|MATIA BAZAR 1981/84|
followed the MATIA BAZAR
in april 1981 and
left these in april 1984
It was rich three marvelous years at acquaintances and journeys, but above all
they have been the years of my human and professional increase.
to which I dedicate a web
of the texts, in the year 1998 disappeared, has to be taught me a leader,
motivated however before all in musical production alive to be proposital.The
sleepless nights which I before all with Aldo
and Antonella Ruggiero
and then later also with Carlo
Marrale e Giancarlo Golzi
to speake about the age electronics over old continent traversed are one of my
Kraftwerk, Joy Division, Peter Gabriel but
or the Italian
we put to point new pieces that would have been the skeleton of the
magnificent culminated postmodern period with Vacanze
the 80ger years
was fundamental the keyborder for the only analogic sounds, for a popband was
of vital importance. I did not have some problem to insert to me on the old
repertorio that opportunely we played still in the first “Tempo
del sole tour” of
while for new
for new pieces, used naturally the mythical keyboards
80years that were
found in the warehouse of the label record Ariston of the group.
my first concert with they 26
june 1981 to
Cavallermaggiore (CN) my vintage set was:Yamaha
cp70 piano, Yamaha cs 80 synth, Polymoog, Mellotron, and Juno Roland!
When we carried, after two months of withdrawal, the first sample of BERLIN PARIS LONDON, they took to us for crazy all, theThe most beautiful radix complement was punkettari: Aldo wrote in German, Antonella sing the opera song, Carlo with its dark sun eyeglasses and its trench resembled a Gestapo coworker, Giancarlo played only with the complex fingers drum machine, while I began to play the computer keyboard, that was like playing the toaster now !
That was the turning point, I am accustomed, see rock band Litfiba, the public was orientationless, the sales figures low. But BPL (had thought to call it Berlin Rome London, but it seemed the war axis) also thanks to my pieces Astra, Zeta, and to my agreements of Lili Marlene and Fantasia, I inspired myself to Peter Gabriel, was truly one great innovation in the asphyxiated italian musical panorama.
The BPL tour was a compromise between last and present, we played on the proscenio a funny medley of all old pieces, we were gray dressed with rubber neckties, and above all, to Italy south we listened only frizzi and lazzi...
For TANGO the producer Maurizio Salvadori thinking the new producer Roberto Columbo, next husband of Antonella, that it arrived to sample already concluded, made a good job sure, but it was not all flour of its bag. He began to cut here and there, above many parts of the keyboards, and for this we did not go of agreement, but the true problem was that one to change the five energy band that had consolidated...
I composed Scacco , from halved he in the final suite, intro and the rit. of Bambini di poi , intro and the bridge of Elettrochoc, of Intellighenzia, but above all Palestina in its whole, from which I accepted that it would not be massacred.
It's my happened one always trades them, 500,000 copies, but only few know that she was candidate for Sanremo 1983. To little days from festival Carlo Marrale, accelerated of my role as a composer, it wrote the refrain of Vacanze romane, the strofe were already with other words... these are the real synergies of band! The interesting with the fact was that it did not please Carlo Alberto Rossi label director, at all, and confirmed Palestine for Sanremo festival...
The happened one of Vacanze romane, in the first drawing up came censured the phrase of Aldo " ... ancient Rome city, more whore who never... " to Sanremo, swept every controversy, many journalists whom they ignored to us, wrote wonderful articles on newspapers, Tango world tour 83 exceeded 100 dates, and left an unforgettable memory in many future artists and musicians...
In April 1983 unbelievable personalities showed up, It's indescribably like it everything our music wanted:Federico Fellini wanted VR for the movie La nave và, also because Marcello Mastroianni sang it every day shaving itself; all the vanguard theatre, Polverigi, Santarcangelo, Rivoli, Falso Movemento etc... looked on us would be we the only musical light view up; Enrico Coveri, Cinzia Ruggeri, Valentino for the fashion; Guido Harari, Ilvio Gallo, for the photography, I do not speak about the publicity...
The new plan that we carried ahead for two months, Hotel Mister Kappa , name it of the new LP, written from Cinzia Bauci that still work with me, previewed a theatre musical show with video, customs, scenografie, classic music and light, actors etc... the best of the postmodern creative then Alessandro Mendini, Cinzia Ruggeri, Occhiomagico etc... were however unfortunately, the label companies, in its boundless inertia and stupidity fixes on it to clone and unforgettable album such as Tango.
In 1984 I still composed a song Casa mia written on one poetry of the architect Alessandro Mendini with the best of cultured postmodern music was published without interest in lp compilation of 2000 copies from the Ariston, with the title Architetture Sussurranti, exposed and played to the Modern art Museum of New York.
Sliding the titles them inthe back cover, there are some of the excellent genius of postmodern age, they will characterize the years 80, Maurizio Marsico, Sandro Lombardic, Federico Tiezzi, Marion D' Amburgo, the famous Magazzini Criminali, but also Marco Di Castri, Luca D.Mayer, Magda Guerriero, Davide Pandini and Caro Mori.
Extreme personal mantrica curiosity is the presence like engineer sound of the Magazzini Criminali of Alberto Pirelli that will the producer of Litfiba and also a good friend of me became. The LP is rarest and much precious one, printed in 2000 copies is the first true testimony of interaction between kinds happened in Italy.
The mythical piece
mia cantato from Antonella
and spoken from
one about the first computer vocal
have surely the way coined/shaped which we would have continued, but never to
the new album Aristocratica
taken up, together with many other "committees from Tango".
It's mine also the introduction of the piece
Il treno blu,
April 1984, thanks of the connections which I in the environment had, and probably for years already, I came invited also to Biennale Music of Venice for a conference over tones/colors, after a performance with Antonella Ruggiero at Domus party to the Piper of Rome, where we played Daphne a song that I would have published in 1986, decided that the adventure with Matia Bazar would be ended in a jump towards the ignoto artistic universe, rather than to sink in a little reassuring pop abyss... what that unfortunately already has happened. Under other LP cover of biennium 1983/84.