Summer on a Solitary Beach

Passammo l'estate Su una spiaggia solitaria E ci arrivava l'eco di un cinema all'aperto E sulla sabbia un caldo tropicale Dal mare E nel pomeriggio Quando il sole ci nutriva Di tanto in tanto un grido copriva le distanze E l'aria delle cose diventava Irreale Mare mare mare voglio annegare Portami lontano a naufragare Via via via da queste sponde Portami lontano sulle onde A wonderful summer On a solitary beach Against the sea "le grand hotel Sea-Gull Magique" Mentre lontano un minatore bruno Tornava Mare mare mare voglio annegare Portami lontano a naufragare Via via via da queste sponde Portami lontano sulle onde Summer on a Solitary Beach © 1981 Franco Battiato With "Summer on a Solitary Beach" Battiato wanted to evoke a metaphysical beach like might be found in certain fantasy fiction writers he'd read.

We spent the summer on a solitary beach, and the echo of an outdoor cinema arrived there. And on the beach, the tropical heat from the sea. And in the afternoon when the sun nourished us, every once in a while a shout covered the distances and the air of things became unreal. Sea, sea, sea, I want to drown. Carry me far away to shipwreck, away, away, away from these shores, carry me far away on the waves A wonderful summer on a solitary beach. Against the sea “The Grand Hotel Sea-Gull Magique” while far away a brown miner returned. Sea, sea, sea, I want to drown. Carry me far away to shipwreck, away, away, away from these shores, carry me far away on the waves. English translation © 2020 Dennis Criteser La voce del padrone was released in 1981 and was the first Italian pop album to sell more than a million copies, remaining on the charts for more than a year after its release. Intellectual pop, refined, yet danceable and accessible to a wide audience - the album really hit the mark both artistically and commercially. The album title derives from the work of Gurdjieff, whom Battiato began studying in 1975. It refers to the higher consciousness that an awakened person can use to direct their physical, emotional and psychological impulses.

Back to Album List         Back to Song List

Bandiera bianca - White Flag

Mr. Tamburino non ho voglia di scherzare Rimettiamoci la maglia i tempi stanno per cambiare Siamo figli delle stelle e pronipoti di sua maestà il denaro Per fortuna il mio razzismo non mi fa guardare Quei programmi demenziali con tribune elettorali E avete voglia di mettervi profumi e deodoranti Siete come sabbie mobili tirate giù uh uh C'è chi si mette degli occhiali da sole Per avere più carisma e sintomatico mistero Uh com'è difficile restare padre quando i figli crescono e le mamme imbiancano Quante squallide figure che attraversano il paese Com'è misera la vita negli abusi di potere Sul ponte sventola bandiera bianca Sul ponte sventola bandiera bianca A Beethoven e Sinatra preferisco l'insalata A Vivaldi l'uva passa che mi dà più calorie Uh! com'è difficile restare calmi e indifferenti Mentre tutti intorno fanno rumore In quest'epoca di pazzi ci mancavano gli idioti dell'orrore Ho sentito degli spari in una via del centro Quante stupide galline che si azzuffano per niente Minima immoralia Minima immoralia E sommersi soprattutto da immondizie musicali Sul ponte sventola bandiera bianca Sul ponte sventola bandiera bianca Minima immoralia, minima immoralia… The end, my only friend, this is the end. Sul ponte sventola bandiera bianca… Bandiera bianca © 1981 Franco Battiato "Bandiera bianca" is a rant about some aspects of contemporary society that Battiato found most immoral: terrorism, politics, and money. In the first verse, the Dylan reference is followed by a reference to Alan Sorrenti's disco hit Figli delle stelli. The person donning the sunglasses in the third verse is Battiato himself, while the growing kids and pale moms are from a 1954 hit Tutte le mamme. "Minima immoralia" is an inversion of the title of a treatise on ethics, the Magna Moralia, or Great Ethics, based on Aristotle's thinking. The song ends with a refrain taken from an 1849 poem by Arnaldo Fusinato, "The Final Hour of Venice," along with an altered line from The Doors song "The End."

