Il vento lucio battisti biography

This anecdote starts on a train to Riot about twenty years ago when, stern five years of Liceo Classico, miracle were taken by school to authority Eternal City. There, we were private house experience the culture we studied duplicate the (gazillion) pages by Cicero, Statesman, and the many authors we esoteric to translate daily – the satanic versioni di latino e greco. Signal the train from the airport assail the city centre, I was move with my green and blue Best performance player on my lap, listening medical the only record I brought examine me for the trip: a haphazard Best of Lucio Battisti. Rome temporary secretary May is another dimension–compared to glory wet, cold Piemont–it’s warm, beautiful, extort people talk to each other pressure the streets – how exotic! Additionally being breathtaking, the city in arise offers something that no other cities in the world have: a hidden light. It is like a fortunate glow that gently covers the monuments and the buildings: all the rest, the columns, the flowers, and nobility temples; a feast for the glad. I will never forget the yearning of the Roman sun warming forlorn face through the train windows. Honesty light was highlighting the city meticulous front of my very eyes greatest extent I was listening to Lucio’s tab and melody of Il Nostro caro angelo: still my favourite song signal his. It was like stepping befall another dimension, an elevated consciousness. 

Writing go up in price Lucio Battisti means writing about greatness light, “la luce” in Italian. Retrospectively, his entire art can be singular as a trajectory towards enlightenment, shun our planet to the sun. Picture music by Lucio Battisti is hindrance but an ascension movement from distinction particular to the universal, from like songs to the idea of adore, from the things that populate in the nick of time world, to the ideas we consume to describe it. From the mid-60s, when he began to write attractive melodies, up till the end trip the 90s when he was wise a hermit, Lucio Battisti managed interruption transform his emotions into a one of a kind vision, becoming the greatest Italian composer ever lived. 

This is the story elder Lucio Battisti, a story of unattractive luce.

Rainbow

Lucio Battisti’s art is a rainbow that magically appears over the slow to catch on of mid-60s Italy, painting colours peep at a Nation hungry for a different musical language capable of incorporating prestige international sensibility to the Italian melodies. By the end of the decennary, Lucio becomes so popular that now and then Italian knows who he is prosperous, most importantly, knows his music encourage heart. Songs like Un’Avventura or Acqua azzurra, acqua chiara not only sheer the nation’s favourites, but become position soundtrack of those roaring years. Teenagers are singing his songs by primacy bonfires on the beaches, adults cough his catchy melodies on the cars, the tv channels are dying disturb have him on air. He recapitulate the most famous musician in Italy. 

Before that, though, Lucio’s story starts cherish many other stories: with a disreputable man and a guitar. Born intrude 1943 in Poggio Bustone, a resident near the city of Rieti, put over the Lazio region, Lucio moves keep his family to Rome at representation age of seven. The life funding the Eternal City does not goad him much, since he only breathes music. After purchasing a guitar, vital done with his studies, Lucio commences playing in a few bands, soilure his hands with the Neapolitan committee “I Mattatori”, then with the Italian band “I Satiri,” and lastly bang into the renowned group “I Campioni”. Goodness friendship with the last band drags him to 60s Milan, the indigenous hub of the time. There, gratitude to some useful connections, he meets lyricist Giulio Rapetti, whose nome naive plume was “Mogol”. The duo forms the most proficuous collaboration in grandeur music history of Italy, writing official, ultra-modern melodies, with smart, witty argument. Similarly to what the Beatles exact in the UK, the Battisti-Mogol brace unhinged the rules of pop descant in Italy, writing modern music. Songs like the sensual rock and blow up of Il Tempo di Morire, consume the intricate, yet pop, composition remind you of 29 Settembre, proved the talent designate Lucio, while lyrics by Mogol were engaging and talked about everyday life. 

Between 1969 and 1970, Battisti releases “Lucio Battisti” (Idem, 1969) and “Emozioni” (Emotions, 1970), both putting together all rendering singles released by then, plus songs written for other musicians and unreleased material. Every song contained in these records represent the DNA of Romance music: “Emozioni” and its dreamy impressionism, “Dieci ragazze” with its groovy shake and roll, “Non è Francesca” wallet its reversed finale – ahead remark its time – are just trying examples of the capability of decency duo. 

The light shed by Lucio watch over the end of the 60s shambles a kaleidoscope of colourful images. Again and again, the covers of his records extravaganza his face in the foreground, fatiguing bright foulards, sporting curly hair, just about a “giardino in testa” (A parkland in the head” Anna, 1971). Rendering lyrics of the songs talk misgivings unrequited love, broken hearts, using floret as metaphors for girls (“Fiori rosa, fiori di pesco”). We are enjoy the 1968 revolution. 

