Homo Sapiens
Tornerai Tornerò

Homo Sapiens - Tornerai tornerò - 1976

Tornerai torneròooooooo1 with time you can never bet, and what happens you never know, I lose you a little more every day, Tornerai torneròooooooooooooooooooooooo ridiculous to think about it my love, at the first meeting it was already a goodbye...

EmOtional rescue of a living fossil by rivols:

Do the Homo Sapiens represent the pinnacle of the evolutionary ladder of seventies groups? Who knows. What is certain is that they had an extraordinary international success, paired with the stereoeuphonic music marriage-partnership of Renato Pareti - words by prof. Roberto Vecchioni, I mean Vecchioni, not wedding with dried figs. Like Darwin, let's start from a few but evident details; on the candy-wrapper of the disc stands out the girl on the cover; certainly a stereotype from that era, demure yet sexy, the girl-next-door but potential model, woman and child, etc.; less brazen than Papetti's ladies but yet another female goddess from the cover to whom the group delegates the calling card. Forget evolution, the girl of the '70s - early '80s, playful and sensual, virgin and enchantress, embodies a feminist and punitive femininity, a future amazon who claims for herself an ego and a super-ego certain of what?, and speaks of parity coitus, revolution, evolution, while thinking about the high heels you have-Battisti.

The girls of those years were still untouched by plastic surgery; the beautiful ones were truly sensual, which gave them an aura of authenticity, even where the incolutive phenomena were already looming, echoing the American-Anglo-Saxon model that was already more inclined to masculinization due to historical, climatic, social reasons, etc., as opposed to the Mediterranean woman who, having emancipated later, is nevertheless more formidable because more insidious and precocious. The body as the entelechy of spiritual factors, therefore, of revolutions that occur on planes other than the material, generating true changes.

Thus the extremization of this involution was resolved in a new female type with a garçonne-castrating personality, generally devoid of true feelings and maternal instincts, though at the time there were still few infant murderers as today, problematic, with a flat chest, and whose feminism sometimes slipped down to sapphism - now increasing - or the prototype of the radical-chic urninga type, like Emma Bonino, just like my Italian teacher. But then nobody understood a damn, and everything was beautiful. I remember the Homo Sapiens' radio hit "Bella da morire", melodically flawless, almost too honeyed, but well-arranged: Carlo Verdone in the film Pazzo di Iris Blond will have fun mocking the Sapiens with the protagonist's improbable 45 rpm hit, Bella senza trucco, an embarrassing remnant of The Freezer's early career.

After releasing their first LP in history, simply called "Homo Sapiens", in '76 they participated in a "Disco per l'estate" with the unforgettable "Tornerai Tornerò" - seasoned with Santana-Gilmour-esque solos more real than the real ones - which climbed the charts worldwide having been recorded in 56 versions and in six different languages. In the face of those who decry and belittle our local musicians.

Legend has it that the Tuscan group opened the doors of the "Madison Square Garden" in New York, the "Maracanã" stadium in Rio, the "Opera House" in Sydney. In 1977, Rifi Records presented them at the Sanremo Festival with "Bella da Morire" which ranked first and was also the first group winner of the event. Then came "Lei Lei Lei", followed by many extraordinary tours that the Homo Sapiens carried out in Italy, Europe, and America. Among the other songs on this paleontological album, spectacular is "Santo cielo non l'ho mai capito", almost proto-disco, and "Non ho una lira", a testimony of the austerity of the time.

The album is such a elephant-foot pop that it exudes misty sensations, almost prehistoric, like a silent film from a photo album nibbled by woodworms and silverfish... clusters of habits and customs from an extinct civilization flow: bonfires and guitars on the beach with midnight swims, low-fi varicella records, free radios, private soft-porn TVs, freckles, hair helmets, semi-platforms, semi-dark brown drinks, bell-bottom jeans, first little breasts, idrolitina and frizzina, stickers, drinking water from tanks, universe encyclopedias, combs and hair lotion, ribbed velvet, record players, Coppertone butts, travel phonographs, pom-pom girls, Eldorado Jolly ice creams, village holidays, natural surround cinema, Tetra Pak, 10-cent elevators, supertele balls, water bombs, flying frisbees, all captured with a flou filter...

ps.

The flou effect is a devastating blur and loss of definition of the image, but it is a very particular effect, and it consists of a softening of the image (but not a blur) and a gentle diffusion of the highlights, which invade the shadow areas.