You also contributed to the book "CROSBY STILLS NASH, and sometimes YOUNG." Did that bring you closer to CSN(Y), or did you already know each other?
FL: Well, working on the book got me in touch with several folks at CSN&Y camp, but my relationship with CSN&Y, or at least with some of them and some of their musicians, started long before we ever thought of writing those three volumes.

How did you cross paths?
FL: As far as Young is concerned, in April 1987 I had the chance to meet Elliot Roberts in Roma, when Neil and Crazy Horse were touring Europe. In those days I struck up a friendship with Billy Talbot and Ralph Molina. I didn't have many opportunities to stay in touch with Ralph after the mid Nineties but I did with Billy and we're still regularly in touch. It’s a very special bond.

"Crosby proudly played us the tape"

And CSN...?
Speaking of Crosby Stills and Nash, in the summer of 1988 I went to the States with Mauro Coscia and Lorenzo Conci, a good friend of ours from Trento. We attended some CSN shows on the East Coast. Debbie Meister, who worked at Bill Siddons & Associates at the time, provided us some back-stage passes and so we had the chance to meet them – flesh and blood – in the huge backstage area of the Jones Beach Amphitheatre. They couldn't believe we had crossed the ocean just for their shows and so they started to fondly call us "the crazy Italians." We attended six concerts: Jones Beach, Meadowlands Arena, two concerts in Philadelphia, one in Washington. The last one was in Pittsburgh, the day before Crosby's birthday, when we brought him a big chocolate cake. There's many stories related to that unforgettable journey. Let me just tell you that Crosby proudly played us the tape of his newly recorded album when we were on his tour bus at Mann Music Center in Philly. The record would have been released six months later, in early 1989, as "Oh Yes I Can".

Dave Zimmer (author of "Crosby, Stills & Nash: The Biography" and the editor of "4 Way Street, the Crosby, Stills, Nash & Young Reader") wrote the liner notes on your new CD. It is obvious you don’t consider each other a competitor. Have you helped or advised each other with your books?
FL: I met Dave for the first time several years ago in Southern California. He came to visit me when I was playing a gig with Billy Talbot and Sonny Mone in a coffeehouse in Santa Monica, CA. Yes, it’s quite obvious we don't feel any competition. Never felt that way. The more books about Crosby Stills & Nash, the better. I like reading music biographies, especially the ones written by insiders. I can’t get anywhere close to Dave’s work: I am geographically challenged and I was just a kid when they were at the top. He was there. Dave has always been a wonderful person to be in touch with. Very supportive and a very gentle soul. We've been trading info back and forth through the years and he even asked me for little contributions to the latest edition of his CSN biography. I'm glad and honored he accepted to write liner notes for my album.

What was your exact role with CSN's 4-CD box set and with whom did you cooperate?
FL: In late 1990, I got a letter from Raymond Foye. We were in touch because of Wooden Nickel. Raymond was the publisher of Hanuman Books, tiny-format books which measure 3" by 4" in size and were hand-made in India. He produced limited editions of books featuring the work of such writers as Jack Kerouac, William Burroughs, Allen Ginsberg, Patti Smith, Richard Hell, Robert Frank and other visionary and countercultural writers and artists. When he wrote me in the fall of 1990, he asked me if I wanted to contribute to a CSN project. Apparently CSN were working on a boxed-set and Raymond was in touch with Joel Bernstein, Graham and David and they had asked him to contribute to the booklet of the project researching quotes for each song included. Actually he even got a list of songs which at the time were being considered for inclusion. It was a long list because obviously each of the three guys was suggesting his own selection, plus there were titles suggested by others. Raymond asked me to put together my list, as they knew I had a fairly large collection of CSN&Y recordings and I could come up with some idea. I sent my wish-list but my main contribution was a bunch of quotes I culled from radio interviews and papers, many of which found their way on the wonderful booklet of the box, which – to this day – is still one of my favorite CD box-sets, along with Tom Petty’s Playback.