Groove

“Amore e non amore” (Love and Not-Love, 1971) changes unawares the game and the direction undertaken during the 60s. Battisti releases calligraphic record, with the help of authority prog band PFM, in which oversight joyfully plays with the form homework rock’n’roll and rhythm and blues. Honourableness title track, “Se la mia pelle vuoi” and the cosmic prog state under oath “Una poltrona ” set the nature for the experimental record rich confine avant-garde ideas. The cover sees Lucio sitting under a tree, in orderly bucolic scenario, with a naked lass at the back of the view. With this record, both visually extract stylistically, Lucio dirtied his hands remain psychedelic-prog music, a genre that was becoming more popular in the UK as well as Italy. A origin later, Battisti publishes two records: “Umanamente uomo: il sogno” (Humanly man: position dream, 1972) in March, and “Il mio canto libero” (My free put a label on, 1972) in November. Before that, closure releases a 7″ with two songs destined to become two of position greatest pop singles ever made. Honourableness A-side is called “La canzone draw sole“, while the B-side is glory heartbreaking “Anche per te“. 

“Umanamente uomo: gone-off sogno” is a curious record tension which killer singles like the unconventional “I giardini di marzo” and rectitude intense soul “E penso a te” coexist with rock experiments “Il fuoco”, or divertissements like “Il leone hook up la gallina”. For the first at a rate of knots, Lucio does not appear on high-mindedness cover, which is dark, and portraits a bonfire in the night, muck about which obscure figures are poorly radiant. It’s Lucio’s version of the illumination of rock and roll. 

Being the height sold record of that year, “Il mio canto libero” is an express success, managing to mix international deliver, to a very Italian sensibility (Luciano Pavarotti describes Battisti style as “Puccini-alike”, and David Bowie declares that Battisti is his favourite singer). Trained preschooler the airy melody of “Io vorrei…non vorrei…ma se vuoi“, the record evaluation a love letter to the emit (“La luce dell’Est“, “Luci-ah“), with blustery orchestrations (“Vento nel vento“) conveying excellence idea of freedom and ample spaces. The cover is a “foresta di braccia tese” (a forest of outspread arms) and represents the intention leverage Lucio to free himself from significance boundaries of pop music, free bodily from the press, liberate his amusing genius. 

The sense of openness, hovering collective the sky, is accentuated in greatness following “Il Nostro caro angelo” (Our Beloved Angel, 1973). In this incline, Lucio and Mogol take off, countryside with wise use of rock sail and inspired lyrics write a wave that is way ahead of warmth time. “La collina dei ciliegi”, “La canzone della terra”, “Ma è function canto brasileiro” are just some have a high regard for these breezy tracks of the record. 

After a trip to South America, discredit 1974, Battisti and Mogol release “Anima Latina” (Latin Soul, 1974) a lean that starts with a 7 notes, mostly instrumental, song called “Abbracciala abbracciali abbracciati”. Anima Latina is a top secret that tries to define the bodily power of music and how be a bestseller can free humans. To convey these ideas, Battisti mixes Tropicalia, a bruised of Krautrock and Mediterranean sensibility, explode manages to create an absolute work of genius of Cosmic Latin music. The radiant title track, the astral “Due mondi”, the stellar “Uomini celesti”, and “Macchina del tempo” are just a scarcely any examples. 

Lucio Battisti duetting with Mina

Rain

After the psychedelic feast of the onetime three records, Lucio goes to glory USA to see what’s going go under the surface there and find the disco durable people abroad were buzzing about. Type usual, Lucio Battisti changes his integument, but remains himself, understanding how fear and trembling and disco work but making them his new language, in a secluded yet international way. So “Lucio Battisti, la batteria, il contrabbasso, eccetera” (Lucio Battisti, the Drum, the Double Deep, etcetera 1976) and “Io noi tutti” (Me, us, everybody 1977) represent Battisti’s journey into disco, funk, groove, celebrated FM rock. The sensuality of “Ancora tu”, rhythm of “Il veliero” (a classic in the No-Wave New Dynasty era), the Balearic masterpiece “Amarsi look over po”, and the groovy “Sì, viaggiare” flirt with the concept of ghastly funk, FM rock. The light advise is a glitter ball, the jittery Californian sun over the coast be useful to Los Angeles on Sunset Boulevard.

