WCENTER 0ZMDCJMEEM MAIL da DEPOSITO BATTISTILucio Battisti was born in Poggio Bustone, near Rieti, March 5, 1943; parents, Alfiero and Goddess are simple people, as well as simple are the aspirations they have for the child: the diploma of engineer and then a job.
But Lucio who is remembered by his fellow citizens as a smart guy and introverted, has a different view. After the family moved to Rome, exploding his passion for music, highlighted by the room full of guitars – once his father broke him in the head – and the desire to see the world, following his instinct as an artist. With the indirect support of the mother, Lucio manages to travel and broaden his experience, always with a passion for music in the foreground. In 1962 he joins a band playing in nightclubs Neapolitan “I Mattatori”, but it is thanks to “The Champions”, the group that accompanied Tony Dallara, who began his adventure in the world of music. Realizing that the nerve center of the musical world was in Milan, I moved and began to make itself known as an author, thanks to the mediation and support of Christine Leroux, a young Frenchman who worked in record production and who can introduce him to Giulio Rapetti, the famous lyricist known as Mogol.
The first author are statements like “For a penny”, recorded by the Rebels, “One more” sung by Ricky Maiocchi and “Sweet Day” for Dik Dika consecrate full author is, however, “September 29″, in collaboration with Mogul to L’Equipe 84.Il long association with Mughals began with a partial skepticism lyricist on the music of Baptists, who believed only promising. The availability of Lucio to see each other again, his humility, conquered Mogul, giving rise to a production of the most intense in the world of song. In 1967 Battisti enters the recording studio as a singer, despite the concerns of the environment on his vocal qualities. He recorded “For a penny” and “Sue”. But the non-entry of Baptists was undoubtedly the right one to give a soul to his songs, as he argued with great conviction.
Success comes with the greatest hits of 1968 “Balla Linda” and Cantagiro is replicated and expanded in 1969 with “Blue water clear water.” In the same year participate in the Festival of Sanremo, in tandem with Wilson Pickett with “adventure”, which enters in the final. But the most important event for Lucio is the encounter with Grazia Letizia Veronese, secretary of the Clan Celentano. Thus began their relationship strong and symbiotic relationship that will last until death … The growing success of Baptists, emphasized the excellent reception given to the album “Lucio Battisti” of 1969, is further consolidated with the 33 rpm “Emotions” which includes, in addition to title track, songs like “7:40″, “Anna”, “Flowers pink peach blossoms”, “I will live” … The collaboration with Mogol becomes increasingly close and constructive, giving rise to a strong friendship and exclusive them will also lead to build neighboring residences near Molteno, in the middle of a large beech forest. Battisti and Mogol continue to write songs for other singers destined to make its mark; just remember “Together”, “You and me alone,” “my love” to Mina; “For you” and “Paradise” by Patty Pravo. In 1973 was born the son Luca; Lucio and Letizia will marry in 1976.Il growing successes of the ’70s not only confirms the validity of the association Mogol-Battisti. You go to the album “Humanly man’s dream,” which contains songs like “The gardens in March,” “And I think about you,” up to 33 rpm “my free hand”, “Our dear angel”; you go through a different experiment, which seeks to enhance the pace at the expense of words, with “Latin Soul,” an album full of South Americans arrangements. In 1976 with “You again,” Battisti back to the pop song and the audience the decrees still a triumphant success, confirmed from the album “The drums, the bass, and so on.” In 1977 he released the 33 rpm “I, you, us, everyone” which shot to the top of the charts, while “Images”, registered in the USA, find an audience indifferent. But with “A woman as a Friend”, in 1978, the duo Mogol-Battisti finds and perfects the creative vein; The album, recorded in England, has become an absolute classic tracks. But despite the success, triumph, collections billionaires, Lucio Battisti remains shy and diffident; bears less and less crowds, fans, reporters and photographers.
This attitude also encouraged by his wife, is accentuated in 1975, after the attempted abduction of his son Luca, make up to the need for confidentiality of the couple almost maniacal. 1976 saw the withdrawal from the scene of Baptists, after a memorable tour with the Formula 3.Poco time after retiring Battisti said “I will not talk anymore, because an artist must communicate with the public only through his work.” He kept faith all’autoconsegna to fine.Sulle motivations which led to a so categorical isolation rivers of ink have been wasted. And ‘likely that the onset of certain health problems have accelerated a decision that was maturing; of a nature likely already naturally shy, is grafted to feel deep discomfort often misunderstood and oppressed by the attention of some morbid release that, among other things, purported to give a political interpretation of the phenomenon Baptists. Battisti, actually walked his own path, supported in this attitude, by his wife, hermetic and self-effacing character, on which comments are wasted almost always poisonous. The last production Mogol-Battisti dates back to 1980; “A gloomy day” marks the latest chapter in solid friendship and a happy marriage of art. Problems of interest, it is said; but also the fracture with a style of which Baptists seemed to be ashamed and who he left behind in his later works, almost always valid but lacking perhaps the quid quid which had enabled the production of Mughals to vibrate the strings of the feeling and of ‘ emotion of millions of people. Since its first isolation in England, then in Brianza, Baptists tried – and often failed – to raise the tone of his work, confirming artist attentive and superb interpreter, while losing perhaps in immediate and massive success, which, however, continued to be constant for older pieces created with Mogol, still fresh and current as if they were made yesterday. The first album after – Mogul, 1982, is titled “And now”; the lyrics are his wife Grazia Letizia Veronese, aka Velezia; able to obtain a moderate success, with a month of record sales charts. In 1986, Baptists began a collaboration with the poet Pasquale Panella; their first joint work is “Don Giovanni.” The lyrics are hermetic, cryptic, full of symbolism and metaphors; However, the album – now considered by some as a masterpiece – it remains for two months at the top of the charts. Followed in 1988 “appearance”, from the bizarre melodies and the lyrics difficult parts; in 1990 “The western wedding”, with a return to the melodic vein; in 1992, “What will happen to the girl,” the hermetic texts and the music fine; is, finally, in 1994 – published September 29 – “Heghel”, the disc that closes the cycle of collaboration with Panella. During the twenty years of isolation the role of the wife of Baptists becomes increasingly conditioning, both in private relationships that work and those of many friends (or former friends) Lucio is considered a negative presence and looming. In recent years by Lucio Battisti remains some pictures taken in passing, that shows him aged and fat, inflated by the necessary medicines for the health problems that plagued him for some time. But remember, perhaps, is the right man to separate the Baptists, backlinks and crabby excess, from the Baptists artist, who was able to dispense with emotions, making spread your wings and take to the poetic words of Mogul. (http://www.musicalstore.it/)