Alusa Fallax -

Alusa Fallax was an Italian symphonic-rock band that released two 1969 singles and the 1974 album Intorno alla mia Cattiva Educazione.

Members: Augusto “Duty” Cirla (vocals, drums, recorder), Guido Gabet (guitar, vocals), Massimo Parretti (keyboards), Mario Cirla (flute, saxophone, French horn, vocals), Guido Cirla (bass, vocals)

Background

Alusa Fallax formed in Milan in 1969 under the initiative of Massimo Parretti, a classically trained pianist who studied for conservatory entrance and worked as an assistant arrangers for Augusto Martelli.

That year, Parretti received a commission to write a song based on Cavalleria Rusticana, the 1890 one-act opera by libretto Pietro Mascagni (1863–1945). He composed a Procol Harum–inspired piece with an outside lyricist. Needing a band to perform the song, Parretti turned to his schoolmate Guido Gabet, a guitarist and singer with the local beat group Gli Adelfi, which also included three Cirla brothers: Augusto Cirla (drums, vocals, recorder), Guido Cirla (bass, vocals), and Mario Cirla (flute, sax, French horn, vocals).

Parretti was impressed with their cohesion and enthusiasm, and after replacing the group’s keyboardist—whose technical limitations surfaced during rehearsals—he formally joined, and the five adopted the new name Alusa Fallax, chosen for its mysterious and evocative sound.

The resulting debut single, “Dedicato a chi amo” / “Charleston,” appeared in 1969 on the West Side label and sold modestly, with 5,000 copies distributed primarily in Puglia. Later that year, they issued a second West Side single: “Tutto passa” / “Cade una stella.” One member—likely Guido Gabet, though unconfirmed—released a solo single under the moniker Guido degli Alusa Fallax, titled “Guardarti negli occhi.”

A. “Dedicato a Chi Amo” [Dedicated to Those I Love]
B. “Charleston”

A. “Tutto Passa” [Everything Passes]
B. “Cade una Stella” [A Star Falls]

During this early period, the band played frequent live shows under the management of Gianni Fonio of Novara. Their repertoire combined beat-era dance music with more ambitious material. These formative years sharpened their performance instincts and helped develop a hybrid style rooted in classical structure, complex rhythms, and theatrical presentation.

Their live popularity grew throughout northern Italy, and by 1973 they performed original material at festivals in Rome and Naples, including early segments of their future album-length work. These appearances attracted attention from Fonit Cetra, which signed the band for a full-length release.

Intorno alla mia Cattiva Educazione

Alusa Fallax released their long-awaited album, Intorno alla mia Cattiva Educazione, in 1974 on Fonit.

They conceived the album as a concert-opera, performed in sequence with theatrical staging and a puppet protagonist. The story dramatizes the psychological rebellion of a young person against a repressive upbringing.

Massimo Parretti commands an arsenal of piano, organ, harpsichord, and ARP synthesizer. He co-composed the suite with reedist Mario Cirla (flute, tenor/alto sax). Guido Gabet plays electric and acoustic guitar, anchored by Mario’s brothers: bassist Guido Cirla and singer/drummer Augusto “Duty” Cirla, who multi-tasks on bells, recorder, and sundry percussion.

Side A presents the protagonist’s repressed phase through formal, classically styled arrangements in 5/4 and 7/4, progressing toward a psychological rupture at the end of “Carta Carbone.” Side B portrays the ensuing personal liberation through darker, more fragmented structures. Transitions are tightly woven, with overlapping motifs and rhythmic intercuts that bridge tracks seamlessly. Layered keyboard textures reinforce the dramatic arc in combination with acoustic passages and wind flourishes. They mirrored the puppet character’s presence on stage with coordinated lighting and choreography, creating an immersive theatrical experience.

A1. “Soliloquio” [Soliloquy] (3:00) — instrumental opener centered on congas, flute, and pulsing bass; establishes the five-beat motif that recurs in later tracks.
A2. “Non Fatemi Caso” [Don’t Mind Me] (4:30) — piano-led ballad with shifting intensity; lyrics reflect alienation and resolve to transform.
A3. “Intorno Alla Mia Cattiva Educazione” [About My Bad Upbringing] (4:10) — instrumental title track with alternating classical and jazz phrasing; introduces the album’s central harmonic themes.
A4. “Fuori Di Me, Dentro Di Me” [Outside of Me, Inside of Me] (3:02) — alternating acoustic and electric textures mirror the protagonist’s internal conflict.
A5. “Riflessioni Al Tramonto” [Reflections at Sunset] (3:05) — flute-led reflection on nature and self; ends with a saxophone-led fade into solemnity.
A6. “Il Peso Delle Tradizioni” [The Weight of Traditions] (1:40) — fast, aggressive ensemble passage symbolizing societal pressure; notable for flute and synth dialogue.
A7. “Carta Carbone” [Carbon Paper] (3:36) — closes Side A with Latin rhythms and a percussive climax; ends in an explosive break signifying rebellion.

B1. “Perché Ho Venduto Il Mio Sangue” [Why I Sold My Blood] (1:45) — spoken monologue over noise collage; marks the beginning of transformation.
B2. “Per Iniziare Una Vita” [To Begin a Life] (4:20) — tender, flute-filled transition piece; includes a passage derived from “Run Run se fue pa’l norte” by Violeta Parra.
B3. “È Oggi” [It’s Today] (3:15) — dark, syncopated jam with flute and Hammond interplay; portrays chaotic awakening.
B4. “È Così Poco Quel Che Conosco” [So Little Is What I Know] (2:32) — urgent vocals over heavy rhythm section; saxophone processed with effects.
B5. “Ciò Che Nasce Con Me” [What Is Born With Me] (4:13) — uplifting resolution with flute and piano; lyrical themes of rebirth and shared understanding.
B6. “Splendida Sensazione” [Wonderful Sensation] (5:50) — grand finale in multiple movements; flute, acoustic guitar, and choral fadeout.

Alusa Fallax recorded the album with producer Gianni Fonio, who also managed the band’s touring activities in Novara and northern Italy.

They chose the cover, designed by a Milan-based studio named Eccetera…, for its resemblance to early First Communion catechism books. The illustration depicts a cloud-filled scene with trumpeting cherubs and a rainbow above, with the album title arched across the center and a small tuxedoed figure holding balloons at the bottom.

Intorno alla mia Cattiva Educazione appeared in a limited-edition of 5000 copies.

Postlude

Alusa Fallax proceeded on the live circuit and morphed into Blizzard for one final single before their 1979 disbandment.

Vinyl Magic reissued Cattiva Educazione on CD in the 1990s with full lyrics and a bilingual interview with Parretti. Despite its primitive production, the album draws comparisons to Jesus Christ Superstar for its narrative arc, theatrical coherence, and instrumental interplay.

Discography: