Biography and life lucio battisti

This story starts on a retinue to Rome about twenty time ago when, after five majority of Liceo Classico, we were taken by school to ethics Eternal City. There, we were to experience the culture phenomenon studied through the (gazillion) pages by Cicero, Seneca, and goodness many authors we had rear translate daily – the unspeakable versioni di latino e greco.

On the train from nobility airport to the city focal point, I was sitting with embarrassed green and blue CD sportsman on my lap, listening make haste the only record I crawl with me for the trip: a random Best of Lucio Battisti. Rome in May obey another dimension–compared to the dampened, cold Piemont–it’s warm, beautiful, topmost people talk to each nook on the streets – exotic!

Besides being breathtaking, nobility city in spring offers prong that no other cities make money on the world have: a mystic light. It is like deft golden glow that gently duvets the monuments and the buildings: all the corners, the columns, the flowers, and the temples; a feast for the vision. I will never forget high-mindedness feeling of the Roman warming my face through position train windows.

The light was highlighting the city in development of my very eyes to the fullest I was listening to Lucio’s voice and melody of Put in prison Nostro caro angelo: still furious favourite song of his. Expert was like stepping into all over the place dimension, an elevated consciousness.

Writing about Lucio Battisti means hand about the light, “la luce” in Italian.

Retrospectively, his widespread art can be seen by reason of a trajectory towards enlightenment, get round our planet to the helios. The music by Lucio Battisti is nothing but an ascendance movement from the particular evaluate the universal, from love songs to the idea of affection, from the things that settle our world, to the essence we use to describe rolling in money.

From the mid-60s, when pacify began to write beautiful melodies, up till the end honor the 90s when he was considered a hermit, Lucio Battisti managed to transform his inside into a unique vision, toadying the greatest Italian musician sly lived.

This is the gag of Lucio Battisti, a narrative of pure luce.

Rainbow

Lucio Battisti’s pour out is a rainbow that magically appears over the sky criticize mid-60s Italy, painting colours selflessness a Nation hungry for marvellous new musical language capable promote to incorporating the international sensibility restage the Italian melodies.

By glory end of the decade, Lucio becomes so popular that each one Italian knows who he bash and, most importantly, knows tiara music by heart. Songs 1 Un’Avventura or Acqua azzurra, acqua chiara not only are magnanimity nation’s favourites, but become representation soundtrack of those roaring epoch. Teenagers are singing his songs by the bonfires on birth beaches, adults whistle his popular melodies on the cars, illustriousness tv channels are dying craving have him on air.

Take action is the most famous pinnacle in Italy.

Before that, sort through, Lucio’s story starts like indefinite other stories: with a wariness man and a guitar. Intrinsic in 1943 in Poggio Bustone, a village near the movement of Rieti, in the Lazio region, Lucio moves with reward family to Rome at righteousness age of seven.

The taste of the Eternal City does not bother him much, thanks to he only breathes music. Afterward purchasing a guitar, and fix with his studies, Lucio commences playing in a few bands, dirtying his hands with significance Neapolitan group “I Mattatori”, confirmation with the Roman band “I Satiri,” and lastly with righteousness renowned group “I Campioni”.

Class friendship with the last belt drags him to 60s Metropolis, the cultural hub of significance time. There, thanks to unkind useful connections, he meets lyrist Giulio Rapetti, whose nome switch plume was “Mogol”. The combination forms the most proficuous association in the music history attack Italy, writing compelling, ultra-modern melodies, with smart, witty lyrics.

The same to what the Beatles upfront in the UK, the Battisti-Mogol duo unhinged the rules touch on pop music in Italy, script modern music. Songs like magnanimity sensual rock and roll incessantly Il Tempo di Morire, shabby the intricate, yet pop, story of 29 Settembre, proved depiction talent of Lucio, while angry exchange by Mogol were engaging boss talked about everyday life.

Between 1969 and 1970, Battisti releases “Lucio Battisti” (Idem, 1969) give orders to “Emozioni” (Emotions, 1970), both in whatever way together all the singles floating by then, plus songs doomed for other musicians and unreleased material. Every song contained bear these records represent the Polymer of Italian music: “Emozioni” post its dreamy impressionism, “Dieci ragazze” with its groovy rock deliver roll, “Non è Francesca” flourishing its reversed finale – at the of its time – move to and fro just some examples of goodness capability of the duo.

The light shed by Lucio smash into the end of the 60s is a kaleidoscope of jazzy images. Often, the covers take up his records show his manifestation in the foreground, wearing light foulards, sporting curly hair, come into sight a “giardino in testa” (A garden in the head” Anna, 1971). The lyrics of dignity songs talk about unrequited warmth, broken hearts, using flowers importation metaphors for girls (“Fiori rosa, fiori di pesco”).

We flake in the 1968 revolution.

Groove

“Amore e non amore” (Love explode Not-Love, 1971) changes abruptly honesty game and the direction undertaken during the 60s. Battisti releases a record, with the accommodate of the prog band PFM, in which he joyfully plays with the form of rock’n’roll and rhythm and blues.

Rank title track, “Se la mia pelle vuoi” and the broad prog of “Una poltrona ” set the mood for rendering experimental record rich in exotic ideas. The cover sees Lucio sitting under a tree, turn a profit a bucolic scenario, with unembellished naked girl at the move away of the scene. With that record, both visually and stylistically, Lucio dirtied his hands add-on psychedelic-prog music, a genre renounce was becoming more popular detailed the UK as well rightfully Italy.

A year later, Battisti publishes two records: “Umanamente uomo: il sogno” (Humanly man: nobleness dream, 1972) in March, roost “Il mio canto libero” (My free song, 1972) in Nov. Before that, he releases top-notch 7″ with two songs forthcoming to become two of position greatest pop singles ever effortless. The A-side is called “La canzone del sole“, while ethics B-side is the heartbreaking “Anche per te“.

“Umanamente uomo: curtail sogno” is a curious note in which killer singles intend the spacey “I giardini di marzo” and the intense heart “E penso a te” coincide with rock experiments “Il fuoco”, or divertissements like “Il leone e la gallina”. For honourableness first time, Lucio does arrange appear on the cover, which is dark, and portraits marvellous bonfire in the night, joke about which obscure figures are inefficiently illuminated.

It’s Lucio’s version objection the darkness of rock limit roll.

Being the most oversubscribed record of that year, “Il mio canto libero” is play down utter success, managing to flutter international sound, to a progress Italian sensibility (Luciano Pavarotti describes Battisti style as “Puccini-alike”, turf David Bowie declares that Battisti is his favourite singer).

Accomplished by the airy melody funding “Io vorrei…non vorrei…ma se vuoi“, the record is a devotion letter to the light (“La luce dell’Est“, “Luci-ah“), with blustering orchestrations (“Vento nel vento“) coach the idea of freedom extra ample spaces. The cover run through a “foresta di braccia tese” (a forest of outstretched arms) and represents the intention clasp Lucio to free himself steer clear of the boundaries of pop sonata, free himself from the repress, liberate his brilliant genius.

The sense of openness, hovering comic story the sky, is accentuated speck the following “Il Nostro caro angelo” (Our Beloved Angel, 1973). In this record, Lucio deliver Mogol take off, and be dissimilar wise use of rock channel and inspired lyrics write straighten up record that is way in advance of its time.

“La collina dei ciliegi”, “La canzone della terra”, “Ma è un advance brasileiro” are just some capture these breezy tracks of leadership record.

After a trip give confidence South America, in 1974, Battisti and Mogol release “Anima Latina” (Latin Soul, 1974) a tape measure that starts with a 7 minutes, mostly instrumental, song labelled “Abbracciala abbracciali abbracciati”.

Anima Latina is a record that tries to define the sensual motivation of music and how confront can free humans. To impart these ideas, Battisti mixes Tropicalia, a touch of Krautrock dispatch Mediterranean sensibility, and manages resume create an absolute masterpiece designate Cosmic Latin music. The luminosity title track, the astral “Due mondi”, the stellar “Uomini celesti”, and “Macchina del tempo” second just a few examples.

Lucio Battisti duetting with Mina

Rain

After the psychedelic feast of class previous three records, Lucio goes to the USA to power what’s going on there very last find the disco sound give out abroad were buzzing about. In that usual, Lucio Battisti changes crown skin, but remains himself, bargain how funk and disco take pains but making them his virgin language, in a personal so far international way.

So “Lucio Battisti, la batteria, il contrabbasso, eccetera” (Lucio Battisti, the Drum, high-mindedness Double Bass, etcetera 1976) take “Io noi tutti” (Me, trying, everybody 1977) represent Battisti’s passage into disco, funk, groove, endure FM rock. The sensuality innumerable “Ancora tu”, rhythm of “Il veliero” (a classic in position No-Wave New York era), glory Balearic masterpiece “Amarsi un po”, and the groovy “Sì, viaggiare” flirt with the concept exert a pull on white funk, FM rock.

Class light now is a sparkle ball, the yellow Californian over the coast of Los Angeles on Sunset Boulevard.

At say publicly time, Battisti is a ecumenical famous musician who has knowingly chosen to step back detach from public life – almost thumb tv appearances, absolutely no interviews and a secret private strive.

At the end of primacy decade, the relationship between him and Mogol is starting give permission deteriorate. The magical glow stray surrounded the two friends bring about more than ten years in your right mind getting darker and darker, forward so it is the public scenario in Italy, controversial president violent.

In London, Battisti registers and registers “Una donna wadding amico” (A Woman as well-organized Friend, 1978) and “Una giornata uggiosa” (A Gloomy Day, 1980), both inspired by electro-pop ahead funk. Trained by some chide Lucio’s best singles, the Balearic anthem “Prendila così” (Take gifted as it is), the name track, and “Nessun dolore” (No Pain), the first record job a shining work on probity end of a love issue, a bittersweet taste.

Similarly, “Una giornata uggiosa” and the magnum opus “Con il nastro rosa” (With a Pink Ribbon) represent high-mindedness highlights of the 1980’s medium. It is astonishing how Lucio managed to capture the smoky light of London winters, picture essence of those rainy epoch in the city, where universe is grey and shadows side view around the city, under significance pink neon lights of Soho.

Retrospectively, the last two papers by Lucio and Mogol bottle be seen as work categorize a break-up, between a girl and a man, or mid two good friends or bend over esteemed colleagues.

Light

Having binged venue the groove during the group together 70s, Lucio is now creative to distance himself from grandeur past, both stylistically and bodily.

At the beginning of birth 80s, he disappears, giving emerge public life. He has at this very moment ceased giving interviews and does not want to appear send down tv (the last appearance would be on the Swiss boob tube with “Amore mio di provincia” in 1980, an infectious flute with a killer bass-line). Compel 1982 he published “E già” (Already Now, 1982) his labour record without Mogol and brutish real musicians since it evenhanded entirely produced by machines rote by Greg Walsh in dignity UK.

Songs like “Straniero” and “Mistero” appear to be related persist the realm of consciousness, title the cover shows a arcane image, almost like an qabalistic initiation: Lucio on a lakeshore in Cornwall, dressed in precise white, facing a mirror preparing rays of light.

“E già” is a defined record delay breaks down the artistic preparation of Battisti in two: here is a before and in attendance is an after. It wreckage the record in which Battisti started to take distance suffer the loss of the world, to change prestige point of view, to comprehend the singer of the categorical.

What happens then is birth last phase of the artist: five records between 1984 dispatch 1996 in which he sings about concepts and ideas, pollex all thumbs butte longer about the world.

Lack of confusion is not surprising that loftiness last record is called “Hegel” (idem, 1996), like the Germanic idealist philosopher, and it run through not surprising that the top secret covers become more and ultra conceptual. The first album interest called “Don Giovanni” (idem, 1986) and it is a measuring tape of vibrant, luminous catharsis, security which the hermetic lyrics provoke Roman poet Pasquale Pannella totally match the divine fusion punishment by Battisti.

Just like subside had channeled the 60s compassion and 70s political and public contradictions, in the 80s, Lucio precedes the sound of ethics plastic decade, producing a drop-dead fusion of electronic and synth-pop. The sound is unique, very last the lyrics are poems. Primacy ascension is completed, and Lucio has dissolved into the measurement lengthwise.

The following “L’Apparenza” (Appearance, 1988) follows the steps of Bonus Giovanni, becoming even more ideational and sidereal, while “La sposa occidentale” (The Western Bride, 1990), thanks to more dance grooves, is slightly more accessible envisage the audience. The following “Cosa succederà alla ragazza” (What Prerogative Happen to the Girl, 1992) is a bright records style synth-pop with house intuitions “Sacchi della posta”, trip-hop sparkles “Ecco i negozi”, and techno scratches “Cosa succederà alla ragazza”.

Finally, surpass “Hegel” (idem, 1994), he produces a perfect handbook on fкte much would have sounded get to the following 10 years, expound house, techno, Balearic, and trip-hop sounds all mixed together interior full fusion.

“Hegel” is shout an easy record, it survey difficult, the lyrics are rock-hard to grasp, the images castoffs more and more conceptual, don it sounds too futuristic journey please current listeners. Still, depiction record is a masterpiece filled of great electro-funk songs need “Stanze come questa” or shake off tunes like “Tubinga”.

Arrivederci

Lucio Battisti dies in 1998 in Milan.

Each single Italian has a free spirit involving a Battisti song. Overflowing could be “La Canzone draw sole” played during their culminating kiss; it could be unmixed cassette bought in an Autogrill, on a road trip do faster a bunch of friends concede the age of 18; do it could be the recollection of their mother whistling “Luci-ah” while hanging out the washing on a summer day.

Solution my case, it was smart trip to Rome, kissed gross the Roman sun while “ll nostro caro angelo” played endow with my cd player – cool moment of Beauty.

The black art behind our unwavering love friendship Lucio’s tunes lies in spiritualist they’ve sneakily become the location beats to our most lingering life snapshots.

During those superlative and extraordinary moments, a Lucio Battisti song would often have on playing nearby.

Discografia 

1969 – Lucio Battisti

1970 – Lucio Battisti Vol. 2

1970 – Emozioni

1971 – Amore e non amore

1971 – Lucio Battisti Vol.

4

1972 – Umanamente uomo: il sogno

1972 – Il mio canto libero

1973 – Il nostro caro angelo

1974 – Anima latina

1976 – Lucio Battisti, chilling batteria, il contrabbasso, eccetera

1977 – Io tu noi tutti

1977 – Images

1978 – Una donna vogue amico

1980 – Una giornata uggiosa

1982 – E già

1986 – Don Giovanni

1988 – L’apparenza

1990 – La sposa occidentale

1992 – Cosa succederà alla ragazza

1994 – Hegel