INTORNO ALLA MIA CATTIVA EDUCAZIONE

Not quite the masterpiece it's made out to be, but a strong entry from 1974 and required purchase for prog-heads. Alusa Fallax crafted a real suite, an album that flows from one piece to the next, rather than just a collection of songs. Some of the transitions are so seamless in fact, you don't realize when one track ends and the next begins. There are a few problems however, that may keep all but the most devoted progressive rock enthusiast from really becoming enveloped in Intorno Alla Mia Cattiva Educazione: The intense vocal style of Augusto Cirla; the seemingly lost concept about a puppet come to life and sheltered by his parents (?); and the frantic variety of influences and styles that nearly prevents the band from creating its own. Alusa Fallax did have style though, and their sole album has it in spades.

The flowing nature of the album reminds me of Metamorfosi's Inferno - another excellent Italian Prog gem from the year prior - although this is significantly more upbeat and ultimately the more rewarding of the two. Like Thick as A Brick, the only gap exists between the first and second sides of the LP (or tracks 7 and 8 for those in the digital realm). The album actually starts slow out of the gate, but my first light bulb moment comes thirty seconds into the title track. A simple yet proficient classical guitar melody sets the stage for good things to come. The nylon stringed guitar paired with dual flute harmonies is quite baroque and should please PFM aficionados. I especially love the fat analog synth touches at the end. "Fuori Di Me, Dentro Di Me" begins with a somewhat awkward transition, but here we have the first opportunity to hear Augusto Cirla really sing, and sing well he does. A very enthusiastic performance all the way around, which will continue to the end of side 1. Don't miss the crazy flute trills and double-articulations a minute into "Riflessioni Al Tramonto" - good stuff.

I could do without the explosion effect that separates the two sides as it always irks me and serves no purpose musically, but I guess for the sake of the story it makes sense. The second half is just as good as the first, maybe even a little better. I especially enjoy the french horn at the end of "Per Iniziare Una Vita." Maxophone would later use french horn to great effect on their only album. A clear Osanna influence can be heard in "E Cosi Poco Quel Che Conosco," with the saxophone being run through a harmonizer effect. Alusa Fallax was definitely not afraid to wear their heart on their sleeve, although it is not a detriment, but a testament to the music they clearly loved. The last two songs make that evident, as the album ends on a high note. It took me awhile to really get into this album, but I'm glad I did.