L'arca di Noè - Noah's Ark

The incredible success of La voce del padrone included sold-out concerts in stadiums filled with audience members singing along from memory with even the most abstruse of Battiato’s songs. At first he was touched by such mass public acceptance, but in the end it left him rather unsettled. Aside from the pressure from his record label to come up with something that would replicate the success of that album, the demonstrations of affection from his public seemed excessive to Battiato. Released in December of 1982, L’arca di Noè was ready to go months sooner, but its release was postponed until La voce del padrone fell off the charts. Not surprisingly, Battiato goes in a new direction. The lyrics are more narrative and less fragmented than before, and the music is colored by the use of a sequencer (the Roland Microcomposer) and the Fairlight (a very high-end synthesizer and sampler), along with the increased use of the Madrigal Singers of Milan for choral effects. Think for a moment of the arc of Battiato’s “pop” albums. In L’era del cinghiale bianco we see the yearning for a return to an age where spirituality reigns supreme. In Patriots, there’s the rallying cry of “Up Patriots to Arms” and the sense of giving change a good effort. In La voce del padrone, however, we see the white flags of surrender. L’arca di Noè brings us to the apocalypse, which only a few will survive. Battiato considered his Ark to be a symbolic one, in the same way that P.D. Ouspensky talked about the teachings of Gurdjieff in his book In Search of the Miraculous: “The teachings themselves were an ark, thanks to which we could hope to save ourselves at the moment of the diluvium.” Needless to say, when Battiato looked around at the world in 1982, there was much that he didn’t like about the state of humanity and the directions things were going.

Radio Varsavia - Radio Warsaw

E i volontari laici Scendevano in pigiama per le scale Per aiutare i prigionieri Facevano le bende con lenzuola E i cittadini attoniti Fingevano di non capire niente Per aiutare i disertori E chi scappava in occidente Radio Varsavia L'ultimo appello è da dimenticare e Radio Varsavia L'ultimo appello è da dimenticare e E i commercianti punici Prendevano sentieri di montagna Per evitare i doganieri Ed arrivare in Abissinia La Cina era lontana L'orgoglio di fantastiche operaie Che lavoravano la seta Le biciclette di Shangai Radio Varsavia L'ultimo appello è da dimenticare e Radio Varsavia L'ultimo appello è da dimenticare e Radio Warsaw © 1982 Franco Battiato "Radio Warsaw" recalls in its first verse the Warsaw Uprising of 1944, in which the Polish Resistance rose up to push the Germans out of Warsaw just ahead of the entry by the Russian Red Army. The Russians, however, halted their advance, ignoring the calls for assistance broadcast on Radio Warsaw, allowing the Germans to defeat the Poles and then systematically destroy 35% of Warsaw with mass evictions and executions, including many Jews who were being sheltered by Poles. The song was included as part of the soundtrack for the 2017 film Call Me By Your Name.

And the lay volunteers descended the stairs in pajamas to help the prisoners - they made bandages with sheets. And the astonished citizens pretended to not understand anything in order to help the deserters and those who were escaping to the West. Radio Warsaw – the final appeal is forgettable . . . Radio Warsaw – the final appeal is forgettable . . . And the Punic merchants took mountain paths to avoid the customs agents and arrive in Abyssinia. China was far away, the pride of amazing laborers who worked the silk, the bicycles of Shanghai. Radio Warsaw – the final appeal is forgettable . . . Radio Warsaw – the final appeal is forgettable . . . English translation © 2020 Dennis Criteser L'arca di Noe was released in 1982. Giusto Pio collaborated on the musical compositions and arrangements. After its release, there were some critics who began to reassess Battiato and who charged him with putting forward right-wing ideas. To which Battiato responded, "Stupidly, there are those who have defined me as 'idealogue of the new right,' but in reality I am a conservative, in the ancestral sense. Because I think that all the current technological and scientific development, indeed a sort of neo-religion, has strongly deteriorated the qualities of man. And I, to the contrary, am for the recovery of the best traditions of civilized man." These charges led Battiato to avoid encounters with both the press and the public and concentrate on his work in the studio as producer and writer for other artists.

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Clamori - Outcries

Clamori nel mondo moribondo Clamori nel mondo Ciuffi d'isotopi in mano Passeggio tra le particelle dei miei atomi Nuclei pulsari, neutroni e quasari Il mondo è piccolo, il mondo è grande E avrei bisogno di tonnellate d'idrogeno Infestati di ragnatele Pieni di minuscoli computers Mangiando farfalle giapponesi Mosche giganti sputano dati Dando il totale sui disoccupati Clamori nel mondo moribondo Clamori nel mondo Sangue nero di Harlem Manometri affollati a Wallstreet Nel fango delle cifre tutto se ne va Guerriglia nella giungla Ma sotto un tetto di palme Amore mio Lunga sarà la fine Sceicchi custodi Di passaggi a livello nel deserto Spargono lacrime di petrodollari Sufi soffocati, Mullah immobili Nel silenzio delle sparatorie Clamori nel mondo moribondo Clamori nel mondo Clamori © 1982 Franco Battiato & Tommaso Tramonti The lyrics for "Clamori" were co-written with Tommaso Tramonti, who was one of Battiato's spiritual teachers in the Gurdjieff tradition, and who had translated Ouspensky's book In Search of the Miraculous into Italian.

Outcries in the moribund world, outcries in the world. Clumps of isotopes in hand, I walk among the particles of my atoms, nuclei, pulsars, neutrons and quasars. The world is small, the world is big, and I could use tons of hydrogen infested with spider webs full of minuscule computers eating Japanese butterflies, gigantic flies spit out data giving the total of the unemployed. Outcries in the moribund world, outcries in the world. Black blood of Harlem, pressure gauges maxed on Wall Street – in the mud of the ciphers everything goes away. Guerrilla in the jungle, but under a palm roof, my love, the end will be long. Sheik guardians of railroad crossings in the desert spill petrodollar tears. Suffocated Sufis, immobile Mullahs in the silence of the shootouts. Outcries in the moribund world, outcries in the world. English translation © 2020 Dennis Criteser L'arca di Noe was released in 1982. Giusto Pio collaborated on the musical compositions and arrangements. After its release, there were some critics who began to reassess Battiato and who charged him with putting forward right-wing ideas. To which Battiato responded, "Stupidly, there are those who have defined me as 'idealogue of the new right,' but in reality I am a conservative, in the ancestral sense. Because I think that all the current technological and scientific development, indeed a sort of neo-religion, has strongly deteriorated the qualities of man. And I, to the contrary, am for the recovery of the best traditions of civilized man." These charges led Battiato to avoid encounters with both the press and the public and concentrate on his work in the studio as producer and writer for other artists.

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L'esodo - The Exodus

Gloria in excelsis deo Gott mit Uns Ein Zwei Drei Prima che la terza Rivoluzione Industriale Provochi l'ultima grande esplosione nucleare Prepariamoci per l'esodo Il grande esodo Un esodo Per noi giovani del futuro Fine dell'imperialismo degli invasori russi E del colonialismo inglese e americano Prepariamoci per l'esodo Il grande esodo Un esodo Per noi Nelle vie calde la temperatura s'alzerà Moltitudine, moltitudine Non si erano mai viste Code tanto grandi, tanto lunghe Tanto grandi, tanto lunghe Moltitudine, moltitudine Mamma mia che festa Gloria in excelsis deo Gott mit Uns Ein Zwei Drei Arriveranno da tutte le parti Dalle città, dalle campagne Dal nord (sud) dal sud (da ponente, da levante) per l'esodo Il grande esodo Un esodo Per noi Nelle vie calde la temperatura si alzerà Moltitudine, moltitudine Non si erano mai viste Code tanto grandi, tanto lunghe Tanto grandi, tanto lunghe Moltitudine, moltitudine Mamma mia che festa L'esodo © 1982 Franco Battiato & Tommaso Tramonti Battiato considered "L'esodo" the conceptual backbone of the album, humanity on the brink of a precipice. Like "Clamori," the lyrics were co-written with his spiritual teacher Tommaso Tramonti, who was a student of Gurdjieff. In the printed insert that came with the album, the song was presented as "the final dance party, filled with an eros that will raise the temperature inside of us by 5 degrees."

Glory to God in the highest. God with us. One two three. Before the third Industrial Revolution provokes the final great nuclear explosion, let’s prepare ourselves for the exodus, the grand exodus, an exodus for us youngsters of the future. End of the imperialism of Russian invaders and of English and American colonialism. Let’s prepare ourselves for the exodus, the grand exodus, an exodus for us. In the hot roadways the temperature will rise, multitudes, multitudes – never seen before were the queues so big, so long, so big, so long. Multitudes, multitudes – mamma mia what a party. Glory to God in the highest. God with us. One two three. They will arrive from all corners, from the cities, from the countrysides from the north (south), from the south (from the west, from the east) for the exodus, the grand exodus, an exodus for us. In the hot roadways the temperature will rise, multitudes, multitudes – never seen before were the queues so big, so long, so big, so long. Multitudes, multitudes – mamma mia what a party. English translation © 2020 Dennis Criteser L'arca di Noe was released in 1982. Giusto Pio collaborated on the musical compositions and arrangements. After its release, there were some critics who began to reassess Battiato and who charged him with putting forward right-wing ideas. To which Battiato responded, "Stupidly, there are those who have defined me as 'idealogue of the new right,' but in reality I am a conservative, in the ancestral sense. Because I think that all the current technological and scientific development, indeed a sort of neo-religion, has strongly deteriorated the qualities of man. And I, to the contrary, am for the recovery of the best traditions of civilized man." These charges led Battiato to avoid encounters with both the press and the public and concentrate on his work in the studio as producer and writer for other artists.

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Scalo a Grado -

Ho fatto scalo a Grado La domenica di Pasqua Gente per le strade Correva andando a messa L'aria carica d'incenso Alle pareti le stazioni del calvario Gente fintamente assorta Che aspettava la redenzione dei peccati Agnus dei qui tollis peccata Mundi miserere Dona eis requiem Il mio stile è vecchio Come la casa di Tiziano a Pieve di Cadore Nel mio sangue non c'è acqua Ma fiele che ti potrà guarire Ci si illumina d'immenso Mostrando un poco la lingua Al prete che dà l'ostia Ci si sente in paradiso cantando dei salmi un poco stonati Agnus dei qui tollis peccata Mundi miserere Dona eis requiem Scalo a Grado © 1982 Franco Battiato According to the liner notes of the album, "Scalo a Grado" is "an in-depth and serious look at the progressive degradation of the ritual of the Mass." The line linked above is an adaptation of a famous poem by Giuseppe Ungaretti.

I layed over at Grado on Easter Sunday. People on the streets ran, going to mass, the air filled with incense, at the walls, the stations of the calvary, people, feigning being absorbed, who awaited the redemption of their sins. Lamb of God, who takes away the sins of the world, have mercy. Give them rest. My style is old, like the house of Titian in Pieve di Cadore. In my blood there is no water, but gall that can heal you. We are illumined by the light of the immense, slightly showing the tongue to the priest who gives the wafer. We feel in Paradise, singing some psalms a bit out-of-tune. Lamb of God, who takes away the sins of the world, have mercy. Give them rest. English translation © 2020 Dennis Criteser L'arca di Noe was released in 1982. Giusto Pio collaborated on the musical compositions and arrangements. After its release, there were some critics who began to reassess Battiato and who charged him with putting forward right-wing ideas. To which Battiato responded, "Stupidly, there are those who have defined me as 'idealogue of the new right,' but in reality I am a conservative, in the ancestral sense. Because I think that all the current technological and scientific development, indeed a sort of neo-religion, has strongly deteriorated the qualities of man. And I, to the contrary, am for the recovery of the best traditions of civilized man." These charges led Battiato to avoid encounters with both the press and the public and concentrate on his work in the studio as producer and writer for other artists.

