vanamente

Sure, "we are in prehistory," but those records came out when the only decent electronics around were Brian Eno's; the rest was a sample of preunza (UNZ UNZ UNZ UNZ UNZ) and insane.

Then, in 1986 came "Don Giovanni," which still bore the symphonic influences of the Mogolian period, but it was in 1988 with "L'Apparenza" that Battisti's transformation became definitive, as melody merged with mastery of words, the gestures acquired through experience, and the tone learned through sharing space and time. For those like me who waited for the new album to finally be released, for those who bought it the day after hearing the announcement on the RAi 1 news... "And then what do we talk about, about how please you did, if you don't mind considering it, that gesture that ensemble of things and non-things that happen once, which can then be repeated on request and not by chance."

Then Battisti began to become increasingly intemperate. He had been ill for years and perhaps for a long time had started to see things in a carefree way, but also filled with suffering and nerve-jangling, distancing himself from the world with its noises, searching within himself for sounds that would soothe his soul, yes, but also words. Battisti was perfectly aware of the meaning of the Panelliani lyrics; never were rhymes and sounds better interpreted to render coherent the sense of loves that seemed like croquet. If "Una Donna per Amico" (1978) was the summation of Mogolian refinement, by 1980 with "Una Giornata Uggiosa," things began to change.

"The sailing ship goes and takes you away, everyone on board is right and so be it" my love story with Battisti began then, in 1976, when people sang for an entire year "Breathing the dust of the car that takes you away, I wonder why the more you distance yourself, the more I feel you as mine." Before, I was too young; I listened to his songs and the comments of my older cousins, left-wing and with an endless pomp that started from Nostro Caro Angelo onwards, about Battisti being a fascist, but look how he treats women (with Donna Selvaggia Donna in 1978, the murmurs grew even louder) and listen to the speeches he makes. Then I grew up and "Ancora Tu," for those my age, became such a catchy tune that even the most listened-to summer chihuahua trash pales in comparison. Because back then, catchy tunes, along with light shirts and sparrows (burp, excuse me, but I still have stomach upsets), lasted for years.

Fallen, I don't know why, but I have the suspicion that you, like Caz, probably don’t have many problems with the ladies... :D

An artist without an apostrophe. Sorry.

"With 'The Western Bride,' our now dear angel tried to remedy the ugliness that was 'The Appearance,' just as he did back in the days of 'Don Giovanni.' No. I do not agree. 'The Appearance' is beautiful, not least 'Allontanando,' and Don Giovanni, which is indeed not white but beige, is a masterpiece that culminates in 'The Deluge.' Yes, I remember how everyone grumbled, but they couldn’t appreciate it, perhaps because they wanted once again 'The blonde braids, the blue eyes' and skirts lifted just above the knee. But the last Battisti is an artist who no longer needs the masses and he was right to embrace the prose of the then-unknown Panella. And it is always like this. As soon as an artist takes new paths, few accept it, but what can we say about someone like Sylvian who has been serving the same old dish for decades now? Perfect, yes, but always the exact same thing. Battisti had the courage of innovation and if few appreciated it... judgment will be left to posterity."

Well, even the ghost track of GommaLacca has been underrated, when talking about Battiato, but Franco is of a certain age and his studies are of a classical nature despite the progressive music he championed in the '70s. His ghost tracks seem to be mere divertissements, small pieces produced more for play than for being. However, I believe the meaning lies in the message of open-mindedness towards all sounds, more or less developed, more or less studied, as a genuine possibility for learning.

I bought her latest album "Morirò d'Amore" last year. Giuni had been ill for a long time, and this CD reflects her introspection. The album is dedicated to the "Mater Spiritualium" Teresa de Ahumada y Cepeda and to her entire Carmelo, but the lyrics of track n° 6 "La sua Figura" and track n° 11 "La Sposa", listened to in hindsight, are truly a farewell....

If you turn the black container over, it's engraved: ae. That's the name.