* TROVARE LA LUCE *

Your CD features quite a few well known names as Sonny Mone, Jeff Pevar and James Raymond. How did you manage to get them to participate?
FL: I met Sonny Mone in January 1988, when I visited Billy Talbot in Southern California. I was in L.A. just for a couple of days but we even managed to play a gig together: me, him and Billy. We kept in touch and met again and played other gigs together. Once again, the three of us. In 1997 Sonny helped me and Stefano Frollano to get recording gears for some sessions we did in the Santa Barbara area with Jeff Pevar. It was there I listened to Sonny's "Stranger In This Land" for the first time. Actually, on the demo Sonny was playing in open tuning and the original mood of the song was much bleaker, with the music reflecting the atmosphere created by the lyrics. Somehow I had in mind a different pace and I started working on a riff. After a short while, I couldn't help but thinking that riff had brought me in a Byrds territory and Bill Kaffenberger’s 12-string Rickenbacker added the jingle-jangle I needed. Sonny is an excellent singer-songwriter with a large songbook. He's currently playing with Matt Malley on bass (Counting Crows) and Victor Bisetti on drums (Los Lobos) and I sincerely hope he will record a new album and get the attention he deserves.

"I attended the very first rehearsals Jeff did with Crosby & Nash"

As for Jeff (Pevar), I attended the very first rehearsals he did with Crosby & Nash in late February 1993. Rehearsals were staged at The Power Plant in North Hollywood. Craig Doerge was there and the four-man combo was getting ready for some gigs in Lake Tahoe. A couple of days later I was in a limo bringing me, Craig and Jeff from Reno Airport to the beautiful mountain area where Lake Tahoe is. From the palm-trees of Santa Monica to the heights of Sierra Nevada it was quite a rush. Everything was covered in snow. It was in the car that I struck up a friendship with Jeff and it was in another car, a few months later, that we cemented it. It was September of the same year and Crosby, Nash and Pevar were touring Florida. I caught the tour in Orlando and the following day they were playing in Sunrise. Jeff had to rehearse songs for the Jimmy Webb concert he would have been playing with Croz a few days later at the Lincoln Center in New York and I offered him a ride, so he could rehearse along the road, playing in the backseat with his headphone on and his Strato going through a Zoom multi-effect device. That beautiful trip on Florida's Turnpike probably gave me the opportunity, a few years later, to involve Jeff in my recording project.

Speaking of James (Raymond), I met him when he came to Italy in 1998 and in 2001 with CPR. I went to some of those shows and I was introduced to him by David in Brescia. I was impressed by this mild-mannered guy and by his laid-back attitude. He didn't seem to belong to a r'n'r band but when he put his fingers on his piano, I was totally blown away. When James is playing, it is like listening to many different music genres all combined in one unique style: there's jazz, classical and Cuban shades and it's like he's pushing the songs to another level, creating different layers which add more depth to each tune. I met James again at the Italian dates of Crosby & Nash European winter tour in 2005 and I gave him a CD with some rough takes. But it was after the dates of Crosby Stills & Nash in Lucca and at Villa Pisani in Stra that summer that I really asked him if he would play on a couple of my songs. James was so nice to accept and now you can listen to his piano and brass on "After The Twilight", which is a song I wrote in the late 80's and which now sounds exactly like I imagined it in my mind when I wrote it. The other song James played on is an outtake called "The Sunset Song." It's kind of a slow-blues number with a jazzy feel to it and it features a wonderful trumpet solo. It sounds very CPR to my ears and the lyrics make me think David could sing it and do a wonderful version. Well, I'm only dreaming, obviously. It's just one of the wicked fantasies of my distorted mind.