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La torre - The Tower

Giù dalla torre Butterei tutti quanti gli artisti Perché le trombe del giudizio suoneranno Per tutti quelli che credono in quello che fanno Per gli spartani Una volta era uguale Buttavano giù da una rupe Quelli che venivano male Giù dalla torre Butterei tutti quanti i teatranti E nostra signora dei turchi Specchio delle mie brame, chi è fra noi il più bravo del reame E salverei Chi non ha voglia di far niente E non sa fare niente Chi non ha voglia di far niente E salverei Chi non ha voglia di far niente E non sa fare Giù dalla torre Butterei tutti quanti i registi Gli attori e gli elettrodomestici Per la vigilia della distruzione Ritorneranno dinosauri antidiluviani Una razza di super-rettili Che si mangerà scialalalalalà I presentatori Specie quelli creativi Che giocano ai quiz elettronici Si mangerà chi fa ma non sa quel che fa Si salverà Chi non ha voglia di far niente E non sa fare niente Chi non ha voglia di far niente Si salverà Chi non ha voglia di far niente E non sa fare La torre © 1982 Franco Battiato "La torre" is a rant against people in show business, people whom Battiato described as "prima donnas, creative types out of necessity, cretin presenters, and those who believe blindly in everything they do." There is a direct reference to the 1968 film Our Lady of the Turks, by Carmelo Bene.

Down from the tower I’d throw every last artist. Why will the trumpets of the judge sound for all those who believe in what they do? For the Spartans one time it was the same, they threw down from a cliff those who turned out bad. Down from the tower I would throw every last thespian and our lady of the Turks, mirror of my desires, the one who among us is the best of realm. And I would save whoever doesn’t feel like doing anything and doesn’t know how to do anything, whoever doesn’t feel like doing anything. And I would save whoever doesn’t feel like doing anything and doesn’t know how. Down from the tower I would throw every last director, the actors and the home appliances. On the eve of destruction the antediluvian dinosaurs will return, a race of super-reptiles who will eat – sha-la-la-la-la-la – the emcees, those creative types that play electronic quizzes - whoever does without knowing what they do will be eaten. He will be saved, who doesn’t feel like doing anything and doesn’t know how to do anything, he who doesn’t feel like doing anything. He will be saved, who doesn’t feel like doing anything and doesn’t know how. English translation © 2020 Dennis Criteser L'arca di Noe was released in 1982. Giusto Pio collaborated on the musical compositions and arrangements. After its release, there were some critics who began to reassess Battiato and who charged him with putting forward right-wing ideas. To which Battiato responded, "Stupidly, there are those who have defined me as 'idealogue of the new right,' but in reality I am a conservative, in the ancestral sense. Because I think that all the current technological and scientific development, indeed a sort of neo-religion, has strongly deteriorated the qualities of man. And I, to the contrary, am for the recovery of the best traditions of civilized man." These charges led Battiato to avoid encounters with both the press and the public and concentrate on his work in the studio as producer and writer for other artists.

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New Frontiers

L'evoluzione sociale non serve al popolo Se non è preceduta da un'evoluzione di pensiero The new frontiers Of the nouvelle vague Organizza la tua mente in nuove dimensioni Libera il tuo corpo da ataviche oppressioni Organizza la tua mente in nuove dimensioni Libera il tuo corpo da ataviche oppressioni The new frontiers Of the nouvelle vague Libera la tua immaginazione temporale E mandala al potere nel tuo organo sessuale Libera la tua immaginazione temporale E mandala al potere nel tuo organo sessuale Uomini innocenti Dagli istinti un po' bestiali Cercano l'amore dentro i parchi E lungo i viali Le pareti del cervello Non hanno più finestre New Frontiers © 1982 Franco Battiato "New Frontiers" must be understand in the context of Gurdjieff, according to whom the real world is hidden behind the wall of your uncontrolled thoughts and immagination. To awaken from the dream, one must liberate onself from atavistic habits and reach a certain understanding where you can channel your energies into useful mental activity. Battiato said you must first understand, then change, otherwise there is confusion.

Social evolution doesn’t serve the people if it isn’t preceded by an evolution in thought. The new frontiers of the French new wave - organize your mind in new dimensions, free your body from atavistic oppressions. Organize your mind in new dimensions, free your body from atavistic oppressions. The new frontiers of the French new wave - free your temporal imagination and send it to the power in your sexual organs. Free your temporal imagination and send it to the power in your sexual organs. Men innocent of instincts somewhat bestial, they look for love inside the parks and along the avenues. The walls of the brain no longer have windows. English translation © 2020 Dennis Criteser L'arca di Noe was released in 1982.

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Voglio vederti danzare - I Want to See You Dancing

Voglio vederti danzare Come le zingare del deserto Con candelabri in testa O come le balinesi nei giorni di festa Voglio vederti danzare Come i Dervisches Tourners Che girano sulle spine dorsali O al suono di cavigliere del Katakali E gira tutt'intorno la stanza Mentre si danza, danza E gira tutt'intorno la stanza Mentre si danza E Radio Tirana trasmette Musiche balcaniche, mentre Danzatori bulgari A piedi nudi sui braceri ardenti Nell'Irlanda del nord Nelle balere estive Coppie di anziani che ballano Al ritmo di sette ottava Gira tutt'intorno la stanza Mentre si danza, danza E gira tutt'intorno la stanza Mentre si danza Nei ritmi ossessivi la chiave dei riti tribali Regni di sciamani E suonatori zingari ribelli Nella Bassa Padana Nelle balere estive Coppie di anziani che ballano Vecchi Valzer Viennesi Voglio vederti danzare © 1982 Franco Battiato Of "Voglio vederti danzare," Battiato said, "I find dance to be a very high expression of culture. I don't mean folkloric dance, but rather the type of dance-quest that desires to break out of the body." Also, "These women . . . have a shared body language. In their hands and in their movements are hidden secret codes. You feel that there is an ancient wisdom that passes through their body." (from interviews with Franco Pulcini)

I want to see you dancing like the gypsies of the desert with candelabras on their heads, or like the Balinese during festival days. I want to see you dance like the Whirling Dervishes who spin on their backbones, or to the sound of ankle bracelets of the Kathakali. And spin all around the room while you dance, dance. And spin all around the room while you dance. And Radio Tirana broadcasts Balkan musics, while Bulgarian dancers barefoot on the hot coals; in Northern Ireland in the summer dance halls, couples of oldsters who dance to a 7/8 rhythm. Spin all around the room while you dance, dance and spin all around the room while you dance. In the obsessive rhythms the key of the tribal rites, kingdoms of shamans and wild gypsy players. In the lower Po in the summer dance halls, elder couples who dance to old Viennese waltzes. English translation © 2020 Dennis Criteser L'arca di Noe was released in 1982. Giusto Pio collaborated on the musical compositions and arrangements. After its release, there were some critics who began to reassess Battiato and who charged him with putting forward right-wing ideas. To which Battiato responded, "Stupidly, there are those who have defined me as 'idealogue of the new right,' but in reality I am a conservative, in the ancestral sense. Because I think that all the current technological and scientific development, indeed a sort of neo-religion, has strongly deteriorated the qualities of man. And I, to the contrary, am for the recovery of the best traditions of civilized man." These charges led Battiato to avoid encounters with both the press and the public and concentrate on his work in the studio as producer and writer for other artists.

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