Il Re del Mondo - The King of the World

Strano come il rombo degli aerei da caccia un tempo Stonasse con il ritmo delle piante al sole sui balconi ... E poi silenzio ... e poi, lontano Il tuono dei cannoni, a freddo ... E dalle radio dei segnali in codice Un giorno in cielo, fuochi di Bengala ... Ia Pace ritornò Ma il Re del Mondo Ci tiene prigioniero il cuore Nei vestiti bianchi a ruota ... Echi delle danze sufi ... Nelle metro giapponesi, oggi Macchine d'ossigeno Più diventa tutto inutile E più credi che sia vero E il giorno della fine Non ti servirà l'Inglese ... E sulle biciclette verso casa La vita ci sfiorò Ma il Re del Mondo Ci tiene prigioniero il cuore Il Re del Mondo © 1979 Franco Battiato "Il Re del Mondo" refers to a book by René Guénon. One of the mainsprings of Guénon’s thought is the idea that the society of the modern West is not a triumph of evolution (an idea he despised) but rather a reflection of an extremely degenerate age that he equated with the Hindu Kali Yuga, or Age of Darkness. One corollary of this idea is the belief that humanity did have a connection with a sacred centre and hierarchy – in prehistoric times – but this connection has been obscured and to all practical purposes lost. Thus it was natural for Guénon to hold to an idea of a hidden sacred kingdom. “This ‘Holy Land,’ which is defended by guardians who keep it hidden from profane view while ensuring a certain exterior communication, is to all intents and purposes inaccessible and invisible to all except those possessing the necessary qualifications for entry,” he wrote. The song intro is an intriguing mix of time signatures (starting with the first minor chord: 4, 5, 4, 4, 4, 3, then alternating 3-4-3s on the alternating major and minor chords), keeping you a little off balance until the regular groove of the song kicks in.

Strange how the rumble of the fighter planes one time clashed with the rhythm of the plants in the sun on the balconies . . . and then silence . . . and then, far away the thunder of cannons, with cold intention . . . and from the radios some signals in code. One day in the sky, Bengal sparkler fireworks. . . peace returned, but the King of the World holds prisoner our heart. In their whirling white garb . . . echoes of Sufi dances . . . In Japanese metros, today, oxygen machines. The more everything becomes useless, the more you believe it’s true. And on the final day English won’t do you any good. . . . and on the bicycles near home life touched us, but the King of the World holds prisoner our heart. English translation © 2020 Dennis Criteser Mondi lontanissimi was released in 1985 and was originally conceived as a sort of intergalactic fable. According to Battiato, "The far-distant worlds are the worlds of fantasy, of the planets of our constellation in which perhaps there are other forms of life that we're not able to imagine; also the interior worlds, those levels of awareness that not only can we not imagine but that we waste like the greatest treasure hidden in every individual." Giusto Pio collaborated on the arrangements and on most of the music, and also directed the Milan Symphony Orchestra, whose presence here lends warmth to what is sometimes a certain coldness in Battiato's more synth-heavy work.

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Chan-son egocentrique - Egocentric Song

Avenue Park My life in the dark I with me Do you smile For arabian style I like hit Miami Beach boys Children with toys Across the universe Chan-son egocentrique Self centred song Chan-son egocentrique Self centred song Chi sono, dove sono Quando sono assente di me Da dove vengo, dove vado Dalla pupilla viziosa delle nuvole La luna scende i gradini di grattacieli Per prendermi la vita Chan-son egocentrique ... Central Park I love in the dark Ich bin klein People sang Around the campfire ground I remember Prehistoric sound Was the time of the dinosaur age Oh, nein Chan-son egocentrique © 1982 Francesco Messina, Tommaso Tramonti, Franco Battiato "Chan-son egocentrique" was originally written in 1982 for an album by Alice. All three authors were deeply into the teachings of Gurdjieff, so we can understand the question "where am I when I am absent myself?" to be a philosophic koan based on the Gurdjieffian understanding that we live most of our lives unconscious of our own deeper, more real self. The five lines at the end of the song beginning with "People sang" are taken from the song "Prehistoric Sound" by Osage Tribe, a progressive rock band Battiato founded in 1972.