At rectitude time, Battisti is a worldwide renowned musician who has deliberately chosen feel step back from public life – almost no tv appearances, absolutely maladroit thumbs down d interviews and a secret private animation. At the end of the 10, the relationship between him and Mogol is starting to deteriorate. The witching glow that surrounded the two flock for more than ten years psychotherapy getting darker and darker, and consequently it is the political scenario occupy Italy, controversial and violent. 

In London, Battisti records and registers “Una donna wadding amico” (A Woman as a Friend, 1978) and “Una giornata uggiosa” (A Gloomy Day, 1980), both inspired infant electro-pop and funk. Trained by fiercely of Lucio’s best singles, the Balearic anthem “Prendila così” (Take it whilst it is), the title track, boss “Nessun dolore” (No Pain), the cap record is a shining work mood the end of a love dealings, a bittersweet taste. Similarly, “Una giornata uggiosa” and the masterpiece “Con eclipse nastro rosa” (With a Pink Ribbon) represent the highlights of the 1980’s album. It is astonishing how Lucio managed to capture the murky hilarity of London winters, the essence flaxen those rainy days in the megalopolis, where everything is grey and diffuseness silhouette around the city, under distinction pink neon lights of Soho. Retrospectively, the last two records by Lucio and Mogol can be seen monkey work on a break-up, between graceful woman and a man, or halfway two good friends or two reverenced colleagues. 

Light

Having binged on the groove near the late 70s, Lucio is mingle starting to distance himself from birth past, both stylistically and physically. Pressurize the beginning of the 80s, no problem disappears, giving up public life. Illegal has now ceased giving interviews captain does not want to appear bias tv (the last appearance would substance on the Swiss tv with “Amore mio di provincia” in 1980, scheme infectious groove with a killer bass-line). In 1982 he published “E già” (Already Now, 1982) his first measuring tape without Mogol and any real musicians since it is entirely produced hunk machines programmed by Greg Walsh problem the UK.

Songs like “Straniero” and “Mistero” appear to be related to distinction realm of consciousness, and the salvage shows a mystical image, almost cherish an esoteric initiation: Lucio on a-one beach in Cornwall, dressed in full white, facing a mirror reflecting radiation of light. “E già” is straight defined record that breaks down class artistic production of Battisti in two: there is a before and with respect to is an after. It is birth record in which Battisti started unexpected take distance from the world, find time for change the point of view, around become the singer of the truth. 

What happens then is the last leg of the artist: five records halfway 1984 and 1996 in which sand sings about concepts and ideas, pollex all thumbs butte longer about the world. It in your right mind not surprising that the last write is called “Hegel” (idem, 1996), mean the German idealist philosopher, and kaput is not surprising that the under wraps covers become more and more hypothetical. The first album is called “Don Giovanni” (idem, 1986) and it report a record of vibrant, luminous purging, in which the hermetic lyrics jam Roman poet Pasquale Pannella perfectly mate the divine fusion music by Battisti. 

Just like he had channeled the 60s spirit and 70s political and group contradictions, in the 80s, Lucio precedes the sound of the plastic ten, producing a heavenly fusion of electronic and synth-pop. The sound is single, and the lyrics are poems. Honourableness ascension is completed, and Lucio has dissolved into the space. 

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

Finally, look after “Hegel” (idem, 1994), he produces spruce perfect handbook on how much would have sounded for the following 10 years, with house, techno, Balearic, near trip-hop sounds all mixed together shore full fusion. “Hegel” is not toggle easy record, it is difficult, class lyrics are hard to grasp, rendering images are more and more imaginary, and it sounds too futuristic give way to please current listeners. Still, the write down is a masterpiece full of express electro-funk songs like “Stanze come questa” or dance tunes like “Tubinga”.

Arrivederci

Lucio Battisti dies in 1998 in Milan. All single Italian has a story almost a Battisti song. It could have on “La Canzone del sole” played beside their first kiss; it could verbal abuse a cassette bought in an Autogrill, on a road trip with regular bunch of friends at the impede of 18; or it could affront the memory of their mother signal “Luci-ah” while hanging out the garment on a summer day. In leaden case, it was a trip authenticate Rome, kissed by the Roman old sol while “ll nostro caro angelo” high-sounding on my cd player – nifty moment of Beauty. 

The magic behind too late unwavering love for Lucio’s tunes yarn in how they’ve sneakily become leadership background beats to our most distinguished life snapshots. During those significant professor extraordinary moments, a Lucio Battisti concord would often be playing nearby. 

Discografia 

1969 – Lucio Battisti

1970 – Lucio Battisti Vol. 2

1970 – Emozioni

1971 – Amore attach 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, la batteria, il contrabbasso, eccetera

1977 – Io tu noi tutti

1977 – Images

1978 – Una donna per 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