Mr. Tambourine, I’m not joking around, let’s put on sweaters again, the times they are about to change. We are children of the stars and great-grandchildren of His Majesty the Dollar. Fortunately my racism doesn’t make me watch those screwball programs with electoral debates and you all want to use perfumes and deodorants, you’re like shifting sands blown down. There are those who don sunglasses to have more charisma and characteristic mystery. How difficult to remain a father when kids grow up and the mamas become pale. So many debased figures that crisscross the country, how miserable life is in the abuses of power. On the bridge flutters a white flag On the bridge flutters a white flag I prefer salad to Beethoven and Sinatra, to Vivaldi, raisins that give me more calories. How difficult it is to stay calm and indifferent while everyone around makes noise. In this period of crazies we’re missing the idiots of horror (films). I heard some shots in a street downtown, so many stupid hens who fight for nothing – minor immorality, minor immorality – and submerged, most importantly, by musical garbage. On the bridge flutters a white flag On the bridge flutters a white flag Minor immorality, minor immorality . . . The end, my only friend, this is the end. On the bridge flutters a white flag . . . English translation © 2020 Dennis Criteser La voce del padrone was released in 1981 and was the first Italian pop album to sell more than a million copies, remaining on the charts for more than a year after its release. Intellectual pop, refined, yet danceable and accessible to a wide audience - the album really hit the mark both artistically and commercially. The album title derives from the work of Gurdjieff, whom Battiato began studying in 1975. It refers to the higher consciousness that an awakened person can use to direct their physical, emotional and psychological impulses.

Back to Album List         Back to Song List

Gli uccelli - Birds

Volano gli uccelli volano Nello spazio tra le nuvole Con le regole assegnate A questa parte di universo Al nostro sistema solare Aprono le ali Scendono in picchiata atterrano meglio di aeroplani Cambiano le prospettive al mondo Voli imprevedibili ed ascese velocissime Traiettorie impercettibili Codici di geometria esistenziale Migrano gli uccelli emigrano Con il cambio di stagione Giochi di aperture alari Che nascondono segreti Di questo sistema solare Aprono le ali Scendono in picchiata atterrano meglio di aeroplani Cambiano le prospettive al mondo Voli imprevedibili ed ascese velocissime Traiettorie impercettibili Codici di geometria esistenziale Volano gli uccelli volano Nello spazio tra le nuvole Con le regole assegnate A questa parte di universo Al nostro sistema solare Gli uccelli © 1981 Franco Battiato In the Islamic tradition, birds are a symbol of the immortality of the soul, and Sufis see in them the rebirth of the spirit.

Birds fly, they fly in the space between the clouds with the laws assigned to this part of the universe, to our solar system. They open their wings, they descend in a dive, they land better than airplanes. They change the world’s perspectives, unforeseen flights and rapid ascents, imperceptible flight paths, codes of existential geometry. Birds migrate, they emigrate with the change of season. Plays of wingspans that hide secrets of this solar system. They open their wings they descend in a dive, they land better than airplanes. They change outlooks the world over, unpredictable flights and rapid-fast ascents imperceptible flight patterns, codes of existential geometry. Birds fly, they fly in the space between the clouds with the laws assigned to this part of the universe, to our solar system. English translation © 2020 Dennis Criteser La voce del padrone was released in 1981 and was the first Italian pop album to sell more than a million copies, remaining on the charts for more than a year after its release. Intellectual pop, refined, yet danceable and accessible to a wide audience - the album really hit the mark both artistically and commercially. The album title derives from the work of Gurdjieff, whom Battiato began studying in 1975. It refers to the higher consciousness that an awakened person can use to direct their physical, emotional and psychological impulses.