Avenue Park My life in the dark I with me Do you smile For Arabian style I like hit Miami Beach boys Children with toys Across the universe Self-centered song Self-centered song Self-centered song Self-centered song Who am I, where am I when I am absent of myself? Where do I come from, where do I go? From the depraved pupils of the clouds the moon descends the stairs of skyscrapers to take my life. Self-centered song ... Central Park I love in the dark I am small People sang Around the campfire ground I remember Prehistoric sound Was the time of the dinosaur age Oh, no. English translation © 2020 Dennis Criteser Mondi lontanissimi was released in 1985 and was originally conceived as a sort of intergalactic fable. According to Battiato, "The far-distant worlds are the worlds of fantasy, of the planets of our constellation in which perhaps there are other forms of life that we're not able to imagine; also the interior worlds, those levels of awareness that not only can we not imagine but that we waste like the greatest treasure hidden in every individual." Giusto Pio collaborated on the arrangements and on most of the music, and also directed the Milan Symphony Orchestra, whose presence here lends warmth to what is sometimes a certain coldness in Battiato's more synth-heavy work.

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I Treni di Tozeur - The Trains of Tozeur

Nei villaggi di frontiera guardano passare i treni Le strade deserte di Tozeur Da una casa lontana tua madre mi vede Si ricorda di me delle mie abitudini E per un istante ritorna la voglia di vivere A un'altra velocità Passano ancora lenti i treni per Tozeur Nelle chiese abbandonate si preparano rifugi E nuove astronavi per viaggi interstellari In una vecchia miniera distese di sale E un ricordo di me come un incantesimo E per un istante ritorna la voglia di vivere A un'altra velocità Passano ancora lenti i treni per Tozeur Doch wir wollen dir ihn zeigen/Und du wirst... Nei villaggi di frontiera guardano passare I treni per Tozeur I treni di Tozeur © 1985 Franco Battiato & Saro Cosentino "I treni di Tozeur" was written in 1984 and represented Italy in the Eurovision Song Contest, sung there as a duet by Battiato and Alice. The song placed 5th out of 19, and was commercially successful both in Italy and in Europe more broadly. The lyrics take inspiration from Battiato's travels in the south of Tunisia, where Tozeur is a city and oasis, and specifically refer to a train line known as the North African Orient Express. The German snippet is an excerpt from Mozart's Magic Flute (Act II, Scene 27).

In the frontier towns they watch the trains pass the desert roads of Tozeur. From a distant house your mother sees me, she remembers me, some of my habits. And for an instant the desire returns to live at another speed. The trains bound for Tozeur still pass slowly. In the abandoned churches refugees are prepared and new spaceships for interstellar travel. In an old mine, expanses of salt and a memory of me like a spell. And for an instant the desire returns to live at another speed. The trains bound for Tozeur still pass slowly. Still we want to show him to you, and you will . . . In the frontier towns they watch pass the trains bound for Tozeur. English translation © 2020 Dennis Criteser Mondi lontanissimi was released in 1985 and was originally conceived as a sort of intergalactic fable. According to Battiato, "The far-distant worlds are the worlds of fantasy, of the planets of our constellation in which perhaps there are other forms of life that we're not able to imagine; also the interior worlds, those levels of awareness that not only can we not imagine but that we waste like the greatest treasure hidden in every individual." Giusto Pio collaborated on the arrangements and on most of the music, and also directed the Milan Symphony Orchestra, whose presence here lends warmth to what is sometimes a certain coldness in Battiato's more synth-heavy work.

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L'animale - The Animal

Vivere non è difficile potendo poi rinascere Cambierei molte cose un po' di leggerezza e di stupidità Fingere tu riesci a fingere quando ti trovi accanto a me Mi dai sempre ragione e avrei voglia di dirti Ch' è meglio se sto solo... Ma l' animale che mi porto dentro Non mi fa vivere felice mai Si prende tutto anche il caffè Mi rende schiavo delle mie passioni E non si arrende mai e non sa attendere E l' animale che mi porto dentro vuole te Dentro me segni di fuoco è l'acqua che li spegne Se vuoi farli bruciare tu lasciali nell' aria Oppure sulla terra Ma l' animale che mi porto dentro Non mi fa vivere felice mai Si prende tutto anche il caffè Mi rende schiavo delle mie passioni E non si arrende mai e non sa attendere E l' animale che mi porto dentro vuole te.... L'animale © 1985 Franco Battiato "L'animale" is a song about the human passions that people find themselves at the mercy of. Battiato noted that it was not autobiographical, but rather "borrowed from the experiences of other people."

Living isn’t difficult, being able to then be reborn. I would change many things, a bit of lightness and of stupidity. Pretending, you manage to pretend when you find yourself next to me. You always agree with me, and I’d like to tell you that it’s better if I’m alone . . . But the animal that I carry inside never makes me live happily, ever. Everything is taken, even the coffee. It makes me a slave of my passions and it never surrenders and doesn’t know how to wait, and the animal I carry inside wants you. Inside me signs of fire, it’s water that puts them out. If you want to make them burn, leave them in the air or on the earth. But the animal that I carry inside never makes me live happily, ever. Everything is taken, even the coffee. It makes me a slave of my passions and it never surrenders and doesn’t know how to wait, and the animal I carry inside wants you . . . English translation © 2020 Dennis Criteser Mondi lontanissimi was released in 1985 and was originally conceived as a sort of intergalactic fable. According to Battiato, "The far-distant worlds are the worlds of fantasy, of the planets of our constellation in which perhaps there are other forms of life that we're not able to imagine; also the interior worlds, those levels of awareness that not only can we not imagine but that we waste like the greatest treasure hidden in every individual." Giusto Pio collaborated on the arrangements and on most of the music, and also directed the Milan Symphony Orchestra, whose presence here lends warmth to what is sometimes a certain coldness in Battiato's more synth-heavy work.

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La stagione dell'amore - The Season of Love

La stagione dell'amore viene e va I desideri non invecchiano quasi mai con l'età Se penso a come ho speso male il mio tempo Che non tornerà, non ritornerà più La stagione dell'amore viene e va All'improvviso senza accorgerti, la vivrai, ti sorprenderà Ne abbiamo avute di occasioni Perdendole; non rimpiangerle, non rimpiangerle mai Ancora un altro entusiasmo ti farà pulsare il cuore Nuove possibilità per conoscersi E gli orizzonti perduti non si scordano mai La stagione dell'amore tornerà Con le paure e le scommesse questa volta quanto durerà Se penso a come ho speso male il mio tempo Che non tornerà, non ritornerà più Ne abbiamo avute di occasioni Perdendole; non rimpiangerle, non rimpiangerle mai Ancora un altro entusiasmo ti farà pulsare il cuore Nuove possibilità per conoscersi E gli orizzonti perduti non ritornano mai La stagione dell'amore viene e va I desideri non invecchiano quasi mai con l'età Ne abbiamo avute di occasioni Perdendole; non rimpiangerle, non rimpiangerle mai La stagione dell'amore © 1983 Franco Battiato "La stagione dell'amore" is Battiato's version of a love song: not a rehashing of banalities found in typical commercial love songs, but rather a reaching for something more profound and subtle.

The season of love comes and goes. Desires hardly ever get old with age. If I think of how poorly I spent my time that won’t come back, it won’t ever return. The season of love comes and goes. Suddenly without you realizing it, you’ll live it, it will surprise you. Occasions, we had some, losing them; don’t regret them, don’t ever regret them. Yet another enthusiasm will make your heart pound, new possibilities for getting acquainted, and the lost horizons are never forgotten. The season of love will return with the fears and the wagers, this time how long will it last? If I think of how poorly I spent my time, that won’t come back, it won’t ever return. Occasions, we had some, losing them; don’t regret them, don’t ever regret them. Yet another enthusiasm will make your heart pound, new possibilities for getting acquainted, and the lost horizons never return. The season of love comes and goes. Desires hardly ever get old with age. Occasions, we had some, losing them; don’t regret them, don’t ever regret them. English translation © 2020 Dennis Criteser Orizzonti perduti was released in 1983. Giusto Pio co-wrote most of the songs, and collaborated on all the arrangements. Many of the songs on the album contemplate a world that is either lost or in the process of being lost, with many references to Battiato's native Sicily. The album relies almost entirely on electronic instrumentation. Regarding the album's title, it's quite possible that Battiato had in mind the book Lost Horizon, or the film of the same name, which introduced the utopian Shangri-La in the mountains of Tibet.

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Tramonto occidentale - Western Sunset

Tornerà la moda dei vichinghi Torneremo a vivere come dei barbari Friedrich Nietzsche era vegetariano Scrisse molte lettere a Wagner Ed io mi sento un po' un cannibale e non scrivo mai a nessuno Non ho voglia né di leggere o studiare Solo passeggiare sempre avanti e indietro lungo il Corso o in Galleria E il piacere di una sigaretta per il gusto del tabacco, non mi fa male Tornerà la moda sedentaria dei viaggi immaginari e delle masturbazioni; I'analista sa che la famiglia è in crisi, da più generazioni Per mancanza di padri Ed io che sono un solitario non riesco; per avere disciplina ci vuole troppa volontà Mi piace osservare i miei concittadini specie nei giorni di festa Con bandiere fuori dalle macchine all'uscita dello stadio E mi diverte il piacere di una sigaretta per il gusto del tabacco Tramonto occidentale © 1983 Franco Battiato The central theme of "Tramonto occidentale" is the lack of passing on values to younger generations, resulting in the sunset of Western society based on the concept of the family.

Vikings will come back into style, we’ll return to living like Barbarians. Friedrich Nietzsche was a vegetarian, he wrote many letters to Wagner. And I feel a bit like a cannibal and don’t ever write to anyone. I feel like neither reading nor studying, only strolling endlessly back and forth along the Corso or in the Galleria. And the pleasure of a cigarette for the tobacco flavor doesn’t make me sick. The sedentary style of imaginary voyages will return, and of the masturbations; the analyst knows that the family is in crisis, for generations, for lack of fathers. And I who am a recluse am not able; to have discipline takes too much willpower. I like to observe my fellow citizens, especially in the holidays, with flags outside of the cars at the exit from the stadium. And I enjoy the pleasure of a cigarette for the tobacco flavor. English translation © 2020 Dennis Criteser Orizzonti perduti was released in 1983. Giusto Pio co-wrote most of the songs, and collaborated on all the arrangements. Many of the songs on the album contemplate a world that is either lost or in the process of being lost, with many references to Battiato's native Sicily. The album relies almost entirely on electronic instrumentation. Regarding the album's title, it's quite possible that Battiato had in mind the book Lost Horizon, or the film of the same name, which introduced the utopian Shangri-La in the mountains of Tibet.

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Zone depresse - Depressed Areas

Le Domeniche pomeriggio d'estate Zone depresse Donne sotto I pergolati a chiacchierare e a ripararsi un po' dal sole Uomini seduti fuori dai caffè Poi la fine un giorno arrivò per noi; Dammi un po' di vino con l'Idrolitina Problematiche, differenze di vita, zone depresse Dal barbiere al sabato per chiaccherare e a turno leggere il giornale Le ragazze in casa o fuori nei balconi; Mi regali ancora timide erezioni; guardavo di nascosto I saggi ginnici nel tuo collegio Deux pas en avant, deux pas en arrière à droite à gauche Au contraire Faire un tour sur soi meme. S'arreter Mi regali ancora timide erezioni; guardavo di nascosto I saggi ginnici nel tuo collegio Zone depresse © 1983 Franco Battiato "Zone depresse" is a collection of distant memories of a Sicily and a veiled love story in a place and time where the lives of men and women often unfolded in separate spaces.

Sunday afternoons of summer, depressed areas. Women under the arbors to chat and take a little cover from the sun. Men seated outside the cafes. Then the end, one day, arrived for us. Give me a little wine with the Tang. Challenges, differences of life, depressed areas. At the barber on Saturday to talk and in turn to read the newspaper. Girls in the house or outside on the balconies. You still give me timid erections; I used to watch, hidden, the gymnastics displays in your boarding school. Two steps forward, two steps back on the right on the left On the contrary. Take a ride on yourself. To stop. You still give me timid erections; I used to watch, hidden, the gymnastics displays in your boarding school. English translation © 2020 Dennis Criteser Orizzonti perduti was released in 1983. Giusto Pio co-wrote most of the songs, and collaborated on all the arrangements. Many of the songs on the album contemplate a world that is either lost or in the process of being lost, with many references to Battiato's native Sicily. The album relies almost entirely on electronic instrumentation. Regarding the album's title, it's quite possible that Battiato had in mind the book Lost Horizon, or the film of the same name, which introduced the utopian Shangri-La in the mountains of Tibet.

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Un'altra vita - A Different Life

Certe notti per dormire mi metto a leggere E invece avrei bisogno di attimi di silenzio Certe volte anche con te, e sai che ti voglio bene Mi arrabbio inutilmente senza una vera ragione Sulle strade al mattino il troppo traffico mi sfianca; Mi innervosiscono i semafori e gli stop, e la sera ritorno con malesseri speciali Non servono tranquillanti o terapie Ci vuole un'altra vita Su divani, abbandonati a telecomandi in mano Storie di sottofondo Dallas e i Ricchi Piangono Sulle strade la terza linea del metrò che avanza E macchine parcheggiate in tripla fila E la sera ritorno con la noia e la stanchezza Non servono più eccitanti o ideologie Ci vuole un'altra vita "Un'altra vita © 1983 Franco Battiato "Un'altra vita" is a sort of prescription for escaping the dead ends of public and private life - one must change completely and, as Gurdjieff might suggest, reawaken one's awareness and liberate oneself from conditioning. (One must remember that Battiato had been studying Gurdjieff for eight years by this time in his life.)

Some nights, to sleep, I set myself to reading, and instead I could really use some moments of silence. Sometimes even with you, and you know that I love you, I get angry needlessly without any real reason. On the roads in the morning the too-much traffic exhausts me, the signal lights and stops annoy me, and at night I return with special indispositions. Neither downers nor therapy works - it takes a different life. On the couches, abandoned to hand-held remote controls, stories in the background - Dallas and The Rich Cry. On the roads the third line of the Metro that moves ahead, and cars triple parked, and at night I return with boredom and tiredness. Neither uppers nor ideologies work any more - it takes a different life. English translation © 2020 Dennis Criteser Orizzonti perduti was released in 1983. Giusto Pio co-wrote most of the songs, and collaborated on all the arrangements. Many of the songs on the album contemplate a world that is either lost or in the process of being lost, with many references to Battiato's native Sicily. The album relies almost entirely on electronic instrumentation. Regarding the album's title, it's quite possible that Battiato had in mind the book Lost Horizon, or the film of the same name, which introduced the utopian Shangri-La in the mountains of Tibet.

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Mal d'Africa - Africa Ache

Dopo pranzo si andava a riposare Cullati dalle zanzariere e dai rumori di cucina; Dalle finestre un po' socchiuse spiragli contro il soffitto E qualche cosa di astratto si impossessava di me Sentivo parlare piano per non disturbare Ed era come un mal d'Africa, mal d'Africa Saturday night I'm a dreamer. I can't live without you on my own, like a photograph. Please come back and stand by me. Con le sedie seduti per la strada Pantaloncini e canottiere, col caldo che faceva Da una finestra di ringhiera mio padre si pettinava; L'odore di brillantina si impossessava di me Piacere di stare insieme solo per criticare Ed era come un mal d'Africa, mal d'Africa Saturday night I'm a dreamer. I can't live without you on my own, like a photograph. Please come back and stand by me. Da una finestra di ringhiera mio padre si pettinava; L'odore di brillantina si impossessava di me Piacere di stare insieme solo per criticare Ed era come un mal d'Africa, mal d'Africa Mal d'Africa © 1983 Franco Battiato "Mal d'Africa" recounts scenes and memories from a Sicily of the past and injects it with a yearning and nostalgia for Africa, almost like a blues.

After lunch we went to rest, cradled by mosquito nets and kitchen sounds. From the windows slightly ajar, ceiling fans. And some abstractions took hold of me, I heard talking, soft so as not to disturb, and it was like an Africa ache, aching for Africa. Saturday night I'm a dreamer. I can't live without you on my own, like a photograph. Please come back and stand by me. With the chairs, they were seated on the street, shorts and tank tops, with the hot weather, by a bannister window my father combed his hair. The smell of hair oil took hold of me. The pleasure of being together only to criticize - it was like an Africa ache, aching for Africa. Saturday night I'm a dreamer. I can't live without you on my own, like a photograph. Please come back and stand by me. By a bannister window my father combed his hair. The smell of hair oil took hold of me. The pleasure of being together only to criticize - it was like an Africa ache, aching for Africa. English translation © 2020 Dennis Criteser Orizzonti perduti was released in 1983. Giusto Pio co-wrote most of the songs, and collaborated on all the arrangements. Many of the songs on the album contemplate a world that is either lost or in the process of being lost, with many references to Battiato's native Sicily. The album relies almost entirely on electronic instrumentation. Regarding the album's title, it's quite possible that Battiato had in mind the book Lost Horizon, or the film of the same name, which introduced the utopian Shangri-La in the mountains of Tibet.

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La music è stanca - The Music is Tired

In quest'epoca di bassa fedeltà e altissimo volume Il rumore allucinante delle radio non ci molla mai; E quanti cantanti musicisti arrabbiati Che farebbero meglio a smettere di fumare Brutta produzione altissimo consumo La musica è stanca, non ce la fa più E quante cantanti di bella presenza Che starebbero meglio a fare compagnia Disco, disco. Telegatti I'll never fall in love again Come with me At the end of the rainbow (Portami via da questo mondo assurdo Dalle illusioni e dai percorsi ereditari Portami dentro un alveare O nei bachi da seta e via da questo popolo E via dal mio vicino che attacca sempre il giradischi) In quest'epoca di scarsa intelligenza ed alta involuzione Qualche scemo crede ancora che veniamo dalle scimmie E il sole soltanto una palla di fuoco E non si sono accorti che è una forma di una tappa di energia Adamo colse della frutta dall'albero della conoscenza Poi l'ultima mela cadde sulla testa Procurando un ematoma a Newton Disco, disco. Telegatti (I'll never fall in love again Come with me At the end of the rainbow) (Portami via da questo mondo assurdo Dalle illusioni e dai percorsi ereditari Portami dentro un alveare O nei bachi da seta e via da questo popolo E via dal mio vicino che attacca sempre il giradischi) La music è stanca © 1983 Franco Battiato & Tommaso Tramonti The lyrics to "La music è stanca" were co-written with Battiato's Gurdjieff teacher Tommaso Tramonti. According to Battiato, "The exaltation of technology, which is extraordinary from a certain point of view, is provoking the withering and flattening of mankind." So here we have invectives against pop music and, by extension, contemporary pop culture. A telegatto (a composition of tele(visione) and gatto which means "cat”) is an Italian television award first given out in 1971. The prize was a golden cat statue with the network's initials on his face.

In this era of low fidelity and high volume the mind-blowing noise of the radios never lets up. And so many singers, angry musicians who would do better to quit smoking. Ugly production, highest consumption – the music is tired, it can’t take it anymore. And so many singers of beautiful presence who would be better off keeping company. Disco, disco. Telekitties* I'll never fall in love again. Come with me to the end of the rainbow. (Carry me away from this absurd world, from the illusions and from hereditary careers. Carry me inside a beehive or into silkworms and away from these people and away from my neighbor who always attacks the CD player.) In this era of scarce intelligence and high regression, some idiots still believe that we come from the apes, and the sun is just a ball of fire, and they don’t realize that it is one form of one stage of energy. Adam picked some fruit from the tree of consciousness, then the last apple fell on the head, providing a bruise to Newton. Disco, disco. Telekitties* (I'll never fall in love again. Come with me to the end of the rainbow.) (Carry me away from this absurd world, from the illusions and from hereditary careers. Carry me inside a beehive or into silkworms and away from these people and away from my neighbor who always attacks the CD player.) English translation © 2020 Dennis Criteser Orizzonti perduti was released in 1983. Giusto Pio co-wrote most of the songs, and collaborated on all the arrangements. Many of the songs on the album contemplate a world that is either lost or in the process of being lost, with many references to Battiato's native Sicily. The album relies almost entirely on electronic instrumentation. Regarding the album's title, it's quite possible that Battiato had in mind the book Lost Horizon, or the film of the same name, which introduced the utopian Shangri-La in the mountains of Tibet.

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Gente in progresso - People in Progress

Torneranno di nuovo le piogge riapriranno le scuole Cadranno foglie lungo i viali E ancora un altro inverno Che porterà la neve e un'altra primavera E tu che fai di sabato in questa città Dove c'è gente che lavora, per avere un mese all'anno di ferie E poi nel bene, nel male, è una questione sociale Coatti nella convivenza, affrontiamo il progresso coi nostri problemi di sesso Hare, Hare, Hare Krisna, Hare, Hare, Hare Krisna Torneremo di nuovo ai progetti riguardo al nostro futuro Guardando annunci sui giornali Girando per le agenzie E avremo nuovi amici Vicini a nuovi amori E poi soli di sabato In questa città dove c'è gente che lavora Nelle fabbriche in negozi dietro a scrivanie E poi nel bene, nel male, è una questione sociale Coatti nella convivenza, affrontiamo il progresso coi nostri problemi di sesso Hare, Hare, Hare Krisna, Hare, Hare, Hare Krisna Gente in progresso © 1983 Franco Battiato Speaking of "Gente in progresso," Battiato has said, "Personal growth is the weak link of human evolution. We are regressing on the plane of basic values. We must bring back teachings and good examples in the families and schools. But I see incapable and disoriented parents. What dominates are neoprimitives and ignoramuses who watch only soccer games and varied foolishness on TV."

The rains will return again, the schools will reopen, leaves will fall along the streets. And yet another winter that brings snow, and another spring. And what do you do on Saturday in this city where there are people who work to have one month of vacation per year? And then for better or for worse, it’s a social question. Forced into living together, we face progress with our sex problems. Hare, Hare, Hare Krisna, Hare, Hare, Hare Krisna We’ll return again to the projects regarding our future. Looking at ads in the magazines, going around to the agencies. And we’ll have new friends nearby to new lovers, and then alone on Saturdays in this city where there are people who work in the factories, in stores, behind desks. And then for better or for worse, it’s a social question. Forced into living together, we face progress with our sex problems. Hare, Hare, Hare Krisna, Hare, Hare, Hare Krisna English translation © 2020 Dennis Criteser Orizzonti perduti was released in 1983. Giusto Pio co-wrote most of the songs, and collaborated on all the arrangements. Many of the songs on the album contemplate a world that is either lost or in the process of being lost, with many references to Battiato's native Sicily. The album relies almost entirely on electronic instrumentation. Regarding the album's title, it's quite possible that Battiato had in mind the book Lost Horizon, or the film of the same name, which introduced the utopian Shangri-La in the mountains of Tibet.

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Campane tibetane - Tibetan Bells

Suoni lunghi di campane tibetane a valle Svegliavano al mattino i falegnami del paese; Temporali estivi con lenzuola appese Nell'aria qualche cosa si fermò E le crociere sul Tirreno Le gite lungo i fiumi Con i castagni in fiore Le rondini in primavera Intorno intorno ai campanili Dalle terrazze a mare E nei trimestri di scuola Nei mobili stile impero: tornerò ritornerò Nei soggiorni tavolini in radica di noce E canterani con i marmi dalle venature grigie Le bronchiti coi vapori e il Vicks Vaporoub Nell'aria qualche cosa si fermò Le scampagnate alle cascine, dei circoli ricreativi Partite nell'oratorio, attraversando la via Emilia Marinavamo la scuola, correndo dietro alle farfalle Entrando in punta di piedi Letti di ottone a baldacchino: non scorderò non scordero Jingle bells, jingle bells, jingles all the way. Don't let me be misunderstood. Campane tibetane © 1983 Franco Battiato "Campane tibetane," after the first couple lines, is filled mostly with images and references from Battiato's Sicilian childhood; not counting the inscrutable juxtaposition of "Jingle Bells" and Nina Simone's "Don't Let Me Be Misunderstood" at the end.

Long sounds of Tibetan bells in the valley awaken in the morning the carpenters of the land; summer storms with sheets hanging, in the air some things stand still. And the cruises on the Tyrrhenian Sea, the excursions along the rivers with the chestnuts in bloom, the swallows in spring ‘round and ‘round the bell towers by the terraces at the sea. And to the school trimesters, to the Imperial Style furniture: I’ll return, I’ll return. To the living rooms, tray tables in walnut and commodes with grey-grained marbles. Bronchitis with the vapors and Vicks VapoRub, in the air some things stand still. The outings to the farmhouse, some rec clubs, oratory matches, crossing Emilia Way. We played hooky, chasing after butterflies, entering on tiptoes, brass canopy beds: I’ll never forget. I'll never forget. Jingle bells, jingle bells, jingle all the way. Don't let me be misunderstood. English translation © 2020 Dennis Criteser Orizzonti perduti was released in 1983. Giusto Pio co-wrote most of the songs, and collaborated on all the arrangements. Many of the songs on the album contemplate a world that is either lost or in the process of being lost, with many references to Battiato's native Sicily. The album relies almost entirely on electronic instrumentation. Regarding the album's title, it's quite possible that Battiato had in mind the book Lost Horizon, or the film of the same name, which introduced the utopian Shangri-La in the mountains of Tibet.

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