Another person who contributed to your CD is bass player Kenny Passarelli. He recently played bass on Stephen Stills' 2010 solo tour. In fact, Stephen wanted him to be the bass player for the first CSNY tour in 1969, but he was just "so young" according to Stephen. Any unique stories come to mind working with Kenny?
FL: Well, I don’t have any unique story about working with Kenny except for the fact he's such a unique person. I got in touch with him years ago, while working on the book-project now known as "Crosby Stills Nash and sometimes Young." As a matter of fact, I was getting in touch with folks on the internet and did some e-mail interviews. Kenny was happy to contribute and when he heard I was working on my own album he generously offered to contribute to it. I was much impressed! We had never met in person, we had just been in touch for a little while because of the CSNY book and he was willing to play on my album. I was floored. So it was great to hear he was touring again with Stephen and meeting him in Roma on the first concert of their 2008 European tour was a wonderful opportunity to thank him for his bass on my "Pictures on the Wall."

"Fifty years of rock 'n' roll have not affected his style."

And then there is Graham Nash...
FL: When someone like me has someone like Graham on his own album, he simply must feel blessed. Today, when I listen to that track, I still feel like I’m just hearing that voice in my head.

Although we talked about it several times in the past, Graham's contribution to "Find The Light" came quite as a surprise. My original dream was to have David and Graham singing harmony vocals on "If Trees Could Talk" and somehow I tried to procrastinate the mixing process because I was secretly hoping something could happen before finishing the recordings. By the time we started mixing the album in late October of 2009, I had given it up. I was saying to myself: "Let's get real...how could I ever think this would happen?" In December, Graham asked me to send the mix of the whole album. Around Christmas time, an email came where he said he would have loved to sing on "Mr. Sunshine". It's been one of the happiest Christmas' of my whole life!

Graham has always been supportive in multiple ways and generous on many occasions. And I will be forever thankful. It’s a wonderful friendship which dates back to that summer of 1988, when we met for the first time. He is definitely the 'one-of-a-kind' gentleman you expect him to be. Fifty years of rock 'n' roll have not affected his style.

You played some shows in the past in the United States and Europe with Crazy Horse bass player Billy Talbot. Is there a reason he did not participate on your CD?
FL: Not really. Probably it is just because Billy is way more analog than me. I can't see him going into a studio with my files and add his contribution. It just has to happen on the spot, like it's always been when I went to California and spent time with him. For instance, we recorded a live home-demo of my song "Do Not Close Your Eyes" in 1988. It was me, Billy, Ralph, Sonny and their friend Ron playing lead guitar. But what we'd really like to record together is another song of mine, "Too Long." It's a piano ballad, which we also played live in 1993. I would really love to record it with Billy but that means he either comes here or I go there and at that point it would be silly to spend all that money just for one song. It's another idea in the back of my mind but I won’t add more for good luck.

Did you physically meet with all of the album "participants" when you worked on the CD or is that - with the internet - unnecessary anymore?
FL: The internet definitely makes things easier but not necessarily better. I mean, it's great having new possibilities but somehow I still believe the analog world of flesh and blood is better than the digital one made of files and bytes. I love all the wonderful contributions I got as wave files but it would have been much more interesting to be in the studio with some of the American folks who are on my album. It would have added extra physical value to the flow of emotions created by the magic of their art. The only one I've been in the same room with has been Pevar. Watching the Peev recording all the beautiful guitars he plays on the slow version of "Fat City" and on "The Cage" has been quite a learning experience.  There's many of them and if you listen closely to the first notes of "Fat City (at night)" you might hear crickets singing on an early spring California night. As a matter of fact, on those sessions Jeff played outside, beneath the stars. I didn't know of his cat allergy and a feline that lived at the ranch where we were recording was almost blowing the sessions. It's been such a wonderful experience that I'd love to do it again now, banning the cat! I am still very grateful to Bill Ryan, who generously let us use his guitar collection and his beautiful ranch as a recording facility. He really made those recordings possible.

