Ossessioni - Obsessions

La tromba d’argento, la marcia dei Santi Le armi nel vento, gli stupidi fanti Con gli occhi nel sole diventano ciechi No (no), no (no)... ! Mi lasci qui, uomo mio Ma resta, in nome di Dio! Nel tuo silenzio è la mia croce No (no), no (no)... ! Sul vecchio Gange laverò Il peccato mio con te Non ha senso stare soli No (no), no (no)... ! Sette figli, Madonna, due sporche lenzuola L’orgoglio di donna, ma lotta da sola Con lupi affamati, vorrebbe fuggire No (no), no (no)... ! La grancassa poi il cieco suonerà La porta vi aprirà, padroni e pecore La mano destra del Signore No (no), no (no)... ! Io mi brucio le ali nel volo radente Di mie verginali pretese di niente Mi sento d’un tratto le gote di bianco No (no), no (no)... ! Diciottesima strada, la noia pervade Che il negro divida un osso col cane Son quasi tentata di scrivere fine No (no), no (no)... ! La nave che batte bandiera pirata Nasconde la notte, il cielo t'aiuta La donna poi piange con lacrime amare No (no), no (no)... ! Ma ti amo, ti amo, ti amo, ti amo...! No (no), no (no)... ! Ossessioni © 1971 Nina Hart, Antonello De Sanctis "Ossessioni" is a musical cover of "I Believe in Love" by Nina Hart, a song from the soundtrack of the 1971 film Taking Off. The lyrics take the song in a completely different direction from the original, in which the main refrain was "I believe in love."

The silver trumpet, the march of the Saints, the arms in the wind, the stupid foot soldiers, with their eyes in the sun they become blind. No (no), no (no) . . . . ! Leave me here, my man, but stay, in the name of God! In your silence is my cross. No (no), no (no) . . . . ! In the ancient Ganges I will wash my sin with you. It makes no sense to be alone. No (no), no (no) . . . . ! Seven children, Madonna, two dirty sheets, a woman’s pride, but she struggles alone. With hungry wolves, she’d like to flee. No (no), no (no) . . . . ! The bass drum the blind will then play, the door will open, bosses and sheep, the right hand of the Lord No (no), no (no) . . . . ! I burn my wings in the flyby of my virginal claims of nothing. I feel suddenly the white cheeks. No (no), no (no) . . . . ! 18th street, boredom pervasive that the black man shares a bone with the dog. I’m almost tempted to write “the end.” No (no), no (no) . . . . ! The ship that flies the pirate flag hides at night, heaven help you. The woman then cries with bitter tears. No (no), no (no) . . . . ! But I love you, I love you, I love you . . . . No (no), no (no) . . . . ! English translation © 2020 Dennis Criteser Oltre la collina (Beyond the Hill) was Mia Martini's debut album, as well as the debut of her nom de plum (she was born Domenica Rita Adriana Bertè and her previous singles were released under Mimì Bertè). The album treats a number of heavy topics - suicide, spirituality, sexual violence, illness - and Italy wasn't ready for an album so direct, emotionally honest, and dark. The album suffered poor sales, but stands out as a bold statement and testament to Martini's lifelong desire to sing only material that she could personally connect with. She was, at the time, a sort of Gypsy-hippie recreating herself and escaping from the emotional subjugation that traditional southern Italian culture could inflict on women.