INTORNO ALLA MIA CATTIVA EDUCAZIONE

A classic! One of the most brilliant works in Italian progressive style. If I could, I would give it six stars, because "In Torno..." is one of the most exquisite stuffs I heard. Cirla's emotive rough voice reminds me Leonardo Sasso's voice (LOCANDA DELLE FATE singer, another Italian monster), and the music is complex, melodic and beautiful. Lots of Mellotron, flutes and acoustic guitar along 13 non-separated tracks, conforming a fascinating concept album. Classic landscapes, jazzy touches and impressive originality. There are incredibly wonderful eleven minutes here, among tracks 2 and 4, that can resume the progressive rock quintessence, but the rest of "In Torno..." never loses interest. A true masterpiece!

Not quite the masterpiece others seem to find it, I nevertheless found this album remarkably creative - especially for its time (contemporaneous with The Lamb and Remember the Future, among others) - and great fun. (I would give it an extra half star if I could.) Most notably, while there are certainly influences at work here, they are not nearly as obvious as they are with many other bands of the time. In addition, the band brings in overt classical and jazz elements, blending them fluidly with the prog-rock elements. There is also a "quiet dignity" to this music that makes it unexpectedly compelling. The musicianship is good overall, with Paretti providing some of the most intelligent keyboard work I've heard from this period (particularly organ and piano). Cirla's sometimes raspy vocals reminded me of an Italian Mink DeVille. One of the most interesting - indeed, somewhat humorous (but endearing) - aspects of the album is that, after over half an hour of what is clearly prog-rock, the band ends with two compositions that have "rock-anthem" qualities - though as they might be channeled through an amalgam of Yes, Pink Floyd and, especially, The Moody Blues. / The only reason I hesitate to give this album four stars (it is, without question, "very good") is because I am trying to keep in mind the totality of the prog-rock genre. That said, I will not quibble with anyone who thinks it deserves that fourth star. As an aside, it is indeed a shame that Alusa Fallax did not remain together to "spread its wings"; one can only imagine its future creativity. Indeed, it may well have gone on to become a standard-bearer of the genre. [N.B. for more information on Alusa Fallax, including a wonderful interview, go to www.italianprog.com/a_alusa.htm]

Northern Italy's ALUSA FALLAX started playing in the early 60s, and released their only album in 1974. "Intorno Alla Mia Cattiva Educazione" sounds like something out of a strange Giancarlo Gianinni film. Your ears are instantly charmed by organ swirls, lazy French horn melodies, colorful bursts of flute, harmonized saxes, angular electric guitar, energetic drumming, and warm vocals. Side A of the original LP is a classic example of symphonic prog done with Italian style. It consists of shorter sections that are connected to form a side-long epic. Side B consists of mid-length songs based in part on themes from Side A. The music isn't on par with Side A, but most listeners will enjoy the majority of the tracks. I think most people will enjoy the musical passages, but the vocalist tends to impress some people and offend others. Their singer sounds a bit like the guy from LOCANDA DELLE FATE after a night of heavy drinking and smoking. His voice is somewhat rough, yet holds a certain charm. Overall, I recommend this CD to fans of lesser known Italian prog bands like BLOCCO MENTALE, MURPLE, and CAMPO DI MARTE. Actually, this album is a great introduction to Italy's more obscure prog bands.

"Intorno Alla Mia Cattiva Educazione" is a beautifully crafted Italian symphonic album full of life. Album although has 14 distinctive songs flows like one big long song. ALUSA FALLAX instrumentation features loads of keyboards (Hammond, moog and an array of synths) , acoustic and electric guitars, bass, drums, sax, trumpet and flute. Vocals are highly expressive and are reminiscent of the style of LOCANDA DELLE FATE with the rest of the band playing more in a progressive jazz style as exemplified by the likes of QUELLA VECCHIA LOCANDA, IL VOLO and later CELESTE. ALUSA FALLAX personify the masculine : feminine aspect of music which I find so enduring and in my opinion is often a sign of a classic. ALUSA FALLAX blend classical musical influences which are full of romanticism and layered symphonic keyboard driven passages with progressive breakouts and higher energy parts. Overall an exceptional recording and although is oft over-shadowed by the better known Ital prog acts, should not be missed. Essential...!

Was this really 1974? It sounds more retro-chic than dated, and was recorded with real skill (KING CRIMSON should have been so lucky in the early 70s). As with most of the Italian bands, I find myself wishing I was more fluent in the language (i.e., I wish I spoke it at all!) as the vocal lines seem to convey a unique urgency and passion that puts to shame the colorless delivery of many of the english-speaking vocalists of prog rock. Vocal highlights: the raw "Non Fatemi Caso", "Riflessioni", and "Carta Carbone" which would sound right at home as ambient music in an haute-couture boutique or cafe. Sometimes, as on "E' Oggi" and "E' Cosi Poco Quello Che Conosco", it does get a little dated-sounding, like lost "Jesus Christ Superstar" tracks, but just as often the album presents a timeless blend of classical, jazz, and rock. There are some lovely baroque passages and some less effective synth-driven passages; both are represented in the title track, which shifts from a lovely beginning to an uncomfortable conclusion. The synths of 1974 (or the players) had a difficult time sitting comfortably next to symphonic and rock instruments; this album works best for me when the synth is absent or used subtly as in "Cio Che Nasce Con Me", which is simple and pretty, with an almost- Jacques Brel-like quality. Interestingly, the band does a classic "Saucerful of Secrets"/ "Shine On part 2"- style slow rising climax on "Splendida Sensazione" without sounding like PINK FLOYD at all! In fact, I was more often reminded of JETHRO TULL than any other prog band, but that may have been more the excellent flute work rather than a slight similarity of style. There's very little pretentiousness- the Achilles heel of prog- and the technical displays are balanced by real emotional expression. This album may never make it into regular rotation on my speakers, but it definitely rewards repeated listening; I know there are more than a few fans of classic symphonic progressive who could give this a good home.

A later addition: I'm pushing my rating up a star because this album just keeps getting better the more I listen :)

I ordered this from Doug Larson after seeing the glowing reviews on this site. I've been a big fan of Italian prog since the early 70's, have been a musician since the mid-60's, and have been composing experimental electronic music for more than 25 years. When I listen to music, I'm sitting directly between the speakers, or wear headphones. So, when I hear an album that is poorly recorded, produced, or mixed, it becomes obvious immediately. This album is not a classic. There ARE some good musicians in the band. I felt that the album was poorly recorded (most instruments are in mono, placed in the left, center, or right). The drums often sound like cardboard boxes. There are a couple of edits that chop off the ends of notes. The music is short on melody and long on noodling. I'm sure that a larger recording budget would have resulted in a significantly better finished product, but that's a moot point. I just don't have room in my collection for an "okay" album, and I suspect that these guys were in "jump on the bandwagon" mode. I don't think they were inspired by any muse. Even the album cover looks like a quickie job. So there. I can only get a few bucks for this (when I sell it), so I'm spouting off to get my lost money's worth.

'Intorno Alla Mia Cattiva Educazione' is one of those excellent yet overlooked one-shot Italian albums, fortunately recued from the vaults of oblivion thanks to the CD technology. The style of Alusa Fallax is "typically Italian", so to speak: emotional, richly melodic, full of classical nuances and folky acoustic touches. By incorporating a bunch of rocky sections and jazzy passages (...and even some Latin rumba!), the band achieves a repertoire whose complexity may remind the listener of some of the Italian top bands (PFM, BMS, Delirium), as well as early Genesis. Since this is a concept album, it is no surprise that all tracks are linked in a continuing sequence: the segues are fluid enpugh to make the final result compact and cohesive. The flute and keyboard parts are the most abundant ingredients in the mix, though it's fair to say that the electric guitar solos and sax multilayered orchestrations are quite impressive, too: some of the latter remind me of VdGG Jackson's excursions. The rhythm section is precise and versatile. Drummer Duty Cirla's vocal range remind me of Leonardo Sasso's (Locanda delle Fate), though his style is not as romantic, but actually more similar to the bluesy tempered anger of Alvaro Fella (Jumbo). The thread of tracks 1 to 7 (Side 1) is my favourite parte of the album, since I feel that the repertoire becomes a bit repetitive from track 8 onwards (Side 2). Usually, the instrumental passages are used for the development of demanding time signatures, while the sung sections are set on a calmer tempo, as if designed to enhance the ceremonious note conveyed in the lyrics. th eexception is 'carta Carbone', whose sung section is set on a rumba tempo, with the instrumenta lcoda reiterating the same chord progressions on a playful Baroque note. Apparently, the tracks in Side 2 are more somber, with only a few moments of real intensity among the predominant melancholic ambiences. The closing track is majestic in a typically symphonic fashion. All in all, given the inventiveness exhibited in the compositions and the musicians' ability to function as an ensemble, my overall diagnose is positive. This is a great album designed to be enjoyed as a unified whole.

Here's another fine one-shot band from the prolific Italian progrock scene from the Seventies. The sound on their album is melodic and alternating: from mellow, folky-like pieces with flute, piano, beautiful strings and moving vocals to accellarations featuring organ and saxophone but also more fiery parts delivering electric guitar and propulsive drums or interludes with more lush keyboards. AN UNDERRATED ITALIAN GEM!

Another one-shot Italian gem. here are the things I like most about the album: It doesn't sound like an English prog band in the least, except maybe where the flute comes in which may conjure up thoughts of Ian Anderson, but it's wholly original. All the songs meld into each other seamlessly. The lead singers voice goes from a raspy Joe Cocker to a quiet croon, some don't like Duty Cirla's voice but I think it's excellent and soulful. They use multiple instruments with none outdoing the other, just wonderful music which is pastoral, jazzy and rocks at different intervals throughout the album with one track, ('Perche' Ho Venduto Il Mio Sangue') being a vocal track without music. So if you don't understand Italian, (like me) it's a useless track. The last thing I like about the album is that there are times where a choir comes in and sings with Cirla. It sounds very heavenly. So overall, I give the album a four-star rating. There are no standout tracks but as a whole it is excellent.

A warning to all who purchase this record, don't give up on it too quickly, it takes many listens before it will finally click. This is a concept album and was actually conceived as a concert arranged into scenes. So on stage they would perform the songs in order as they appear on the record. And they would have a puppet on stage who represented the main character who had a hard, strict upbringing that blocked his physical and intellectual growing. So the first side (first 7 songs) are very formal and classical sounding, representing the controlled life of the child. The end of the last song on side one "Carta Carbone" is explosive, representing the rebellion of the young person.This rebellion is the focus of side 2. That is why this album flows so well, many songs blend into the other as the story is told through music and acted on stage by the band. They used a lot of stage lights and effects in bringing this story to life right before peoples eyes.

Things get started with "Soliloquio" an instrumental that opens with congas and bass followed with flute, eventually the guitar and piano come into play. Great song ! "Non Fatemi Caso" features reserved vocals and piano.The vocals become dramatic as guitar, keys and drums provide the soundscape. The vocalist does have a gruff voice most of the time. Although in "Fuori Di Me Dentro Di Me" the vocals are reserved and sound so good, with acoustic guitar and flute providing the melody. Things speed up, then calm down as is the case throughout this record. There are so many tempo and mood changes as this play unfolds on stage and through our speakers. "Riflessioni Al Tramonto" has some good vocals and harmonies, while "El Peso Delle Tradizioni" is an uptempo song with the flute leading the way at times. The guitar is really good too.

Side two starts with a 40 second introduction of spoken words and effects in "Perche Ho Venduto Il Mio Sangue". The next four songs feature a lot of sax, flute, organ, guitar and drums and of these songs "E Oggi"is very energetic with heavy drums, while "E Cosi Poco Quel Che Conosco" is also an uptempo song with good vocals. The final song "Splendida Sensazione" is the best of the bunch, what a way to end the show ! This song features some beautiful guitar melodies,pastoral flute, piano and acoustic guitar. Some great drumming as well as good vocal melodies. At one point the melody is so dreamy and lazy, it's great !

This album is great as well ! 4 solid stars. Just be patient with this one, the reward is worth it!

In a word, fabulous.

Definitely one of the best classic Italian albums I've heard so far. This one has it all: great beauty, emotional performances, thoughtful arrangements, and great playing. It just has that indefinable spirit and extra oomph that capture my heart.

This is a great album that is not well known but should be as I believe it to be in the first tier of Italian bands. It's a marvelous conceptual piece about a young person raised in a restrictive environment who eventually has to rebel against it all. Formed in the late 60s, Alusa Fallax had the typical Italian experience of releasing some singles, playing live mostly in the Italian festivals, recording their opus, and then eventually breaking up. It took Alusa longer than some to split but a second album was never released although they did work on material for a second album. The guys were accomplished and educated and eventually moved on to other things in the late 70s.

Conceived as a stage show concert, all of the songs are connected so you have two unique suites of music (really one on CD) that flow ridiculously well. This is not one of those albums you memorize quickly and thus it retains its excitement and its newness with each listen. It has a distinct avant-garde feel to it, more so than some of its peers. They do mix clever musical surprises but it never gets outright silly or juvenile, and while things do seem chaotic I have the feeling that the albums excursions were not only planned but agonized over. Nothing sounds like filler here and that's one of my benchmarks of a great album. Classical elements are mixed with rock and jazzy passages, acoustic instruments are mixed with electric seamlessly, vocals sections balance well with the instrumental ones. The playing is very capable but not flaunted for ego. The keyboards are prevalent and perfect here, the vocals are warm and passionate, and the quality guitars/bass/drums are accented by touches of flute, sax, and hand percussion. I love how the keyboards are layered on the first track, you have some in the foreground with these soft misty ones slowly rising and falling in the background.

Compared to some of the English heavy hitters and the top Italian acts like PFM, Orme, and Banco, this album may be less sophisticated in some ways and have lower sound quality due to the lower budgets. But what it lacks in those areas it makes up for in my view by being far more charming, sentimental, and intimate. In that way I would compare it to the splendid Apoteosi album. While not perfect, I find the sound to be adequate and definitely good enough not to detract from my enjoyment.

Keyboardist Massimo Parretti gives a nice interview in the CD booklet where he lists some of the bands influences as side B of Abbey Road, Jesus Christ Superstar, Debussy, Ravel, Stravinski, Varese, Santana, Chicago, ELP, Floyd, Tull, Genesis, The Who, Joe Cocker, Crimson, and APP. He also lets fly with a colorful and scathing review of the music industry from the mid 80s on and what he sees as the dismal quality of what was fed to the public.