Back to Album List         Back to Song List

Cuccurucucù

Cuccurucucù paloma Ahiaiaiaiai cantava Cuccurucucucucu-u-uh paloma Ahiaiaiaiaiaiaiai cantava Le serenate all'istituto magistrale Nell'ora di ginnastica o di religione Per carnevale suonavo sopra i carri in maschera Avevo già la Luna e Urano nel Leone Il mare nel cassetto le mille bolle blu Da quando sei andata via non esisto più Il mondo è grigio il mondo è blu Cuccurucucù paloma Ahiaiaiaiai cantava Cuccurucucucucu-u-uh paloma Ahiaiaiaiaiaiaiai cantava L'ira funesta dei profughi afghani Che dal confine si spostarono nell'Iran Cantami o diva dei pellerossa americani Le gesta erotiche di Squaw Pelle di Luna Le penne stilografiche con l'inchiostro blu La barba col rasoio elettrico non la faccio più Il mondo è grigio il mondo è blu Cuccurucucù paloma Ahiaiaiaiai cantava Cuccurucucucucu-u-uh paloma Ahiaiaiaiaiaiaiai cantava Lady Madonna, I can try With a little help from my friends Oh, goodbye Ruby Tuesday Come on baby let's twist again Once upon a time you dressed so fine, Mary Like just a woman, like a rolling stone Cuccurucucù paloma Ahiaiaiaiai cantava Cuccurucucucucu-u-uh paloma Ahiaiaiaiaiaiaiai cantava Cuccurucucù © 1981 Franco Battiato The onomatopoeic word "cuccurucucù" was common to hear in South American songs of the 1920s and '30s. The refrain used here is based on the 1954 song "Cucurrucucú paloma," which Battiato used to convey nostalgia for the freedom and good times he experienced growing up in Sicily. In the first verse, there's an astrological reference: the moon relates to emotions and desires, and Uranus is known as an awakening force; Leo is a sign that is dramatic, flamboyant and expressive. Next appear two songs presented in 1961 at the Festival of San Remo, "Il mare nel cassetto" by Milva and "Le mille bolle blu" by Mina. The second verse is an adaptation of the Prologue of The Iliad. The final version is a mashup of lyrics from The Beatles, Rolling Stones, Chubby Checker and Dylan.

Cuccurucucù rock dove Ahiaiaiaiai it sang Cuccurucucucucu-u-uh rock dove Ahiaiaiaiaiaiaiai it sang The serenades at the teacher training school in the period for gymnastics or religion. For Carneval I played music on the floats in mask, I already had the moon and Uranus in Leo. The sea in the drawer, the thousand blue bubbles. Since you went away I don’t exist anymore. The world is gray, the world is blue. Cuccurucucù rock dove Ahiaiaiaiai it sang Cuccurucucucucu-u-uh rock dove Ahiaiaiaiaiaiaiai it sang The dire anger of the Afghan refugees who from the border moved to Iran. Sing to me oh Diva of the Native Americans, the erotic deeds of Squaw Moon Skin, the fountain pens with blue ink, the beard with electric razor I no longer shave. The world is gray, the world is blue. Cuccurucucù rock dove Ahiaiaiaiai it sang Cuccurucucucucu-u-uh rock dove Ahiaiaiaiaiaiaiai it sang Lady Madonna, I can try with a little help from my friends. Oh, goodbye Ruby Tuesday, come on baby let's twist again. Once upon a time you dressed so fine, Mary, like just a woman, like a rolling stone. Cuccurucucù rock dove Ahiaiaiaiai it sang Cuccurucucucucu-u-uh rock dove Ahiaiaiaiaiaiaiai it sang English translation © 2020 Dennis Criteser La voce del padrone was released in 1981 and was the first Italian pop album to sell more than a million copies, remaining on the charts for more than a year after its release. Intellectual pop, refined, yet danceable and accessible to a wide audience - the album really hit the mark both artistically and commercially. The album title derives from the work of Gurdjieff, whom Battiato began studying in 1975. It refers to the higher consciousness that an awakened person can use to direct their physical, emotional and psychological impulses.

