Anni di piombo, anni di paillettes.

Music from a country on the verge of a nervous breakdown.

[music:] Enzo Carella, Sfinge (1981)

with one comment

One out of many. An average long-haired, moustached kid playing guitar, hitchhiking through Europe, going to rock festivals. Enzo Carella was in the Isle of Wight in 1970, at his hero Jimi Hendrix last gig. And in London, when Jimi died in his bed. What do you see when you turn out the light? I can’t tell you, but i know it could be mine.

I already mentioned Pasquale Panella in the previous post. Carella met him somewhere in Rome in the mid-seventies, while planning his personal way out of the post-prog swamp, fancying of an italian etnopop yet to come. The two teamed up in a songwriting plot to gently upset the scene.

1976. Enzo Carella releases his first single, “Fosse vero” (“should it be true”), followed some months later by the album Vocazione (“vocation”, 1977). Suddenly, a dazzling pop vision which looked like nothing before – and perhaps since – in Italy. Brightness, night, lightness, riddle, dance, rest, sex, suicide. Gold offered with simplicity and aloofness, just as everyone could do that. Only Lucio Battisti had likewise managed to sound so easy and complicated at the same time, joining britpop, soul, funky, latin influences, italian melodic tradition, often using opaque lyrics (by his songwriting partner Mogol) to challenge the listeners. Desperately seeking for a term of comparison, people sticked to this parallel and labelled Carella as a funny clone, justified by some superficial similarities such as the same thin, rough voice. Fact is, the ghost of Battisti has been haunting him since then – but who was influencing who, if in the end Lucio picked up Pasquale Panella to write the words to his songs from Don Giovanni (1986) on?

Enzo Carella was maybe looking for a spell that could disperse this shadow during the two years of silence that followed the release of a successful second album, Barbara e altri Carella (“Barbara and others Carella”, 1979), and a second place at the 1979 Sanremo festival. The same press sheet for his full-length comeback Sfinge (“sphinx”), finally out in 1981, reported him as “dealing with magic”.

Actually, esotericism and erotism seem to be the two strenghts which join forces in this masterpiece, surprisingly produced by a veteran from the prog scene, former Osanna wind player Elio D’Anna (who also played sax and flute on the record). D’Anna basically supplied a pleasant yet uncomfortable mediterranean setting where the songs lay in the half-light, at midday (“Mare sopra e sotto”, “Sfinge”), or under the moonlight (“Che notte (qui con te)”, “Contatto”). It’s the power of opposites. Pop music as an acrobatics number gone bad.

Here is the tracklist:

01, Stai molto attenta (“be very careful”)
02, Sì, si può (“yes, you can”)
03, Sex show
04, Mare sopra e sotto (“sea above and below”)
05, Sfinge (“sphinx”, also release as a 7″ b/w “Sì, si può”))
06, Che notte (qui con te) (“what a night (here with you)”)
07, Contatto (“contact”)
08, Lei no (“not her”)
09, Rilfessione finale (“final reflection”)

Get it here: Enzo Carella, Sfinge (1981)

After Sfinge, Enzo Carella went on hiatus until 1992, when the semi-anthologic Carella de Carellis came out. Since then, he has released two other albums, Se non cantassi sarei nessuno (1995, an imaginary musical based on the Odissey), and Ahoh yè nanà (2007), both written with his long-time confederate Pasquale Panella.

You can also visit his MySpace (in italian) for updates and some amazing pics.

Written by alteralter

December 3, 2008 at 9:56 pm

One Response

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  1. da Mister fantasy

    maresopraesotto

    April 6, 2010 at 6:20 am


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