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.

Back to Album List         Back to Song List

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.

Back to Album List         Back to Song List

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.

Back to Album List         Back to Song List

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.

Back to Album List         Back to Song List

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.

Back to Album List         Back to Song List

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.

Back to Album List         Back to Song List

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.

Back to Album List         Back to Song List

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.

Back to Album List         Back to Song List

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.

Back to Album List         Back to Song List

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.

Back to Album List         Back to Song List

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.

Back to Album List         Back to Song List