Back to Album List         Back to Song List

Segnali di vita - Signs of Life

Il tempo cambia molte cose nella vita Il senso le amicizie le opinioni Che voglia di cambiare che c'è in me Si sente il bisogno di una propria evoluzione Sganciata dalle regole comuni Da questa falsa personalità Segnali di vita nei cortili e nelle case all'imbrunire Le luci fanno ricordare Le meccaniche celesti Rumori che fanno sottofondo per le stelle Lo spazio cosmico si sta ingrandendo E le galassie si allontanano Ti accorgi di come vola bassa la mia mente? È colpa dei pensieri associativi Se non riesco a stare adesso qui Segnali di vita nei cortili e nelle case all'imbrunire Le luci fanno ricordare Le meccaniche celesti Segnali di vita © 1981 Franco Battiato

Time changes many things in life – sensation, friends, opinions, what desire to change that there is in me. One feels the need of a proper evolution unhooked from the common rules, from this false personality. Signs of life in the courtyards and in the houses at dusk. The lights remind one of the mechanical heavens. Sounds that make a background for the stars. Outer space is expanding and the galaxies become more distant. Do you notice how low my mind flies? It’s the fault of the associative thoughts if I’m not able to be here now. Signs of life in the courtyards and in the houses at dusk. The lights remind one of the mechanical heavens. English translation © 2020 Dennis Criteser La voce del padrone was released in 1981 and was the first Italian pop album to sell more than a million copies, remaining on the charts for more than a year after its release. Intellectual pop, refined, yet danceable and accessible to a wide audience - the album really hit the mark both artistically and commercially. The album title derives from the work of Gurdjieff, whom Battiato began studying in 1975. It refers to the higher consciousness that an awakened person can use to direct their physical, emotional and psychological impulses.

Back to Album List         Back to Song List

Centro di gravità permanente - Permanent Center of Gravity

Una vecchia bretone Con un cappello e un ombrello di carta di riso e canna di bambù Capitani coraggiosi Furbi contrabbandieri macedoni Gesuiti euclidei Vestiti come dei bonzi per entrare a corte degli imperatori Della dinastia dei Ming Cerco un centro di gravità permanente Che non mi faccia mai cambiare idea sulle cose sulla gente Avrei bisogno di... Cerco un centro di gravità permanente Che non mi faccia mai cambiare idea sulle cose sulla gente Over and over again Per le strade di Pechino erano giorni di maggio Tra noi si scherzava a raccogliere ortiche Non sopporto i cori russi La musica finto rock la new wave italiana il free jazz punk inglese Neanche la nera africana Cerco un centro di gravità permanente Che non mi faccia mai cambiare idea sulle cose sulla gente Avrei bisogno di... Cerco un centro di gravità permanente Che non mi faccia mai cambiare idea sulle cose sulla gente Over and over again Uh... wo-cciuwariwari wo-cciuwariwari You are a woman in love Baby I need your love I want your love Over and over again Come in into my life Baby, I want to give you my soul Baby, I need your love I need... Centro di gravità permanente © 1981 Franco Battiato Battiato said of "Centro di gravità permanente" that finding one's center is the objective of all the mystic traditions. It means discovering that part of yourself that is immobile and can silently observe the passing of thoughts and events.

An old Breton woman with a hat and an umbrella of rice paper and bamboo reed. Courageous captains, sly Macedonian smugglers, Euclidean Jesuits dressed like Buddhist monks to enter the court of the emperors of the Ming Dynasty. I search for a permanent center of gravity that never makes me change my mind on things, on people. I would need . . . I search for a permanent center of gravity that never makes me change my mind on things, on people, over and over again. There were May days out in the streets of Beijing. Among ourselves, kidding around about collecting nettles. I can’t stand Russian choruses, fake rock music, Italian New Wave, free jazz, English punk, not even black African. I search for a permanent center of gravity that never makes me change my mind on the things, on the people I would need . . . I search for a permanent center of gravity that never makes me change my mind on things, on people, over and over again. Uh... wo-cciuwariwari wo-cciuwariwari You are a woman in love Baby I need your love I want your love Over and over again Come in into my life Baby, I want to give you my soul Baby, I need your love I need... English translation © 2020 Dennis Criteser La voce del padrone was released in 1981 and was the first Italian pop album to sell more than a million copies, remaining on the charts for more than a year after its release. Intellectual pop, refined, yet danceable and accessible to a wide audience - the album really hit the mark both artistically and commercially. The album title derives from the work of Gurdjieff, whom Battiato began studying in 1975. It refers to the higher consciousness that an awakened person can use to direct their physical, emotional and psychological impulses.

