While the others began recording as solo artists or got into other bands (Lucio Fabbri was to join P.F.M.), Camerini became an acclaimed sessionman thanks to his whimsical guitar playing.
As of 1976, he signed with Cramps Records and recorded his first solo album, "Cenerentola e il pane quotidiano". Musically speaking, the sound is the typical one of Cramps Records: kaleidoscopic, zippy jazz-rock combined with folk and singer/songwriter structures - very close to Area or Finardi's Cramps-era albums. Camerini merged some exquisite Brazilian nuances to the formula and his very sprightly melodic talent, creating a dynamic, easy-going style.
The lyrics aren't stunningly literate, but they're brilliantly critical: while they do not explicitly step out of the left-wing youth culture, they ironize upon its trends and irrationalities. "Pane quotidiano" laughs at the vegetarian fashion, while "La ballata dell'invasione degli extraterresti" is an illuminating picture of the hippies as "aliens":
Approfittarono del lusso della civiltà avanzata,
Si nutrivano di scarti della società privata
Riciclavano le macchine e i vestiti non usati,
Si vestivano di niente, di stracci colorati.
Vivevano in bande in case occupate,
Non avevano famiglia o tradizioni antiquate
Comunicavano tra loro con nuovi segnali,
Tu li avresti detti diversi invece erano tutti uguali.
They took advantage of the luxury of the advanced civilization,
They lived on the waste of the private society
They recycled cars and unemployed dresses,
They dressed of nothing, of coloured rags,
They lived in bands in squatted houses,
They didn't have a family or antiquated traditions
They communicated with themselves with a new kind of signals,
You'd have said they were all diverse, but they were all the same.
- La ballata dell'invasione degli extraterrestri
- Maracantù F.C.
- Pane quotidiano
- Droga (aiutami dottore)
- La straordinaria storia dell'invasione della televisione
- TV Baby (gli eroi della televisione)
- Santa Marta