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9 Sep 2016

Lucio Battisti “ Emozioni” 1970 Italy

Lucio Battisti “ Emozioni” 1970 Italy
I still wonder after all sti hear what a heron. It will be my ignorance on the subject and surely I will come paccariato, but do not know what is. But if he says he will certainly fly a bird I think, boh. However you, we admire him fly. Lucio but what flight you talking about? Perhaps a mental flight. Are you saying that seeing a heron flying, you can fly too? My compliments then, if you just so little. A bit of contradiction, however, I see. You can not lie down on ‘happy grass and then annasparti through a sorrow, although thin it is. You can not change the feelings like that, from one moment to 'else. What you are referring to something bittersweet? That dear feeling of happiness almost unjustified surrounded by a sadness that not even know an answer? As I understand dear Lucius. And then combining to me, you sit there watching the sun set? How much happiness you can try through this vision? After all that sun goes down you’re looking at today as well as yesterday is gone and sunset tomorrow. And I must say that it is inexplicably a pleasure that is very familiar to me, we are two crazy by dear Lucio tie. A sleep, then, I’m going alone … Just as you left you that sad 98 ’. But it is worth asking some questions? The sadness which was mentioned before, it is the one I know, makes no noise. And 'soft, like snow. Are questions to be done? At Poggio Bustone it worked differently? You said it, thin. Too thin to be able to really feel. It is part of us, needless to asking questions. And we need, trust me. And do not make them some nonsense. We speak of subtle sorrows, intrinsic, who knows if there is this word, it is not worth around by car with a madman. And accendili sti headlights do not see anything. At the bottom it is so, when we talk about the sadness before it accumulates to a certain point can lead to this. But we are too intelligent and me for some nonsense, you know. As a medicine, that’s what we need. Friendly hands, hands to shake, clean hands and sincere. Which after all can not give us the certainty that what we feel are also perceived from 'other. But people are so difficult? Stringiamole well these hands, and aggrappiamoci them. Do not keep them too hard, otherwise you hurt. And woe if we lose.
And mo I’m in trouble. I na walk on the moor do not remember to have done, but I have to tell you, I picture a bit. You say you type found in this way? And above all, what you mean by 'find himself’? It is not easy to find himself and trust me, I do not know how a heath can be helpful. But if Mogul says so, it must really be. It’s an invitation? Any of the heath, or I have to go to what you say, say, maybe he will have a something magical. Then you have to explain a 'else. But you’ll never have to tell you I’m all time with a fisherman? You’ll tell the best techniques to catch swordfish? Or do you say how to cook the clams? Or tell me, it is not that you’re telling us that you find yourself through simple and humble gestures like talking to an honest man? I know that I have to go there more often in June at the pier. I just hope that something inside to die is not related to the conversation with the fisherman, otherwise we go to talk to you. So as we go you to make it grow a seedling. Not that I mind the thing eh, just that we can not do with botany. And 'botany that refers to the plants? Boh I think so. Still I do not know to treat them ste seedlings, envision us out red roses. Although it does not deny the immense impact that can have an apparently as banal transformation but specifically so rich in beauty and meaning. And no mo 'other time. Not enough to turn with the lights off? You must also take to slap a guy on the street? L 'you said, it was just a bit rude, not hurt you what he said. But you, you have to take with someone, there are no cocks. And Let us seek another way dear Lucio, compriamoci a lot to be punched … we wreak … The need is there and is strong, but we know that it is unfair. You did not did not really hope … If you talk to me but then closing his eyes to stop that thing we were talking about before, I do think that those hands you left. And then I believe that in his mind there. And trust me, there will never be.
I think that the call emotions…….
Lucio Battisti’s second solo album is actually a compilation of A and B sides from the singles he released between 1966 and 1970. Even if it duplicates two songs from the singer’s debut, Emozioni is absolutely essential for Battisti fans – and a milestone of Italian popular music – as virtually every single track has achieved seminal classic status. But for the singer’s first two B-sides, 1966’s “Dolce di Giorno” and 1967’s “Era,” all selections were written by Battisti-Mogol, and many rank among the legendary songwriting team’s most beloved efforts: “Fiori Rosa, Fiori di Pesco,” “Dieci Ragazze,” “Emozioni,” “Acqua Azzurra, Acqua Chiara,” “Mi Ritorni in Mente,” and the two included on the first LP, “Non è Francesca” and “Io Vivrò (Senza Te).” Emozioni became Battisti’s first number one album in Italy, a feat he would perfunctorily repeat throughout the 1970s….by allmusic… 
In my opinion, this is a step up from Battisti’s first album, and his first album was very good. To my ears this one just sounds a little more sophisticated, a little more well-put-together. It’s very much in the same vein as his earlier album, however, keeping the same high quality, orchestrated pop sound graced, as ever, by Battisti’s great voice.
“Fiori rosa, fiori di pesco” starts us off here, and after a short vocal section accompanied by what sounds like organ and piano, a very cheery bass line picks up and is soon joined by some orchestral sounds. I can’t understand Italian, but the vocals sound very good and Battisti is joined on this track by what sounds like some female backup singers, which adds quite a bit to the track in my opinion. This is a song that is able to pack a lot of ideas and emotions into a mere 3 minutes, and that kind of concise variation is something I always enjoy.
“Dolce di Giorno” features what I’m pretty sure is a harmonica very prominently, and combined with the (relatively) sparse orchestration and the rawer vocal style used, this is a great change of pace for Battisti, as it almost sounds like a combination of early Beatles song with a little bit of country twinge. Roll all that up with Italian vocals and you’ve got a pretty unique song here for Battisti.
“Il tempo di morire” is a slower, very bluesy track, with an (at this point) very uncharacteristic lack of orchestral sounds. Battisti is accompanied for most of the track by nothing more than guitar, but there’s some use of bass and percussion as well. Again, a bit of a different sound from anything on his first album, but I have to say I really like the blues+Italian lyrics combination.
However, if you thought that the orchestration of his earlier album had disappeared, fear not, as “Mi ritorni in mente” brings it back in top form, featuring some spectacular horn work as well. The song mainly rotates between two themes, a faster one and a slower one, and the juxtaposition works very well. Songs like this make me really admire Battisti’s songwriting ability.
“7 e 40” is another song that features a prominent bass line, and it features a very typical, cheery chorus that reminds me quite a bit of “Balla Linda” from the first album. Like that song, “7 e 40” tempers the cheer of its chorus with a more melancholic section in the middle, but quickly picks up again. I really wish I knew Italian so I knew what this shift represented, but for now I’ll just have to enjoy the variety.
The title track pulls back significantly from the bombast of the previous track, delivering a much more restrained, introspective and (not unexpectedly) emotional track accompanied by some of the most sparsely beautiful accompanying music I’ve heard from Battisti thus far.
“Dieci ragazze” kicks back into high gear with a fast paced bass line and a very dynamic vocal performance from Battisti. Definitely one of the “rockier” performances on the album, though we still have the nigh-omnipresent orchestration present.
“Acqua azzurra, acqua chiara” follows, and it may be my favorite song I’ve heard so far from Lucio Battisti. It starts with an incredibly catchy, high-energy horn and guitar section before it switches gear into a more mixed emotion verse. I know that sounds strange since I’ve already said I don’t speak Italian, but that’s really what comes through the music. Great, great song.
“Era” is a simpler track that makes use of some sound effects as well (possibly some tape looping? I don’t know). I think that this song really highlights how even the Battisti’s simplest songs are still fantastic listens.
“Non e Francesca” is next, and I hear here more of the britpop influence that so abounded in Battisti’s first album, though it’s more orchestrated than most britpop I’ve heard. It’s a slower song that, were it sung in English, probably would have fit in on the Zombies’ “Odyssey and Oracle.” This is also one of the proggier tracks, as there is actually an instrumental section in the middle that makes use of what might be a backwards recording of a guitar. This instrumental thing is easily the closest to “actual prog” that Battisti has gotten in these two first albums, and because of that it’s one of the more interesting songs I’ve heard from him.