Did you already know each other as musicians and how different (if it was the case) were they now as "colleagues?"
FL: Not much of a difference. I always thought they were brilliant players and I was a just good bush-league songwriter. Making a record with them doesn't change the perspective that much. The only thing that's changed is that now they know I can write songs.

"It was a long process but it gave me the opportunity to develop an idea of what I wanted to represent with this album"

I remember you started this project quite some time ago. Why did it take so long?
FL: Actually some recordings go back to 1997 when me and Stefano (Frollano) were working on some songs together but that was a different project which was never completed. Stefano finished his album in 2006. I resumed recording in 2005 and even used some of the old tracks. For instance, Pevar’s guitars on the slow version of "Fat City" or Marco Campanari's bass takes, or the piano on "Pictures on The Wall" all come from the original sessions.

Back to your question, about the long time it took me to complete the album, money was the key factor. You must consider this has been a totally independent project and if you listen to it or hold the booklet in your hands, you easily realize it is a high profile production. So, considering I couldn’t afford to cover all studio and artists’ costs in a short time, I was forced to thin out sessions.
And there is also another important reason which made this project run forever. When I decided it was time to give a proper home to some of my songs, I didn't have a band. Recording without a band gave me a lot of freedom and time to think about how I could have arranged the songs and who could have played or sung on them. It was like painting and looking for the proper shade of each colour: "Oh, I think this song should sound a bit like Jackson Browne and it would be great if Jeff could play a bit like (David) Lindley here." Obviously it wasn’t easy to let all pieces fall together. It was a long process but it gave me the opportunity to develop an idea of what I wanted to represent with this album.

Anyway, I hope the process will be faster now and it won't take me another long hiatus to release a new album. I hate to keep songs in a dark drawer…it's like keeping your children always safe at home: they have to get out, enjoy life and face the real world. And if they fall and get scratched, they'll learn from it. Growing up, that's the name of the process.

The title is "Find The Light." Can you elaborate on that and is there a deeper meaning?
FL: Originally I was going to call the album "Love in Dangerous Times", similar to the Bruce Cockburn's song, but when me and Ermanno Labianca trimmed the track-list from 12 tunes down to 9 songs, part of the idea behind that title was gone. "Find The Light" is mainly an omen. These are hard times and most of us struggle everyday to get enough money to pay the bills. And what we do to survive is often not exactly what we planned to do in our lives. So I hope sooner or later we will be able to find our own way and be satisfied, which obviously doesn't mean we have to get rich but just be able to channel our energies into something which makes us feel good. And be able to live in a better world, where people care about the state of the planet, where people who can determine changes in politics and economics will think about future generations and not just about their greedy hands.
And there is also another meaning. Over the years, I have written many songs but so far I hadn't recorded any of them properly, except for eight originals which I recorded in 1990 and put on a tape called "Root Hog or Die," which I shared among friends here and across the pond.
After 20 years, I've been able to give a beautiful home to another eight songs of mine and I would like to thank Ermanno for it. Although he came on board when recordings were already over, he stayed by my side during the mixing process, 'sharing the pain' with me and Stephen in the wee wee hours, he had an excellent idea for the mastering and he offered to release "Find The Light" on Route 61 Music, this new and brave label which produces CDs when CDs are almost just antiques.

Your vocals sound very mature and your English is very good, but why not just one Italian song?
FL: Thanks for asking. In recent years I've been working on a bunch of my Italian songs. I tested them in concert and I did some demos. For one second, I even thought to put some of them on this album as it would have given them a wider exposition. Then I stuck to the original idea of keeping them on a separate project. Somebody told me I'm sort of a fundamentalist but I really feel they don’t belong to the world I created with "Find The Light." I’m sure there will be a right time and a nice home for them, too.

"I'm really honored Stephen accepted to work on this project "

How did you choose who would have mixed the album?
FL: Stephen Barncard has heavily contributed to give this album a Seventies sound, which is what I was looking for when the scenario became clear in my mind, but having him on board almost happened by chance. One morning I was driving and listening to "Brooklyn Boy In Paradise," the latest release by Allan Thomas and I noticed the mix was by Barncard. That night I was having dinner with Joe Slomp, who sings beautiful harmony vocals on my album, and we were talking about the mixing. Joe said: "You have so many American friends on this project…I think you should mix it in the States! Don't you know anybody there who could do it?" My mind immediately went to Allan's record and I sent an mp3 of "After The Twilight" to Barncard. He replied almost in real time: "I was pleasantly surprised with this song. Congratulations! This is awesome. I love the arrangement. Clean, and simple. Dynamic. It's also well recorded! Great vocal - real emotion. I'd love to mix it." I was really excited of having the opportunity to work with the man who was behind the magic of "If I Could Only Remember My Name." So I put together the audio files and all the info which would have been useful to him. Stephen was very happy of what I sent: "I know that you are also an archivist and documentarian, but still the great pre-packaging, labeling and the extra info is very helpful and way beyond what I usually get - thanks.... and thanks to the 'guys in the studio'."

After a couple of weeks, we were mixing the album on line. Me and Ermanno with our ears and our notes in Roma and Stephen in San Francisco with his tools, his equipment, his gusto and his expertise. The time-gap wasn’t much of a problem, although sometimes sessions lasted until 2.30 am and I was up at 7 am. We needed a few days though for some fine tuning among us and then we were up and running. Although sometimes I've been a pain in the ass with requests about the tiniest detail, I guess it's been a good opportunity for Stephen to elaborate and improve what has now become mixstream.org, his online business to mix live on the internet and clients can listen and approve mixes in real time from anywhere. And there is no doubt it's been a great experience for me. I'm really honored Stephen accepted to work on this project giving me the chance to work with him. He's one of the masters and I am sure you will appreciate his contribution.

Dave Zimmer noted that the sonic quality of the recording rings so clear, especially the rich acoustic guitar tones. What is your favorite acoustic guitar that you own and are there any one(s) in particular that you would like to acquire, if money were not an issue?
FL: I don't have a large collection of guitars and no fancy axes. I still have the Emperador my grandma bought me in 1979, which is a nice Japanese replica of a Martin D-35. I have a beautiful Martin HD-28 from the late Nineties,  I also own a Takamine which David and Graham gave to me. It was one of Graham’s guitars, although David had promised me one. "You promised Francesco a guitar," Graham said jokingly to David, "and now we’re giving him one of mine"! It was a very funny moment. We were at Groove Masters in Santa Monica, where CSN were recording "After The Storm", and I had just witnessed Stills and the band recording one of the many takes of "It Won't Go Away", sitting in the control room next to Glyn Johns and Jan Crosby. Thinking about that day, it still seems unreal. Back to acoustic guitars, if I could order a couple of acoustic guitars right now, I’d like a McAlister Concert model or a Collings OM2H, beautiful and comfortable on stage, and I could certainly use a Gibson J-45 for basic strumming. Plus I never owned a 12-string and I'd like to try Martin's "D12 David Crosby" or one of the Taylor's models. And I don’t enter the vintage instrument territory, otherwise money would be an issue anyway.

In the "old days", a band would put out a 45 rpm "single".  This might feature a "hit" A-side which was deemed great for radio play and perhaps an obscure B-side.  If you were to put out a "single" for "Find The Light" what would your A & B sides be, and why?
FL: I think the single might be "Mr. Sunshine / The Cage". "Mr. Sunshine" has a simple but catchy chorus and the tune has a nice crescendo. Plus it features Graham’s vocals, which makes it obviously interesting for anybody. "The Cage" is a bit different in tone from the rest of the album but I guess it would work on the radio. While the version we originally recorded displayed a whole different array of percussions to lay down the rhythm pattern (djembe, congas, water tap, kitchen water pipe and other unusual instruments), the released version has an excellent snare drum drive, which somehow reminds me of U2. Yeah, I think that would be the perfect odd B-side of the single.

Apart from the music, the artwork of the CD really looks great. The last photo of the inner sleeve, reminded me of CSN's "couch album."  There is nothing wrong with that, of course, but is that a coincidence? 
FL: Yes, pure coincidence. We got to rush the artwork and didn't have time to stage a real photo-session. So, as me, my wife Isabella and our kids were in this beach-town where my mother uses to spend the summertime, we went to the beach at sunset and took some photos. Actually she was taking more pictures of the kids than me, quite righteously, and I was getting restless as light was getting dim. After some close-ups, the very last number of shots were taken in front of these bathing cabins. I didn’t notice the small palm-tree on my left but - selecting the pictures - I liked the ones with me sitting there. I agree there's some "couch album" cover feel to it, which is just perfect for the scene I wanted to recreate musically.

"CSN&Y should release 'Deja Vu' in a box like that, with the alternate versions, the outtakes and a DVD"

Neil Young’s manager Elliot Roberts appears on the sleeve. What did he "patiently put up" with you?
FL: You know, when Neil is touring I might end up in a backstage or a hotel for some meet and greet with musicians or folks of the crew I know. I always feel like I’m encroaching on Neil's territory, even when I'm invited, but I guess Elliot learned to know I'm not there as a fan or a stalker, and I appreciate that. But mostly I appreciate his interest in my songs. There's been a time when I used to send him demos and - surprisingly - he listened to them and even offered me a publishing deal. I hope he will give a spin to "Find The Light", too.

* ORGANIC AND RAW *

Can we expect more of an "electric" album from you next time?
FL: I like change. I like different colors. I like to have a wide palette. Actually on the original track-list of the album there were also a couple of up-tempo numbers but we wanted to keep the pace and don’t take the listener away from the musical world the other songs create. So, back to your question, yes – I think the next one in English will be more electric and less "polished". It will be organic and raw. I don't want to spend too much time in studio. After a while I get bored and I lose the focus. I just want to go in with my band and capture the spirit of the songs. It will be a genuine and spontaneous process which won’t spoil their innocence.

Do you perform live and do you plan to tour?
FL: I've been performing quite often in Roma and in surrounding cities, not so much in other Italian regions, except for the tour I did with Talbot in 2005 and some recent gigs with a very good friend of mine, Stefano Fedele, and with Lino Straulino, an extraordinary artist, a beautiful soul and a real legend of Italian folk. But I've been lucky enough to play some gigs in Southern California, in London and even in Hungary. Now I'm rehearsing with some excellent players and we're looking forward to perform "Find The Light" and other original songs live in 2011.

A standard 4waysite.com question: what is in your CD/MP3 player or iPod now?
FL: Well, I'm not really used to small players: I hate listening to music with those tiny headphones on. Having two kids at home, right now the car is my main audiophile room. Each morning, before I go to work, I fill my bag with CDs and the music helps me to forget about the traffic. Usually it is a varied selection, from blues to Cuban music. These days I can't live without Wilco. I love the craziness they bring to what is essentially a classic folk-rock humus. They have wonderful songs, they are wonderful on stage, their live-sets and their albums can surprise you at any given moment. I love this new English band, Treetop Flyers. Obviously I was attracted by their name but then their music caught my soul. They released an EP in 2009 and they're finishing their first album now. Somehow they sound like CSN&Y meet Black Crowes. Well-worth checking out!

From Canada there's The Wheat Pool. They recorded a beautiful cover of "Helpless", that’s how I discovered them. Beautiful songs and beautiful music, sort of an electrified version of The Jayhawks. In my bag there's also "Stricy Joy" by The Swell Season. I love them. And Glen Hansard is a fantastic performer. Listen to any live version of their song "High Horses" and you'll get the picture.

Other albums I'm listening to these days are Mavis Staples' "You're Not Alone", Peter Wolf's "Midnight Souvenir", Buddy Guy's "Living Proof", Tom Petty and the Heartbreakers' "Damn The Torpedoes" deluxe edition. A couple of days ago, I played Damien Rice's first album, which I hadn't been playing for a while...I love that record! And now I'm gonna unwrap Bruce's "The Promise". CSN&Y should release "Deja Vu" in a box like that, with the alternate versions, the outtakes and a DVD featuring footage from the Fillmore East shows. They would make thousands and thousands of people happy. And I'm sure they would be happy, too, on multiple levels.

"Me and Lorenzo helped Graham to write down most of the lyrics"

Is there a funny Francesco Lucarelli/CSNY story that comes to mind?
FL: When we met Graham at Jones Beach in 1988, he invited us to meet him again the following day at his hotel in Manhattan. We were in his room and he was rehearsing Paul Simon's "America", which he wanted to premiere that night at the Meadowlands Arena. Me and Lorenzo helped him to write down most of the lyrics but there were a few lines missing. Graham tried to get hold of Joel Bernstein, as he said he would have definitely known the whole set of lyrics, but Joel was in Europe working for Prince and not easy to track down. So I suggested to go and buy the songbook, as a few days before I had visited a wonderful book and music shop not far from where we were, in the Times Square Area. It was quite exciting to be walking on the streets of Manhattan with Graham! We found the shop and Graham found Paul Simon's songbook. That night, as he approached the last verse and started singing "Counting the cars on the New Jersey Turnpike," the Meadowlands Arena erupted with thunderous applause. I know it is not exactly a funny story but it is my very first  CSN&Y related one and I'm very fond of it.

In 1983 when you first published Wooden Nickel did you ever imagine, even in your wildest dreams, that you would have the opportunity to actually work/perform with David, Stephen, Graham, Neil or members of the CSNY "family?"
FL: Heck, no! At the time, I thought meeting them and being able to give them personally a copy of Wooden Nickel would have been the ultimate dream. But after a few years, and after Billy Talbot and Warner Europe showed their interest in a demo-tape produced by me and the Blue Flares, my dream became more ambitious. I still have vivid memories of a grey afternoon in the late 80's. I was talking to Stefano (Frollano) and Marco (Martella) on a corner of Via Tiburtina in Roma, just before going to some rehearsals, telling them one day we should have recorded our songs inviting Graham Nash to sing harmonies on a couple of them. Well, it took more than twenty years but that dream came true. Sometimes if you dream hard enough and work harder, anything is possible. But you gotta have faith and keep following your dream. No matter what. Just keep being focused and very determined.

You have accomplished quite a bit! You published Wooden Nickel, contributed to the book "CROSBY STILLS NASH, and sometimes YOUNG" and made a beautiful CD called "Find The Light." What's your current motivation, your next goal?
FL: I have a little dream. For years, I have been making music with some very talented friends of mine and in recent times we did some shows billed as "California Stars ‘n Bars Revue." To get an idea of what we sound like, you might listen to our version of "Helplessly Hoping" or "Love the One You're With", which you can find on YouTube. We kick ass!

Unfortunately, apart from their guest-appearances on my album and some old demos, we never worked on our own music together and it's a real shame because, although each of them is a wonderful artist in his or her own rights, a project as a whole would be far greater than the sum of its parts. Not only do we have a bunch of great original songs to choose from, but Andrea Luciani, Joe Slomp, Luisa Capuani, Marco Martella and Massimo Rossetti are super gifted singers. And Stefano Frollano is an excellent guitar slinger. I know you might think I'm just a big mouth but I’m pretty sure we would be able to deliver an outstanding record.

© 2011 4waysite.com

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Buy the album here: Route 61 Music (2010)

Links

Publicity (Europe): Hemifrån
Distribution: BTF
Digital distribution and downloads: Believe Digital (courtesy of Delta-Top)
Artist website: francescolucarelli.com
 

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