Quite recommended to any lovers of adventurous classic symphonic music and absolutely essential to anyone putting together an Italian genre collection. The Vinyl Magic mini-lp sleeve CD reissue is a beauty with good sound and a nice booklet including the lyrics, some artwork, and the Parretti interview which is printed in Italian and English. Get the remastered version and play it loud many times. You will fall in love!

Who are these guys? What are they doing in my living-room and singing to me? Why these tunes and melodies are taking me into a dream? Many questions, million answers. I don't mind, I don't care, I'm simply stunned or better musically stoned! Is there a better addiction than this? ALUSA FALLAX, never heard of them until a couple of years ago; "Intorno Alla Mia Criativa Educazione", their lonely shot, is a winner; all tracks are fair to optimum and band member's musicianship and their creative education respond for the blatant excellence, they also compensate the poor production and misleading cover - something to be fixed in later re-issues, even keeping the original motif.

No filler here, ladies and gentlemen, even the odd parts have their place into the concept. Yes, this is a conceptual album and the way songs are linked gives you that clear feeling since the first hearing. The work is symphonic but mixed with a juicy share of peninsular folk, bits of ethnic sounds from different parts, all powdered with jazz, erudite, space/psych and even experimental tints - there's a flair of recent stuff as if "Intorno." was recorded just in the past year. Vocals, not abusive, are in Italian and singer voice while not a jewel to be admired fits well inside the theme and the band/album proposition. Ah, and some pieces are really catchy!

'Soliloquio' opens fairly the album with its blend of Mediterranean & Caribbean chords soon replaced by noticeable synth and guitar sounds responsible for the progressive ambience that will permeate this work until the end. 'Non fatemi caso' is severe, sober and shady; piano and flute own the track but vocals are great too and the bass line is superb. The title-track that segues maintains the high-pitched atmosphere and again backed by emotional flute and piano chords. 'Fuori di me, dentro di me' brings the sorrowful dosing and where the native folk tunes appear more clearly, even if the singer over-acts in a manner more than casual.

'Riflessioni al tramonto' displays lighter colors with its apparent uplifting melody and where influences from TULL to PFM and ORME can be perceived. The short 'Il peso della tradizione' shows a certain sarcastic climate provided by keyboards and a vivid flute action just preparing the terrain for the exuberant 'Carta carbone', one of the album's peaks - ethnic percussion adds a vital power to the song, completed by fine vocals and significant organ playing. 'Perche ho venduto il mio sangue' is an odd spoken-poem which makes sense only amid the concept proposed; sound effects are annoying but reasoning.

The last part of "Intorno." starts with the unique 'Per iniziare una vita', another great moment here and where the dream-like environment catches the hearer entirely. The frantic 'È oggi' makes you descend from the ethereal pedestal to the earthy crudeness and this sentiment remains along the rocky & jazzy 'È cosi poco quell conosco'. Closing tracks, 'Ciò che nasce con me' and 'Splendida sensazione', do the story summary, ranging the sound of their musical bouquet from gorgeous and bucolic to daring and passionate. The last harmonies from this work, a seasoning of mellotron and choir, are unforgettable.

All in all we face a magnum opus, although we have to admit the grievous part that ALUSA FALLAX did not issue a following struggle to eventually amuse the listeners. Anyway this sole project goes to the pinnacle: a masterpiece of progressive music.

I was expecting a lot more from this album, having read the rave reviews.

There are of course some jewels on this work, but not plenty. The first one is the beautiful "Non Fatemi Caso". Vocals are extremely dense and wonderful. Perfectly in-line with a fantastic keyboards play. A very nice melody, so sweet but severe at the same time. An excellent song.

The band remains in the symph genre with the instrumental "Intorno Alla Mia Cattiva Educazione" which is a bit naïve; almost classical for most of it, it turns into the jazzy territory for the finale. I rather prefer the music of "Alusa Fallax" while they stick to the symph genre.

Like "Fuori Di Me Dentro Di Me" which again features the great Duty Circla on the vocals. This man has a gift to transmit his passion (even if I don't speak Italian, I can feel it). He can almost be compared to the great ones of the genre (Francesco from Banco, for instance).

Some Tull influences are to be noticed during the intro of "Riflessioni Al Tramonto" (flute of course). It is another (short) passionate song which could have been developed a little more. It stops abruptly while an interesting sax solo was starting.

If ever you are looking to one blunder, you'll get it under the form of "Perchè Ho Venduto Il Mio Sangue". A short recitation with improvised background noises. Forget about this one and fully appreciate the more optimistic "Per Iniziare Una Vita".

I have the impression that during "Cio Che Nasce Con Me", Duty Circla seems to force his hoarse vocal style a bit too much (as if he was trying to emulate Joe Cocker). Still, its melody is captivating even if the chorus sounds a bit childish.

The second source of inspiration of the band is jazz music. The opener "Soliloquio" as well as "Il Peso Delle Tradizioni" are not my cup of tea. I can't help, I'm not really into this style of music. Although "Carta Carbone" also flirts with it, the combination of good percussions, flute and vocals are providing some fine elements to this track.