Back to Album List         Back to Song List

Sentimiento nuevo - New Feeling

Es un sentimiento nuevo Che mi tiene alta la vita La passione nella gola L'eros che si fa parola Le tue strane inibizioni Non fanno parte del sesso I desideri mitici di prostitute libiche Il senso del possesso che fu pre-alessandrino La tua voce come il coro delle sirene di Ulisse m'incatena Ed è bellissimo perdersi in quest'incantesimo è bellissimo perdersi in quest'incantesimo Tutti i muscoli del corpo Pronti per l'accoppiamento Nel Giappone delle geishe Si abbandonano all'amore Le tue strane inibizioni Che scatenano il piacere Lo shivaismo tantrico Di stile dionisiaco La lotta pornografica dei Greci e dei Latini La tua pelle come un'oasi nel deserto ancora mi cattura Ed è bellissimo perdersi in quest'incantesimo è bellissimo perdersi in quest'incantesimo I desideri mitici di prostitute libiche Il senso del possesso che fu pre-alessandrino La tua voce come il coro delle sirene di Ulisse m'incatena Ed è bellissimo perdersi in quest'incantesimo è bellissimo perdersi in quest'incantesimo Sentimiento nuevo © 1981 Franco Battiato "Sentimiento nuevo" is about the joy of losing yourself in the most carnal aspect of love, a theme Battiato will return to in future albums, though it is not a theme he is known to have experienced much in his own life.

It’s a new feeling that lifts up my life – the passion in the throat, the eros that is made word. Your strange inhibitions are not part of sex – the mythic desires of the Libyan prostitutes, the pre-Alexandrian sense of possession, your voice like the chorus of the Sirens of Ulysses enchants me. And it’s beautiful to lose oneself in this enchantment, it’s beautiful to lose oneself in this enchantment. All the muscles of the body, ready for mating. In the Japan of the Geishas they abandoned themselves to love. Your strange inhibitions that stir up pleasure – the tantric Shivism Dionysian style, the pornographic struggle of the Greeks and Latins. Your skin like an oasis in the desert still captures me. And it’s beautiful to lose oneself in this enchantment, it’s beautiful to lose oneself in this enchantment. The mythic desire of the Lybian prostitutes, the pre-Alexandrian sense of possession. Your voice like the chorus of the Sirens of Ulysses enchants me. And it’s beautiful to lose oneself in this enchantment, it’s beautiful to lose oneself in this enchantment. English translation © 2020 Dennis Criteser La voce del padrone was released in 1981 and was the first Italian pop album to sell more than a million copies, remaining on the charts for more than a year after its release. Intellectual pop, refined, yet danceable and accessible to a wide audience - the album really hit the mark both artistically and commercially. The album title derives from the work of Gurdjieff, whom Battiato began studying in 1975. It refers to the higher consciousness that an awakened person can use to direct their physical, emotional and psychological impulses.

Back to Album List         Back to Song List

Up Patriots to Arms

La fantasia dei popoli che è giunta fino a noi Non viene dalle stelle... Alla riscossa stupidi che i fiumi sono in piena Potete stare a galla E non è colpa mia se esistono carnefici Se esiste l'imbecillità Se le panchine sono piene di gente che sta male Up patriots to arms, Engagez-Vous La musica contemporanea, mi butta giù L'ayatollah Khomeini per molti è santità Abbocchi sempre all'amo Le barricate in piazza le fai per conto della borghesia Che crea falsi miti di progresso Chi vi credete che noi siam, per i capelli che portiam Noi siamo delle lucciole che stanno nelle tenebre Up patriots to arms, Engagez-Vous La musica contemporanea, mi butta giù L'Impero della musica è giunto fino a noi Carico di menzogne Mandiamoli in pensione i direttori artistici Gli addetti alla cultura... E non è colpa mia se esistono spettacoli Con fumi e raggi laser Se le pedane sono piene Di scemi che si muovono Up patriots to arms, Engagez-Vous La musica contemporanea, mi butta giù Up Patriots to Arms © 1980 Franco Battiato In 1975 in a pub in Birmingham, England, Battiato saw "Up Patriots to Arms" emblazoned on a poster. For this new album, he thought it was a good sentiment as he embarked on making changes and trying new things musically. This song begins with a snippet of Richard Wagner's Tannhäuser, over which Battiato speaks in Arabic, which he studied seriously for a while. The last four lines of the 2nd verse are taken from a 1966 song by the Nomads, "Come potete giudicar," a cover of Sonny Bono's "The Revolution Kind."

The popular fantasy that has come down to us doesn’t come from the stars . . . To the rescue, idiots ‘til the rivers are full. You can stay with your head above water and it’s not my fault if executioners exist, if imbecility exists, if the benches are full of sick people. Up patriots to arms, commit yourself. Contemporary music is getting me down. The Ayatollah Khomeini, for many, is sanctity. You always take the bait. The barricades in the plaza you make on behalf of the bourgeoisie, who create false myths of progress. Who do you believe we are, for the hair that we wear? We are some fireflies who stay in the darkness. Up patriots to arms, commit yourself. Contemporary music is getting me down. The empire of music has come down to us laden with lies. Let’s send the artistic directors into retirement, the adepts of culture . . . And it’s not my fault if shows exist with smoke and laser beams, if the risers are full of apes that move around. Up patriots to arms, commit yourself. Contemporary music is getting me down. English translation © 2020 Dennis Criteser The final lines of "Venezia-Istanbul" are taken from Inno dei lavoratori, written in 1886 by Filippo Turati, who was instrumental in the founding of the Italian Socialist Party. Patriots was released in 1980. In the lyrics of this album, there emerge a greater emphasis on irony, the use of foreign languages, and the stringing together of disconnected phrases into montages that may or may not yield meaning upon further analysis, and whose purpose may at times be as much musical as semantic. As is typical with Battiato, there are references to literature, art, philosophy, religion, and music, along with snapshots of personal memories, that form a mix of both high and everyday culture.

Back to Album List         Back to Song List

Venezia-Istanbul - Venice-Istanbul

Venezia mi ricorda istintivamente Istanbul Stessi palazzi addosso al mare Rossi tramonti che si perdono nel nulla D' Annunzio montò a cavallo con fanatismo futurista Quanta passione per gli aeroplani e per le bande legionarie Che scherzi gioca all'uomo la Natura Mi dia un pacchetto di Camel senza filtro e una minerva E una cronaca alla radio dice che una punta attacca Verticalizzando l'area di rigore... Ragazzi non giocate troppo spesso accanto agli ospedali Socrate parlava spesso delle gioie dell'Amore E nel petto degli alunni si affacciava quasi il cuore Tanto che gli offrivano anche il corpo: fuochi di Ferragosto E gli anni dell'adolescenza pieni di battesimi e comunioni In sacrestia: Ave Maria Un tempo si giocava con gli amici a carte e per le feste si indossavano cravatte per questioni estetiche e sociali; le donne si sceglievano un marito per corrispondenza... L'Etica è una vittima incosciente della Storia: ieri ho visto due che si tenevano abbracciati in un cinemino di periferia... e penso a come cambia in fretta la morale: un tempo si uccidevano i cristiani e poi questi ultimi con la scusa delle streghe ammazzavano i pagani: Ave Maria E perché il sol dell'avvenire splenda ancora sulla terra Facciamo un po' di largo con un'altra guerra Venezia-Istanbul © 1980 Franco Battiato "Venezia-Istanbul"

Venice reminds me instinctively of Istanbul – the same palaces upon the sea, pink sunsets that perish into thin air. D’Annunzio mounted his horse with futurist fanaticism – such passion for airplanes and for the Legionaire bands. What jokes Nature plays upon man. Give me a pack of unfiltered Camels and a matchbox. And a news show on the radio says that a center forward attacks, sending the ball into the penalty area . . . Kids, don’t play too often next to the hospitals. Socrates spoke often of the joys of Love, and in the chests of the students their hearts almost looking out, such that they also offered him the body: fireworks of the August holidays. And the years of adolescence full of baptisms and communions in sacristy: Ave Maria. Once upon a time one played with friends card games, and for the parties ties were donned for reasons both esthetic and social; the women chose themselves a mail-order husband . . . Ethics is an unwitting victim of History: yesterday I saw two who held each other embraced in a little suburban movie house . . . And I think of how morals change in a hurry: once upon a time Christians were getting killed, and then these outcasts, with the pretext of getting witches, murdered the pagans: Ave Maria. And in order for the sun of the future to still shine upon the land, let’s make a little space with another war. English translation © 2020 Dennis Criteser The final lines of "Venezia-Istanbul" are taken from Inno dei lavoratori, written in 1886 by Filippo Turati, who was instrumental in the founding of the Italian Socialist Party. Patriots was released in 1980. In the lyrics of this album, there emerge a greater emphasis on irony, the use of foreign languages, and the stringing together of disconnected phrases into montages that may or may not yield meaning upon further analysis, and whose purpose may at times be as much musical as semantic. As is typical with Battiato, there are references to literature, art, philosophy, religion, and music, along with snapshots of personal memories, that form a mix of both high and everyday culture.

Back to Album List         Back to Song List

Le Aquile - The Eagles

Il vento gonfiava le mie vesti Di veramente stabile erano le mie scarpe nere Alle caviglie ortopediche Un tempo passavo ore in palestra Continuai a inseguirla per inerzia La vidi stagliarsi tra alberi e cielo E dopo un piccolo volo Camminare monca e rapida Avrete anche voi visto Camminare le aquile Le aquile © 1980 Franco Battiato & Fleur Jaeggy The second verse of "Le aquile" are taken from a short novel by Fleur Jaeggy, The Water Statues.

The wind filled my clothes. Truly firm were my black shoes, orthopedic, around my ankles. One time I spent hours in the gym. I continued to chase after it for no good reason. I saw it, standing out between trees and sky, and after a little flight, walking gimp and rapid. Even you all would have seen the eagles walking. English translation © 2020 Dennis Criteser Patriots was released in 1980. In the lyrics of this album, there emerge a greater emphasis on irony, the use of foreign languages, and the stringing together of disconnected phrases into montages that may or may not yield meaning upon further analysis, and whose purpose may at times be as much musical as semantic. As is typical with Battiato, there are references to literature, art, philosophy, religion, and music, along with snapshots of personal memories, that form a mix of both high and everyday culture.

Back to Album List         Back to Song List

Prospettiva Nevski - Nevsky Prospekt

Un vento a trenta gradi sotto zero Incontrastato sulle piazze vuote contro i campanili A tratti come raffiche di mitra Disintegrava i cumuli di neve E intorno i fuochi delle guardie rosse Accesi per scacciare i lupi E vecchie coi rosari Seduti sui gradini di una chiesa Aspettavamo che finisse messa e uscissero le donne Poi guardavamo con le facce assenti La grazia innaturale di Nijinskj E poi di lui s'innamorò perdutamente Il suo impresario E dei balletti russi L'inverno con la mia generazione Le donne curve sui telai vicini alle finestre Un giorno sulla prospettiva Nevski Per caso vi incontrai Igor Stravinsky E gli orinali messi sotto i letti Per la notte e un film Di Eisenstein sulla rivoluzione E studiavamo chiusi in una stanza La luce fioca di candele e lampade a petrolio E quando si trattava di parlare Aspettavamo sempre con piacere E il mio maestro mi insegnò Com'è difficile trovare l'alba Dentro l'imbrunire Prospettiva Nevski © 1980 Franco Battiato In "Prospettiva Nevski," Battiato imagines scenes in wintery St. Petersburg in the early 1900s. The second verse references Sergei Diaghilev, the impresario of the Ballet Russes, and Nijinsky, the star of the company, becoming lovers. The film referenced in the third verse is October: 10 Days That Shook the World, by Sergei Eisenstein and Grigori Aleksandrov, about the Bolshevik Revolution of 1917, released in 1928. The "master" referenced in the last lines is Gurdjieff, who lived and taught in St. Petersburg from 1914-1917. Gurdjieff's teachings were among the most influential in Battiato's early studies of spirituality. Here, the dawn represents youth and the capacity to change and evolve, while dusk represents old age.

A wind at thirty degrees below zero, unchallenged on the empty plazas against the bell towers, at times like machine gun gusts, disintegrated accumulations of snow, with all around the fires of the Red Guard lit to dispel the wolves and the old-timers with their rosaries. Seated on the steps of a church, we waited for Mass to end and for the women to leave, then we watched with absent looks the unnatural grace of Nijinsky, with whom then fell deeply in love his manager, along with some Russian dance moves. The winter with my generation, women arched over looms near the windows. One day on Nevsky Prospect by chance I met you, Igor Stravinsky. And the urinals placed under the beds for the night, and a film of Eisenstein on the Revolution. And we studied, closed in a room, the dim light from candle and oil lamps, and when it came to talking we always waited with pleasure and my master taught me how difficult it is to find the dawn inside the deepening dusk. English translation © 2020 Dennis Criteser Patriots was released in 1980. In the lyrics of this album, there emerge a greater emphasis on irony, the use of foreign languages, and the stringing together of disconnected phrases into montages that may or may not yield meaning upon further analysis, and whose purpose may at times be as much musical as semantic. As is typical with Battiato, there are references to literature, art, philosophy, religion, and music, along with snapshots of personal memories, that form a mix of both high and everyday culture.

Back to Album List         Back to Song List

Arabian Song

Qala' mua'llimu'll qariatì Kana aggiabalu fi-ggiabali A-ssalam 'alaikum 'alaiki Alana ana asskunu... La mia classe fu allevata con il latte di una capra e del pane di frumento A quei tempi per divertimento non avevano inventato il telegiornale Quando ero più giovane credevo che esistesse libertà Qala' mua'llimu'll qariatì Kana aggiabalu fi-ggiabali A-ssalam 'alaikum 'alaiki Alana ana asskunu... Da bambini si giocava sulle spiagge con degli aquiloni a gara sotto il sole Mentre guardavamo il mio salire verso l'alto preoccupati che non si sciupasse La mia parte assente si identificava con l'umidità Qala' mua'llimu'll qariatì Kana aggiabalu fi-ggiabali A-ssalam 'alaikum 'alaiki Alana ana asskunu... Gli orchestrali sono uguali in tutto il mondo simili ai segnali orario delle radio Le domeniche e nei giorni di vacanza ci si organizzava per le feste in casa L'uomo è l'animale più domestico e più stupido che c'è Qala' mua'llimu'll qariatì Kana aggiabalu fi-ggiabali A-ssalam 'alaikum 'alaiki Alana ana asskunu... Arabian Song © 1980 Franco Battiato During this period of time, Battiato was a serious student of the Arabic language, among other things. The choruses in Arabic make an intriguing glue that holds together the various memories and reflections in the verses.

The master of our region said, “It was the mountain inside the mountain, may peace be with you. Now I reside.” My class was reared on goat’s milk and some wheat bread. In those times, for entertainment, they hadn’t invented TV news. When I was younger I believed there was complete freedom. The master of our region said, “It was the mountain inside the mountain, may peace be with you. Now I reside.” We played as kids on the beaches with some racing kites under the sun. While we watched mine rise up high, worried that it might get damaged, my distracted part identified with the humidity. The master of our region said, “It was the mountain inside the mountain, may peace be with you. Now I reside.” Orchestras are the same the world over, similar to radio time tones. On Sundays and vacation days plans were made for parties at home. Man is the tamest and stupidest animal there is. The master of our region said, “It was the mountain inside the mountain, may peace be with you. Now I reside.” English translation © 2020 Dennis Criteser Patriots was released in 1980. In the lyrics of this album, there emerge a greater emphasis on irony, the use of foreign languages, and the stringing together of disconnected phrases into montages that may or may not yield meaning upon further analysis, and whose purpose may at times be as much musical as semantic. As is typical with Battiato, there are references to literature, art, philosophy, religion, and music, along with snapshots of personal memories, that form a mix of both high and everyday culture.

Back to Album List         Back to Song List