“Io vivrò (senza te)” I think follows very much in this same “orchestrated britpop” vein, with a similar kind of “Zombies-esque” vibe. It’s a slower song that’s nonetheless very intense, a fact which is in no small part to the epic string accompaniment to the chorus.
“Anna” closes off the album, and, like the opener, features some female backup vocals that really add to the track. This is another track where Battisti really raises the bar in terms of his vocal presentation, and if you’ve ever heard him sing that’s no small feat. The only other vocalist I can think of that can sing with the kind of emotion Battisti can is the Dear Hunter’s Casey Crescenzo, strange as that comparison is. Battisti really succeeds in making his voice sound absolutely broken towards the end of the song, and this combined with the backup vocals is simply breathtaking.
I was very surprised to find out that this album was a collection of singles, because the flow and pacing is, in my opinion, spectacular. This album works as a complete artistic statement, even if the songs weren’t written with that intention in mind. As I continue to explore Battisti’s discography I can envision a future where I’m quite obsessed with his music, because in the two albums I’ve reviewed there hasn’t been a single bad song…by progarchives……
Very talented italian singer/songwriter who was something of loner and eccentric,clearly influenced by Bob Dylan and other rock troubadours of the time,Battisti left huge mark on italian pop music with this beautiful album.
He often worked with composer Mogol and their songs were celebrated by no other than Mina who was something of talent-scout and often had uncanny talent to spot good songwriters before everybody else.
On this album Battisti introduced some of future pop/rock standards like “Fiori Rosa,Fiori di Pesco”,“Mi Ritorni in Mente”,“7 e 40”,“Dieci Ragazze”,“Acqua Azzura,Acqua Chiara” and title song - in fact there is such embarassment of riches here that it would be crime to point at one single highlight as the whole album has freshness,excitement and burst of ideas typical for somebody very young who can’t hold anything down and wants to give his best.
Battisti himself perhaps was not the most impressive of singers (and this is only because of the competition - it looks like in Italy everybody can sing at drop of the hat,there is something about that country that makes even little old lady in newsagent kiosk sing like first-class superstar) but his sincerity and affection for music is so contagious that it doesn’t even matter.Music-wise it has strong rockers and gentle ballads with occasional orchestration,often Battisti starts with only guitar strumming and before you know it,melody takes you buzzing away.
To my knowledge Lucio Battisti eventually became recluse,refusing interviews and public appearances,pointing that his work should speak for itself (which I found very endearing - how I wish other would follow his example) and died at age of 55,his music now considered legendary in Italy,just ask any italian and they will tell you he is God.
And Amen to that. ……
Line-up / Musicians
Lucio Battisti: guitar, vocals
Flavio Premoli: keyboards, piano
Dario Baldan Bembo: keyboards, piano
Demetrio Stratos: keyboards, piano
Gabriele Lorenzi: keyboards, piano
Mario Totaro / keyboards, piano
Alberto Radius / guitar
Franco Mussida / guitar
Andrea Sacchi / guitar
Damiano Dattoli / bass
Angel Salvador / bass
Giovanni Tommaso / bass
Giorgio Piazza / bass
Frank Laugelli / bass
Gianni Dall'Aglio / drums
Franz Di Cioccio / drums
Sergio Panno / drums
Pietruccio Montalbetti / harmonica
Nora Orlandi / backing vocals
Songs / Tracks Listing
1. Fiori rosa, fiori di pesco - 3:16
2. Dolce di giorno - 2:38
3. Il tempo di morire - 5:40
4. Mi ritorni in mente - 3:41
5. 7 e 40 - 3:32
6. Emozioni - 4:44
7. Dieci ragazze - 2:54
8. Acqua azzurra, acqua chiara - 3:36
9. Era - 2:56
10. Non è Francesca - 3:40
11. Io vivrò (senza te) - 3:53
12. Anna - 4:37

johnkatsmc5, welcome music..