Matia Bazar -

Matia Bazar are an Italian pop group that released nine studio albums on Ariston between 1976 and 1985, then moved to CGD for the late-Eighties titles Melò and Red Corner. They had a 1983 No. 1 hit with “Vacanze Romane” from their seventh album, Tango, which launched their popular synthpop phase continued with Aristocratica and Melanchólia, the latter with their 1985 continental hit “Ti Sento.”

Members: Giancarlo Golzi (vocals, drums, 1975-2015), Piero Cassano (vocals, guitar, keyboards, 1975-81, 2000-15), Aldo Stellita (bass, vocals, 1975-98), Carlo Marrale (guitar, vocals, 1975-93), Antonella Ruggiero (vocals, 1975-89), Mauro Sabbione (keyboards, 1981-84), Sergio Cossu (keyboards, 1985-98), Laura Valente (vocals, 1991-98)

Background

Matia Bazar formed in Genoa in 1975 from a partnership between singer Antonella Ruggiero and former J.E.T. principals Piero Cassano and Aldo Stellita. Guitarist and singer Carlo Marrale followed from the same J.E.T. line. Cassano and Stellita came from the New Jet/J.E.T. sequence, which yielded the Durium album Fede, speranza, carità.

J.E.T. entered the 1973 Sanremo Music Festival with “Anikana-o,” then backed Ruggiero on her 1974 Ariston single “La strada del perdono,” credited to the pseudonym Matia, a colloquial term for madness. Paolo Siani, a Nuova Idea alumnus, occupied the drum chair for that single and the first Matia Bazar side, “Stasera che sera.” Drummer Giancarlo Golzi completed the five-piece after earlier work with Museo Rosenbach.

Matia Bazar 1

Matia Bazar released their self-titled debut album in March 1976 on Ariston.

The album collects their first Ariston singles with new album titles from the completed five-piece. “Per un’ora d’amore” and “Cavallo bianco” carry Belfiore lyric credits above the Cassano–Marrale–Stellita music team. Bruno Astesana and Paolo Siani remain tied to early material. Heredia adds alto saxophone, tenor saxophone, and flute to “Un domani sempre pieno di te.”

“Per un’ora d’amore” glides through a gentle Mediterranean phrase; Ruggiero holds the line with poised upper reach. “Stasera… che sera!” lingers in a tender, compact setting as Ruggiero lifts the upper phrase with effortless ease. “Cavallo bianco” unfolds from Marrale’s hushed prologue into group answers and Ruggiero’s high wordless flights, with guitar harmonics, piano touches, and dense synth under the ascent. “Io, Matia” curls through Spanish-angled instrumental figures and harmonica as Ruggiero threads wordless phrases through the piece.

A1. “Per un’ora d’amore” [For an Hour of Love] (3:58) – Belfiore–Stellita–Cassano–Marrale
A2. “Cavallo bianco” [White Horse] (4:55) – Belfiore–Stellita–Cassano–Marrale
A3. “Ma che giornata strana” [What a Strange Day] (4:45) – Stellita–Cassano–Marrale
A4. “Blue” (3:19) – Johnson–Stellita–Cassano–Marrale
A5. “Un domani sempre pieno di te” [A Tomorrow Always Full of You] (4:24) – Stellita–Cassano–Marrale

B1. “Stasera che sera” [Tonight, What a Night] (3:26) – Stellita–Cassano–Marrale
B2. “Suffering from Memories” (3:36) – Johnson–Stellita–Cassano–Marrale
B3. “Limericks” (3:44) – Rampello–Tortorella–Stellita–Cassano–Marrale
B4. “Io, Matia” [I, Matia] (3:15) – Stellita–Cassano
B5. “Gente d’ogni età” [People of Every Age] (6:54) – Stellita–Cassano–Marrale

Sessions occurred at Studi Ariston with Stellita and Cassano in the producer role and Roberto Di Muro Villicich as engineer. Di Muro Villicich was an Italian recording, mixing, and mastering engineer with earlier credits on prog-adjacent Ariston and Cramps titles by Nuova Idea, Aktuala, and Stormy Six.

In November 1975, Ariston issued “Per un’ora d’amore” (b/w “Cavallo bianco”). The label lifted “Che male fa” in 1976 (b/w “Un domani sempre pieno di te”). In February 1978, Ariston issued “…e dirsi ciao” (b/w “Ma che giornata strana”) after the group won the Sanremo Music Festival.

Gran Bazar

Matia Bazar released their second album, Gran Bazar, in 1977 on Ariston.

Gran Bazar pairs a live side with a studio side. Side A preserves a long medley from Picchio Rosso, Picchio, and Caravel, plus the Beatles cover “Yesterday.” Side B compiles singles and related titles from the first Ariston run. “La strada del perdono” restores the 1974 Ruggiero/J.E.T. side tied to Siani.

“Granbazar” revives earlier song cues over a live instrumental base, with Ruggiero’s wordless entries crossing the extended medley. “Noi…” returns to “Io, Matia” as a live instrumental reading. “Per un minuto e poi…” settles into smooth, familiar restraint as the main phrase extends across a measured band setting.

A1. “Gran Bazar” [Grand Bazaar] medley (10:03) – Stellita–Cassano–Marrale
a. “Stasera che sera” [Tonight, What a Night]
b. “Per un’ora d’amore” [For an Hour of Love]
c. “Cavallo bianco” [White Horse]
d. “Che male fa” [What Harm Does It Do]
A2. “Yesterday” (4:42) – Lennon–McCartney
A3. “Noi…” [Us…] (4:38) – Golzi–Stellita–Ruggiero–Cassano–Marrale

B1. “Che male fa” [What Harm Does It Do] (3:54) – Stellita–Cassano–Marrale
B2. “Per un minuto e poi…” [For a Minute and Then…] (5:44) – Stellita–Cassano–Marrale
B3. “Se…” [If…] (3:52) – Stellita–Cassano–Marrale
B4. “La strada del perdono” [The Road of Forgiveness] (4:04) – Stellita–Cassano–Marrale
B5. “Ma perché” [But Why] (3:23) – Stellita–Cassano–Marrale

Matia Bazar recorded the live side at three northern Italian venues: Picchio Rosso in Formigine, Picchio in Carpi, and Caravel in Mantova. Stellita and Cassano produced the album, with Matia Bazar credited for arrangements.

In March 1977, Ariston lifted “Ma perché” (b/w “Se…”). “Solo tu” followed (b/w “Per un minuto e poi…”) and reached No. 1 on the Italian singles chart. Gran Bazar reached No. 20 on the Italian album chart.

Semplicità

Matia Bazar released their third album, Semplicità, in 1978 on Ariston.

Semplicità restores a new all-studio program after the live/studio split of Gran Bazar. Golzi and Stellita wrote the lyrics for all ten titles. Ruggiero, Cassano, and Marrale wrote the music for the same program. Gianni Faré arranged the string and wind parts. The credit on “Ancora un po’ di te” reverses the usual Ruggiero–Golzi role pattern.

“Tu semplicità” glides through a plain, juke-box-scale arrangement; a direct phrase gives the song its streamlined finish.

A1. “Tu semplicità” [You, Simplicity] (4:14)
A2. “Soli… a volte insieme” [Alone… Sometimes Together] (4:44)
A3. “Accipicchia che nostalgia” [Goodness, What Nostalgia] (3:36)
A4. “Però che bello” [But How Beautiful] (4:01)
A5. “È così” [It’s Like That] (3:35)

B1. “Playboy” (3:57)
B2. “Ancora un po’ di te” [A Little More of You] (4:45)
B3. “Guarda un po’” [Just Look] (3:00)
B4. “È magia” [It’s Magic] (4:30)
B5. “Occhi grandi come il mare” [Eyes as Big as the Sea] (4:45)

Sessions occurred at Studi Ariston with Paolo Cattaneo, the Ariston producer behind the 1977/78 Matia Bazar singles “Solo tu” and “…e dirsi ciao” and late-Seventies Umberto Napolitano titles. Lino Castriotta engineered and mixed the album after mid-Seventies credits with Luciano Basso, Opus Avantra, and Nuova Idea. Faré wrote and directed the string and wind parts.

In 1978, