ALUSA FALLAX

This obscure album is hard to quantify-songs jump around quite a bit: Martin Denny exotica melts into faint elements of Triumvirat seconds later are PFM morphing into straight Italian commercial pop ballads of the 70's. All of this can happen in a few minutes. The album sometimes comes off as a circus version of Celeste (Per Inziare Una Vita) -more rock elements and a little crazier, but in the long run, this is a low key album in the RPI scene. Sometimes you could picture Caravan in their later days sounding like some of this, but 1974 isn't 'later days'.

Overall Intorno All Mia Cattiva Educazione is an album you need to hear before buying. It is divided into two side long suites. Some VDGG is in there but overall there is a muted quality to much of the proceedings. Some of this comes from a muffled overall lack of high end. They can riff here and there and the call and response of guitar and synth on side one will please prog heads. Pastoral bordering on nearly classical in spots, they can lull you into a reverie before a short staccato revives the proceedings.

This album does jump around a bit in styles which may irritate some. Their ability to end some fiery flourishes of prog with choruses of near easy listening pop can be frustrating, but I'd say this one is a keeper. Side two is definitely more dynamic and varied than side one, oddly including some straight overwrought easy listening pop followed by piano rattling Emersonian recitals leading to some straight up excellent prog jamming. Many faces of the band are presented here, often in a confusing fashion. but the album ending elegiac horn inflected coda courtesy of Mario Cirla is an elegant summary of the whole thing.

Reference points: like Celeste, the first Long Hello album isn't a bad reference. Some muted ELP classical references. VDGG on sedatives maybe?

Worth a listen for sure.

Gatefold vinyl pressing-love the ersatz movie poster cover! Three Stars

Structured as a suite spanning two parts, each mirroring a side of the original LP and comprising 13 tracks, "Intorno Alla Mia Cattiva Educazione" seamlessly melds its compositions into a cohesive musical journey. The division into tracks feels inconsequential, as the album unfolds with a fluidity that captivates from start to finish. Though my Italian proficiency falls short of fully grasping the album's thematic depth, the music itself speaks volumes.

ALUSA FALLAX's sonic tapestry is marked by a blend of experimentation and homage to the finest traditions of Italian progressive rock. While perhaps not reaching the pinnacle of perfection achieved by their peers, their work exudes originality and intelligence. Complex arrangements harmonize effortlessly with simpler melodies, crafting a symphonic experience that is both cerebral and deeply gratifying to the ear.

Standout moments abound, with tracks like 'No Fatemi Caso,' 'Per Iniziare una Vita,' and 'È Oggi' showcasing the band's prowess at its peak. Each composition contributes to the album's overall narrative, enriching the listener's journey through ALUSA FALLAX's musical landscape.

I don't know what was in the water in the 70's because the Italians spawned so many miraculously good albums, you don't have enough brains to absorb them all. What to expect? A fun time. The joyous mood is more present with Alusa Fallax, hence the little guy with the balloons on the cover clicking his heels. Not party music per se, but a grandiose rocking time is sure.

I like a band that alternate rock and softer moments and they do it well, they seem to change time signatures at will, juggling with clouds and blue skies. You have to love the use of flute, some of the best I've heard since Thijs van Leer. Just a good mix of flute, grand piano and acoustic guitar with some of the most emotional vocals in all RPI. Usually I steer clear of those, the Italians have a tendency to push my buttons when it comes to vocals: too much, too loud and too often. But not with Fallax, they are in short supply with more 'aaaaahs' then actual words.

You want fat keyboard lines? Calming flutes and loud brass? Festive moments and grandiose ones? Gorgeous melodies and hooks a'plenty? Grab this and gasp at the excellent work these hairy dudes generously gave us.

Even Jupiter and his angels are partying on the cover, how can this not be awesome?!

The opening instrumental "Soliloquio" begins with jazzy flutes similar to JADE WARRIOR, but the comparison does not hold for long, even if Mario Cirla 's flutes are prominent throughout the disk. In fact as the tune progresses the RPI aspect takes over particularly in the keyboard effects. In a way it's too bad because the latter half seems a lot less distinctive.

For the rest, the album sports a melange of 1970s spy thriller soundtrack escapades and memorable and substantial numbers influenced by Italian popular music, with a hearty serving of mellotron and guitars. The vocals are a bit rough edged which works fine as a counterbalance to the sweet melodies as in "Cio Che nasce con me", one of the few tracks with notable vocal harmonies but less well in the more raucous tracks like the inseparable "E Oggi" and "E Cosi". I definitely hear PFM but even more LOCANDA DELLA FATE in the vocals, while the music occasionally invokes CELESTE, especially in the blend of mellotron and brass in the soulful "Reflezione" and the more balladic "per iniziare una vita", which also includes some of the best flute. A few surprises - one pleasant and the other anything but - are the very latin sounding "Carta Carbone", with bouncy rhythms, spry flutes, and nifty organ, and the narrative "Perche ho venduta il" that is like nails to the proverbial chalkboard. Rarely has a track in an otherwise fine album cried out more to be skipped like so much rope.

Yet another time capsule that leaves me wistfully reflecting on the infinite possibilities of that time, and waxing sentimental about what might have been, "Intorno Alla Mia Cattiva Educazione" offers up a teachable moment that's also fun.

Although the major influences are of the Genesis inspired pastoral bands of their native Italy such as Banco, PFM, Quella Vecchia Locanda and Locanda Delle Fate, there exists tons of others that rear their heads in unexpected places. At times there are crazy outbursts like of Area. At the more rocking jazz-fusion moments they sound a bit like Osanna. There are even times when they break into Latin rhythms that are reminiscent of Santana. The music flows near flawlessly from start to finish and it is often hard to tell where one track ends and the other begins since they so seamlessly blend. Although this is so smooth and slickly melodic it could be just a bit too poppy for proggers and vice versa way to proggy for pop lovers, it is unique in the fact that as melodic as it is it makes full use of the fugue. The ease at which this band tackles the complexities and turns them into instantly accessible hooks is utterly amazing. If you look at the lineup you will notice that there are three brothers in this band with the last name Cirla.

If you seek Italian progressive rock that is stuffed to the gill with heavenly melodies that range from beautiful Tullish flute runs to classical piano rolls with sprinklings of saxophone jazz driven frenzies that morph into fuzzy guitar riffs and ELP keyboard solos and passionate Italian lyrics being belted out for the world to hear, then look no further than this beautiful little gem that is surprisingly too obscure. True that there were only 5000 copies upon first release but this album is readily available on CD at a decent price these days. ALUSA FALLAX only released one album but they managed to pack in several album's worth of ideas in one little package. Despite all the influences this still adds up to a very unique sounding album. Excellent! 4.5 rounded up

They was born in 1967 from a previous band calls ADELFI. After a trial made by a record manager and Massimo Parretti the band arrive to the final formation with 4/5 of Adelfi and the entry of Massimo Parretti as a keyboardist (fifth member). In 1969 they've changed their name to Alusa Fallax and after the release of two singles (1969) they finally starts in Novara in Piemonte to play in some "dancing places". At the beginning their repertoire consisted of songs to make dancing people, and sometimes they proposed more sophisticated piece with approval of dancers. It is possible to say that their official debut with entire album has been at a theater in Novara in 1974 with CURVED AIR.

"Intorno Alla Mia Cattiva Educazione" born as Opera, as a screenplay, inspired to a character/puppet (that was scrambled in yhe concert during the busiest pieces) which has suffered a puritan education, unable to live and think freely. Another Concept album with complex texts and sophisticated arrangements.

The album plays with intricate change of times never boring, original in musical structures, thanks also to the classical preparation of the musicians. Dominate Massimo Perretti's keyboards, but drums and bass line follow very well the symphonies, and in the most pressing parts are very well done. Guido Gabet on guitar emphasizes the feelings of puppet in a masterly way with elaborated riff alternating to classic guitar. As background there are Jetro Tull interlacing, jazzy tones and references to PFM, KING CRIMSON, BANCO DEL MUTUO SOCCORSO, NEW TROLLS, in short much in line with the big bands. One of the band's strengths are certainly the voice of Augusto "Duty" Cirla, hoarse and rough, perfect for this story. Also the saxophonist, (one of the three Cirla Brothers) Mario Cirla has recreated King Crimson moments. The Opera that consists of two suites open with the first track which gives the musical main theme of the album, as a summary of the opera. "Soliloquio" express, whit a classical inspired flute, the pure feeling of loneliness, than open after a classic prog passage with the next track "Non Fatemi Caso". Passing through songs like the beautiful "Riflessioni Al Tramonto" (Reflections At Sunset) the reflection of puppet bring the listener toward the end of the first suite with the reborn of puppet to a new life.

The other suite start with "Per Iniziare Una Nuova Vita" (To Start A New Life) and continues passing through musical piece like "E' Oggi" and "E' Così Poco Quel Che Conosco" where flute, saxophone, keyboards and guitar recreate a gallop to freedom.

"Ciò Che Nasce Con Me" probably is the most emphasis load piece, as the soul of puppet finally can express himself between "winners and losers" . The closing song "Splendida Sensazione" starts with a very classic touch, a beautiful piano solo, and after a biting musical passage the song closes with a enchanting rhythm on the backdrop af a chorus.

The band broke up in 1979, after a only one Prog Gem and other two singles in 1977. A hard climbing in Italian music, a paradox where the mass wins clearly refined music like this. I hope they'll come together (hope soon) to produce some old dusty work.

I'd give them five stars, but there are a lot of other bands references, nothing copied, but maybe an intention to play so much "stuff", or maybe they were heavily influenced by the bands of the time. It's anyhow absolutely essential!

4,5 Stars

"Intorno Alla Mia Cattiva Educazione was in fact conceived as an opera, or, better, as a concert arranged into scenes, and not as an LP. Its main character was represented on the stage by a puppet that we involved in turn into the show, the victim of a hard, strict upbringing that blocked him in his physical and intellectual growing". With these words, Massimo Parretti-Keyboard described this album. The same rule that characterized many Italian Prog bands in the 70s: a band with one breakthrough album and then the end. Alusa Fallax was no exception and they managed to craft a singular work of richness, depth and charm. AF is a family band formed in 1969 by three Cirla brothers: Augusto (Vocals, drums and recorder), Mario (Flute, Sax, French Horn and vocals) and Guido( bass and vocals). Guitarist on this album is Guido Gabet. The album has 13 tracks divided into two suites each represent a certain period in the main character's life. The album though described as influenced by Banco Del Mutuo Soccorso and Quella Vecchia Locanda but I found it a distinct and remarkable RPI effort from this obscure band and when you listen to the whole album, it has the power to leave you breathless. There is definitely classic music sound but not symphonic in the way of Yes or King Crimson. There is a plethora of acoustic guitar passages and abundance of talented flute playing throughout the album. It is mainly dominated by keyboards and Flute sound. The flute playing of Mario Cirla is influenced by Jethro Tull's Ian Anderson but more in the classic route than Anderson's folky and sometimes bluesy technique. The tracks are very well constructed with solid musicianship from all band members and interesting vocals. If you have not been introduced to Rock Progressivo Italiano sound I recommend this album with Bunco's debut as a start. I cannot say anything more than a TRUE MASTERPIECE.

Five years prior to their captivating RPI full length album, Alusa Fallax were a bunch of young guys trying to get the ball rolling. They managed two singles in that year, this being the second. The years between the singles and the album would be spent playing gigs and improving their craft, getting to know their audience and developing their own sound. Beyond the usual English and Italian influences they would cite "Jesus Christ Superstar" as a major lightbulb which led to their own 1974 rock opera. Obviously this early single is a far cry from their later full length album yet it does reveal their musical talent if not its eventual fruition.

"Tutto Passa" sounds like many other period Ital-pop songs with a blend of the traditional romantic ballad tinged with light psych 60s vibe, very light! Gently strummed acoustic guitars are accompanied by organ and piano, with warm but very well behaved Italian vocals crooning along. There is really no development in a progressive sense, just a nice melody that fades away after three and a half minutes. Likewise, the flip side "Cade Una Stella" is nearly identical to the A side yet even shorter at 3 minutes. Aside from some nice piano playing it is almost completely uneventful.

Two stars not because this is bad music but because is simply not required for anyone but hard core Italian pop collectors. Prog fans can skip the singles and proceed right to their wonderful 1974 RPI gem.

As with the case of the great Italian Prog acts of the time, the sound of Alusa Fallax had a fantastic symphonic approach, but the overall style was a lot more than symphonic/orchestral arrangements.With a great love for long instrumental passages and also lyrical parts with expressive and raw Italian vocals in the vein of JUMBO's Alvaro Fella , the band presented a dramatic Symphonic Rock release, where harmonic passages are blended with numerous nice interplays and complex ideas.Flutes and moog synthesizers are especially in evidence, delivering often a soft and depressive atmosphere, but there is also a strong amount of fiery electric guitars, specifically in the more complicated themes.There are also some Folk parts thrown in with delicate acoustic guitars and heavy flute work and heavy Jazz-Rock moments towards the end with some virtuosic electric guitars and saxes in the style of OFFICINA MECCANICA.The obvious Classical influence though is the one that dominates the release with Parretti's great performance on synths/organ/piano and the constant presence of Mario Cirla and his flutes, saxes and french horn.The final result is comparable to the mid-70's works of BANCO DEL MUTUO SOCCORSO and MAXOPHONE, professional prog of high quality.

The album was reputedly pressed in 5000 copies with a limited distribution and Alusa Fallax kept playing live, even if their style changed significantly over the years with Progressive Rock fading away and Disco Music emerging at the top.In 1977, now under the name Blizzard, they release a single and 1979 sees the end of this excellent group.

''Intorno alla mia cattiva educazione'' still remains among the very great items of 70's Italian Prog music, where demanding and nervous instrumental parts meet the delicacy of symphonic orchestrations and deserves a good place in every prog fan's collection.Highly recommended.