)
@hellraiser
“…Returning to Skip, one day he decided to enter a competition for musicians. Singing the words “I’d rather be a devil than to be that woman’s man” he won a contract with Paramount Records and a train ticket to reach the studios in Grafton. The recording room was in the attic of a chair factory. It was in that place that he developed an absolutely innovative technique called “three-finger-picking,” which meant he played the guitar by plucking the strings with three fingers. He used melodies in open D minor and the chord progression D-A-D-F#-A-D that gave a desolate and dark tone to his compositions, contrasting with his touching but at times unsettling falsetto. He was able to mix blues and spirituals and create covers by changing lyrics and words to make them his own, personalizing them to the fullest through his virtuosic playing and his laments, like “I’m so glad,” which was originally “I’m so tired” by Art Sizemore and George A. Little. On that night in February 1931, there was a session that became legendary. More than 10 pieces were recorded, including “Devil got my woman,” “Cherry ball blues,” and “22-20 blues” (the latter would be picked up by Robert Johnson). The songs were made with voice and guitar or voice and piano, instruments he uniquely, extraordinarily, and innovatively played equally well. That session was paid just $40, but he returned home as happy as a king who had conquered the world.”