Posts Tagged ‘disco’
Usually I don’t post “greatest hits” or “best of” stuff, but this is a whole other story.
Basically, it’s like if there were two distinct artists called “Alan Sorrenti”: the half Italian, half Welsh long-haired & long-bearded hippy vocal experimenter who worked with Luciano Cilio, Toni Esposito, Jean-Luc Ponty, Francis Monkman from Curved Air and Dave Jackson from Van der Graaf Generator versus the moustached, well hairdressed falsetto singing latin lover who recorded with Toto as a backing band and whose most successful songs are featured in almost every oldies collection released. The tiny minority of people worldwide who know and love his early folk/prog works (that is two albums released on Harvest Records: Aria – “air” – 1972, and Come un vecchio incensiere all’alba di un villaggio deserto – “like an old incense burner at a desert village’s dawn” – 1973) most of the time dismiss his post-1974 career, while those who enjoy singing along with his disco-pop tunes usually can’t even fancy of a time when Alan was called “the Italian Tim Buckley” – “Bach-who?”.
This amazing 1980 EMI anthology knocks down this barrier, compiling in no chronological order ten songs seemingly the most distant from one another – and leaving aside his major hits such as “Figli delle stelle” or “Tu sei l’unica donna per me” – perhaps aiming at recovering some kind of an aesthetically and emotionally consistent general picture of the artist’s path from the beginnings to 1977.
Well, the mission is accomplished. The result is a mesmerizing stream of uncosciousness which lines up on the a side with no prejudice and an excellent taste the late seventies italo drama hint of “Notte di stelle” (an excerpt from the bestseller Figli delle stelle, “sons of the star”, 1977) with the ethereal “A te che dormi” (from Come un vecchio incensiere…); “Alba” (from Sienteme, it’s time to land, recorded in the States and released in 1976) with “Vorrei incontrarti” (from the first album) and the thin, sensual “Poco più piano” (from from the 1974 self-titled full-length).
The b side instead revolves around three songs in Neapolitan dialect, two of which are renditions of standards from the classical melodic songbook: the wonderful “Dicitincello vuje”, which topped the chart in 1974 and costed Sorrenti heavy protests from the alternative scenesters (at its worst, he was forced to leave the stage at the Licola Festival in 1975, when people from the audience started throwing bottles and cans), and “Passione”, arranged in a funky-disco fashion. Plus, it includes the sumptuous “E tu mi porti via” from the 1977 album and a scattered gem like “Le tue radici”, released as a stand alone single in 1975.
Here is the tracklist:
01, Notte di stelle (“starry night”)
02, A te che dormi (“to you sleeping”)
03, Alba (“dawn”)
04, Vorrei incontrarti (“i’d like to meet you”)
05, Poco più piano (“a little slower”)
06, Dicitincello vuje (“go and tell her”)
07, Le tue radici (“your roots”)
08, Sienteme (“listen to me”)
09, Passione (“passion”)
10, E tu mi porti via (“and you take me away”)
Alan Sorrenti has released five other albums since 1980 – not counting the compilations – the last being Sottacqua (“underwater”, 2003), none of which managed to regain his late seventies success. Incidentally, his sister Jane “Jenny” Sorrenti is a gifted singer herself; she founded the short-lived folk/prog band Saint Just in 1973, and is still active as a live performer.
Do you know mitteleurock? No, nothing to do with Midge Ure’s Ultravox. Three years before they released their 1980’s same titled album, Vienna was a place of the heart for Gino D’Eliso, and mitteleurock was the name he gave to the scene that gathered around him in Trieste – and to the label he founded some time later.
Trieste is the real heart of Europe. It’s the crossroads where Mitteleurope and the Mediterranean meet. It’s neither western nor eastern, and it’s both. It’s bright and obscure. It’s windy. It’s the frontier town where smugglers cross the border and pirates meet. It’s the italian hometown for people like Sigmund Freud and James Joyce. Romantic, melancholic, multilingual and multicultural centuries before the very term “meltin’ pot” assumed its current meaning. Vienna was the empire, but Trieste had the sea.
This is the ground where D’Eliso’s peculiar mythology is rooted. Heroes and saints, thieves and dropouts, poets and gypsies are the characters who crowd his stories. Decadence, sadness, irony and compassion. And even if the music in Ti ricordi Vienna? (“do you remember Vienna?”) is mainly funk-flavoured pop (between Young Americans‘ Bowie and late 70’s Lucio Battisti – the latter having released through his label Numero Uno D’Eliso’s first effort, Il mare, in 1976), dusted with luxurious disco strings arrangements, one can still get balcanian and mediterranean folk echoes, together with faint new wave influences. This is mitteleurock at its birth – and possibly at its best.
Here is the tracklist:
01, Bellezza normanna (“norman beauty”)
02, Kajmac Calan
03, Il tamburello e l’eroe (“the tambourine and the hero”)
04, Non saremo angeli (we’ll be no angels”, also released as a 7″ b/w “Ti ricordi Vienna?”)
05, Fiesta messicana (“mexican fiesta”)
06, Ti ricordi Vienna? (“do you remember Vienna?”)
07, Tanto arriva domenica (“sunday will come anyway”)
08, Non basta la poesia (“poetry’s not enough”)
09, La notte di Erasmo (“Erasmus’ night”)
D’Eliso released two other albums, Santi & eroi (“saints & heroes”, 1979) and Cattivi pensieri (“bad thoughts”, 1983 – his “greatest” commercial success) and produced some acts from the area, such as Revolver and Luc Orient, before disappearing from italian music scene. Unfortunately, the mitteleurock movement declined together with his career. D’Eliso is now working in the corporate communications field with an advanced technology company in Trieste. He released a new album in 2004, Europa Hotel.