"E Oggi" has definite links with VDGG. Oppressive and dark music, somewhat chaotic. Lots of different instruments holds the leading role each at their time which leads to the feeling of a certain lack in cohesion. This is even more evident during the intro of "E Cosi Poco Quel Che Conosco". The band tries to rock but they are not convincing in this role. A weak and noisy song.

The closing number is a bit of a combination of jazz, harder elements and sweet Italian symph. Beautiful fluting again, which adds a lot of charm and lightness. Since this song is a bit longer (almost six minutes), it is more varied and it would have interesting to see the band investigating more into longer and more complex songs in their next album.

But there won't be any since the history of "Alusa Fallax" starts and stops with this good album. Three stars.

Like plenty of body blows, this album will hit you out.

First time I listened to the work, I guessed Alusa Fallax was well-skilled members' group. Exactly, I hear their history was long (over 10 years?). Hmm, they could do well-matured play because of that. Each of the Facciata A and B can be thought as one song or suite. Particularly as the Facciata A's suite, I've heard and felt the music style or melody of this band didn't have a flavour as lots of rough and rampant Italian progressive rock bands. Of course, the wave and stream of the song(s) is Italian I can say, but this is well- arranged or united I always feel. However, the Facciata B is darker than A, and more aggressive and violent...wow, lump of Italian flavour! You can't understand this work well once you listen to, but again and again your contacts with this album will let you drop to the Alusa's heaven (or hell?). :P

Me, too. Repeat of listening is very important to realize Alusa's world. Good job I can give 4 stars.

In the part of the influence by the music that Massimo Parretti that took charge of the leader of this band made remarks on, there might be a little unexpected impression. If the music that this Alusa Fallax did is considered, the influence from the band of Prog Rock of Britain will be an album of the Beatles and be one especially masterpiece from the flow and construction from which Prog Rock of Italy boasts as a result to follow to some degree and to consider.

This album is not music made up of the activity of about ten years after they debut. The expression of overwhelming music of this album can be counted as one historical work made at the term of growth of Prog Rock of Italy.

Alusa Fallax has been formed in Milan in 1969. The band might have been constructing the form of directionality and the expression concerning some music as a guess. The flow that reflects the form by the classical music that leader's Massimo Parretti originally has in this album will be able to be caught enough if it listens to this album.

Or, the fact to make the element of the opera and the play that this only album that they announced started doing as a stage of the plan a purpose as a concept. All concepts are united as for the album and the tune is connected attended with the form of the short piece collection.

A lot of bands that supported the dawn of Prog Rock of Italy of the 70's and the market might certainly have had the influence concerning the music character of another country. It is also true for Prog Rock of Italy to contemplate the activity in an overseas market in the latter half of the 70's and to have introduced lyrics in English. And, each band has established the original music that is as for Prog Rock of a lot of Italy. The culture and the blood of Italy might have progressed native attended with an indeed original melody that is. However, the method of expressing this album gives the impression of special further in influencing and having followed other music characters.

Original music that is that band of Prog Rock of Italy of the 70's was doing. This band has boldly introduced the sound with diversity into the part in close relation to a native base. Elements of a few Jazz Rock with flavor of symphonic in close relation to element of classics, wind instrument, and guitar. Or, the element of the avant-garde expressed by the tune. These are surely expressed in the content of this album with the concept.

They are having them announce two singles EP before this album is announced. The plan of this album might already have been constructed as an idea the guess perhaps. However, it might be a little difficult to hear of the content of two singles as a sound source. And, because it is a sound source of the phantom, the existence of the material said that the recording will end as 2nd album might never have the details between their fans.

However, the good element that can be felt in the music character of Prog Rock of Italy of the 70's is almost included in this album that they only announced. A lot of Prog rock of Italy that does the music derived from the element, Beat Rock, and psychedelic of symphonic and Jazz Rock exists. Music whom Alusa Fallax did is having it absorb and express various Music's in the technical respect elements. The composition developed one after another attended with the shape along the concept projects overwhelmingly. There might be diversity and construction that cannot be expressed as Prog Rock of simple Italy. Or, the part of an aggressive melody and lyrical makes it unite completely and express.

Emotional song of rough Vocalist. Establishment of sound of band by Cirla brother, decision, and expression. Expression and leadership ability including element of classics by Massimo Parretti. This album projects completely in the history of Prog Rock of Italy. All the cultures and the bloods of Italy might be blocked in this album.

The flute in close relation to the percussion instrument that constructs a light rhythm of five rhythms twines round "Soliloquio" the element of lyrical. Coming in succession of guitar in close relation to sound of keyboard with originality. Flow of Riff of symphonic and aggressive guitar. It starts anticipating as a start of the album.

The song twines from Intro of the synthesizer to construct the sound of "Non Fatemi Caso" strings with a gentle piano melody. Song emotionally expressed. Part of unison of guitar and flute. The melody is expressed attended with the part of lyrical. The expression of feelings of Prog Rock of Italy is exactly blocked.

"Intorno Alla Mia Cattiva Educazione" rushes into a classic complete element and the element of the baroque from the part of aggressive Riff. The flow that returns to ensemble and the theme of the flute that gives the impression of the indoor music is complete.

In "Fuori Di Me and Dentro Di Me", the melody of Horn and the synthesizer is features. And, development and the sound with diversity the part of Folk by acoustic twining are constructed.

The melody of an aggressive flute and the guitar is taken an active part to "Riflessioni Al Tramonto". The rhythm of five rhythms is made a base and the performance is expressed emotionally. And, the tune constructs a complete melody further accompanied by the chorus. Melody of guitar and Sax with elements of a few Jazz Rock. And, Coda by the melody of the transparency of Prog Rock of Italy and opening is perfect.

In "Il Peso Delle Tradizioni", an original melody of aggressive Intro and the guitar of the synthesizer and the flute is features. It advances attended with the dash feeling. The performance with the part of the hunting is a little suitable for the tune well, too. Various musical instruments are intertwined and it progresses complexly.

As for "Carta Carbone", the obbligato of the organ twines round the rhythm of a little Latin well. The song, the flute, and the percussion instrument emotionally expressed give a good flow. The tune shifts to the part where Rock from a native part to Britain that is more elegant attended with the element of classics is reminiscent.

As for "Perche Ho Venduto Il Mio Sangue", some an atonal heavy sounds twine round the part of talking. An original board starts from this tune as B Side LP. It might be exactly effective with development that expands the expression of the album further as an album to which the concept is united.

"Per Iniziare Una Vita" is a tune where Folk exists together to the element of the baroque. An acoustic part and the part of complete lyrical give the peaceful image. Of course, the synthesizer and the wind instrument also contribute to the tune.

"E Oggi" is a tune to which Sax and the organ are taken an active part. In the tune, a part the melody and rhythm enchantments is features. The melody of "E Cosi Poco Quel Che Conosco" that starts next during this tune has already appeared. Sax that gives melody of hunting. Aggressive ensemble has a good flow.

"E Cosi Poco Quel Che Conosco" is a melody of Sax and the organ to get on a complete dash feeling. Or, Vocal emotionally sung is expressed. Aggressive expression of guitar. These compositions are expressed well. There might be an element of overall and intensely advanced Jazz Rock. Especially, the solution by Chord in the part of Coda is perfect.

"Cio Che Nasce Con Me" has perfect lyrical. Piano progress of Chord and obbligato of flute. Expression of Vocal grandly sung. Unison of guitar and song. The melody where only Prog Rock of Italy can be expressed is blocked.

As for "Splendida Sensazione", following classic music with the piano and the flute is given. In addition, the guitar and the synthesizer twine and the tune shifts to a grand part. Flow of element of symphonic and melody of solemnity. The tune is done suitable for the end of the album and solemnly.

The band is dissolving as a result in 1979. And, this studio album that had been only announced was always talked about as their materials. This album of them might project in the work that the band of Prog Rock of a lot of Italy announced. The element of Prog Rock of Italy of the 70's is almost blocked in this album.

I must feel feelings and the blood of Prog Rock of Italy.

(I've just lost my review due to bad CTRL+C / CTRL+V accident, so this is my recreation:) Indeed, yet another great band coming from extremely prolific RPI scene (but if you consider how big Italy is, it's not that strange at all. It was almost as big as UK in 70s), you can say that. And it would be true argument, as bands from this genre tends to be similarly sounding for people "outside" of RPI strong fanbase (experts), but it's not a bad thing in my opinion, as long as there is "soul" in the recording, elements that I love and some pleasing minor things.

So OK, it's another one-shot band whose album sounds very consistent (except odd, spoken piece Perche Ho Venduto il Mio Sangue which gives me nothing but headache and puzzled state of mind, completely irrelevant song for me, but it's not proper song anyway) and song that I like least would probably E Cosi Poco Quel Che Conosco (I like Heavy, I like jazzy saxophones, but not in this combination), but the good side, songs I like are almost all others - Per Iniziare una Vita (with perfect organ intro reminding me good old DOS game Legend of Kyrandia a little bit), two last tracks that are so similar that I take them as one (except the very last one has better ending. After all, it's end on high note). Flute improves it all, as flutes usually do, when used in this gentle, subtle manner.

5(-), yeah.

Alusa Fallax were formed in Milan in 1969 as a "beat band". In the early seventies they turned to progressive and in 1974 they released an interesting debut album, "Intorno alla mia cattiva educazione" (About my bad education). On it the line up features Agusto "Duty" Cirla (vocals, drums, recorder), Guido Gabet (guitar, vocals), Massimo Parretti (keyboards), Mario Cirla (flute, sax, French horn, vocals) and Guido Cirla (bass, vocals). According to an interview with Massimo Parretti on the site italianprog.com, this work "was in fact conceived as an opera, or, better, as a concert arranged into scenes, and not as an LP". The subject matter is the criticism against a hard and strict upbringing and lyrics tell the story of a boy who tries to change his way of life. The band used to have a strong theatrical approach on stage where the main character of the story was represented by a puppet that the members of the band used to manipulate in turn during the show. The music ranges many sources of inspiration, from Italian "cantautori" like Fabrizio De Andrè and Gino Paoli to prog bands like BMS, PFM and Focus, from classical to Inti Illimani. In my opinion, the mix is not always convincing since some "quotes" are too evident and, despite the good musicianship and some excellent ideas, every now and again the final result sounds too derivative.

The opener "Soliloquio" (Soliloquy) is a short instrumental featuring a good flute work and the feeling of an "evolution in progress". It leads to the evocative and melodic "Non fatemi caso (Do not mind me). "I will keep on walking / Defeating the shadows, losing my soul / Come with me... Nobody is like me / I will try to change my skin / I will do all the necessary to hide myself... I will destroy time and boredom / Without trembling, without asking / I will do it!".

"Intorno alla mia cattiva educazione" (About my bad education) is a beautiful instrumental full of classical suggestions that leads to "Fuori di me, dentro di me" (Outside of me, inside of me) where the "heavy wheel of time" keeps on spinning around hidden thoughts... "If only for once could I get rid of my false attitude / I could live into reality / It's hard to believe / That you don't know what people think about me...".

On "Riflessioni al tramonto" (Reflections at sundown) flute echoes coming out from "the house of a king" and soaring light melodic lines draw dreamy reflections on a beach in front of the sea at sundown... "All around here there is light / In the hour when sun and ocean join like two lips... I'm looking for a dream and a moment / Among the dark rocks in front of the glittering light of a violent sun / Staring at the sea...".

The mood suddenly changes on the next short instrumental "Il peso delle tradizioni" (The weight of traditions), frenzy and in some way dark. It leads to "Carta carbone" (Carbon paper), where music takes a long "Via Crucis" leading through a dangerous path... "Time becomes a discrete instrument as well / Beloved supporter of complicity / It will never revolt... The wind sweeps away the useless footsteps / Of a vital emptiness that lies outside me... I will be the only fair judge...". An explosion concludes the side A of the album, symbolizing the breakthrough from inhibitions and the beginning of a new life.

The first track of the second part, "Perché ho venduto il mio sangue" (Why did I sell my blood) features recitative vocals that could remind of Demetrio Stratos. The weight of traditions has gone and a new life begins with its burden of doubts and questions... "Why did I sell my blood? / Who are the owners of my hands, of my incertitude? What to do now?... There's no doubt about it, my life has changed / I've changed my skin, friendships, hatred... / The world is rising as it was living in me / I close my eyes and begin to live...". Next track "Per iniziare una vita" (To begin a life) is soft and melancholic, doubts are still hanging on... "How could you still think / To be empty inside... You are still trying to avoid the judgement of people / You don't realize that you have changed...". The second part of this track "quote" a beautiful song by Violeta Parra that was interpreted by Inti_Illimani in the early seventies, "Run Run se fué pa'l Norte".

"E' oggi (It's today)" is a short instrumental with a jazzy touch that leads to the dramatic "E' così poco quel che conosco" (What I know is so little). It's not easy to get rid of your past, there are so many troubles and struggles to overcome the beliefs of people who are still prisoners of the common moral... "I've been wondering so long / About how to find the right way / I can't always look back to yesterday, no!... I've always hoped to get some help from Heaven / But there's no saint for me... I never want back what I've forsworn in you...". The atmosphere is more relaxed on the following "Ciò che nasce in me" (What is coming to life in me), a dreamy and melodic piece where optimism eventually prevails leading to a happy end where the protagonist discovers that he's not the only one who made the choice to change his life. The fear to be lonely forever slowly fades away... "I've just read into your silence what do you think about me... We are here tonight in this haze... Before me with you, winners and losers... I thought I would never do it / To be true / To be alive / To be like I'm now...". The final track "Splendida sensazione" (Wonderful sensation) tries to describe in music this optimistic feeling celebrating the new freedom with a dreamy finale.

Alusa Fallax - Intorno Alla Mia Cattiva Educazione (1974)

Journey into RPI land continues with Alusa Fallax' sole concept album. This Italian band has a lot of influences of Le Orme, ELP and perhaps some Schizoid Man King Crimson. Alusa Fallax plays symphonic (slightly eclectic) progressive rock with many instrumental passages and compositions that are interwoven in each other. There are many instrumental passages and a lot of good melodic song-parts. The vocals are low and expressive, as can be expected from our beloved Italian proggers. The band uses the symphonic equipment (moog en mellotron), some flute, piano, bass, drums and electric and acoustic guitars.The guitarist is actually very good. The compositions and songs are good, but I can't say the band is innovative.

It had become clear to me now that Alusa Fallax has great melodic skills, bringing us melodies that really work. Furthermore the band has a brave progressive spirit, playing almost an eclectic style of changing rhythms and themes. Good ideas are plentiful, but I'm mainly attracted by the many melodic parts of the music.

Now, from this point I've been very positive, but this album has some negative aspects too. The recording is not too good, resulting in a listening experience that could have been way more spacious instead of this dense sound. I wished they would have had a more professional recording. Furthermore does the band have some typical RPI amateurish features like slightly out of pitch arrangements and rushed instrumental passages that could have been played more precise. The vocals seem to benefit from this setting, for they sound authentic.

It is important to notice that my rating is based on the music only, because I can't rate the lyrics and the concept.

Conclusion. Yet another enjoyable Italian one shot wonder. With it's relatively long 44 minutes of music this is an excellent addition to fans of the RPI genre. The recording is my only real complaint, but these fine melodies and brave instrumental passages compensate. I can go with a small four star rating here.

Alusa Fallax put out a couple of singles in 1969 - neither of which I have heard - but didn't get a chance to put out an album until 1974, once the Italian prog boom had kicked in. It's actually rather a shame that the album got lost in the wake of the flood of RPI albums in a comparative vein which had preceded it, since unlike many one-album-wonder bands the group had been formed well before the explosion in the Italian prog scene, and yet seems to have failed to find much more success than bands which were thrown together a mere 3

It's particularly sad because the album itself is really quite good; it's the usual melange of early Jethro Tull and Trespass-era Genesis, of course; the flute playing recalls Tull, the acoustic guitar recalls Genesis, the singer is passable and the compositions are rather enchanting. What makes it a bit more compelling than typical efforts in this field is the enthralling emotional crescendos the music reaches, the band showing a masterful command of mood. A decent debut, which really cried out for a followup to truly distil and crystallise the band's sound - but it was not to be. A shame.

I am lucky that finally i had a chance to listen to this album by Alus Fallax. I have been a longtime fan of Italian prog as most of them produced really good quality of music especially when they use Italian language. To me, Italian language is quite prog naturally as it sounds and it merges beautifully with symphonic kind of music. This album proves it really well - not only the language but also the stye of music.

Ever since I listened to the opening track that sounds to me like an overture of the album, I have enjoyed the album in its entirety because the opening track represents an excellent stage setting for the whole listening pleasure of the album. I cannot describe it really well the music but one thing for sure the melody and its nuances created stir my emotion already. Even from the opening track it suffices to say that it's gonna be a good stream of music. My prediction proved to be right as the next track and the rest really blew me away and I was deeply engaged with the music until the final track.

The music is actually blending the traditional kind of melody, I believe, combined nicely with textures and nuances that create wonderful listening experience. Yes there is no heavy part as most segments are basically mellow with memorable melody. The interaction of one instrument into another has created excellent harmonies that flow smoothly from track to track, segment to segment. You will be surprised also by the good work of flute and sax throughout the album. That's good enough to say the symphonic element of the music. Even though the tempo does not change abruptly but there are changes of style as the music moves. One final comment in its composition is the structural integrity of the album that sounds really cohesive and it sounds like a one track overall.

It's really an excellent addition to any prog music collection. It's a vintage album and it's really worth collecting it. Keep on proggin' ...!

Peace on earth and mercy mild - GW

Alusa Fallax were born as an expanded version of the group Gli Adelfi in 1969.They were based in Milan, led by guitarist/singer Guido Gabet and keyboardist Massimo Parretti along with three brothers, Augusto (vocals/drums), Mario (wind instruments,vocals) and Guido Cirla (bass).They released two singles in 1969 and became a great support live group in early-70's.Their time though came in 1974, when they released their debut ''Intorno alla mia cattiva educazione'' on Fonit Label.

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.

Although the Italian band ALUSA FALLAX had formed in 1969 and stayed together for ten whole years, they only managed to release this one full album in 1974, however they did release a couple of less progressive singles a few years before. INTORNO ALLA MIA CATTIVA EDUCAZIONE (which means "about my bad education" is one spectacular one shot surprise from this band from Milan. Originally intended to be an opera of some sort, it evolved into a powerhouse of symphonic progressive rock with as many influences as time signature changes. They beauty of this album is that despite all of the complexities on board, it is first and foremost the magnificent melodies and hooks that are nurtured and placed on their pedestals and treated like royalty. This isn't one of those albums that takes countless listens to appreciate. It has the pop sensibilities to hook you instantly and the progginess to keep you coming back for more!

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

This 1970s original has been on my radar a while as a supposed representative of the more melodic and romantic side of RPI, which, I might add, is already a relatively melodic and romantic branch of progressive rock. While I wasn't as impressed initially as I had been with a few others, like CELESTE, LOCANDA DELLA FATE and SENSITIVA IMMAGINE, ALUSA FALLAX nonetheless could be compared to all 3 similarly short lived bands and might even win the battle, an inappropriate analogy since all are lovers not fighters.

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.

Is it me or the artwork looks like a kid's board game?!

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?!

A good, but not great work in Italian progressive music, Alusa Fallax were yet another one and done Italian prog band.

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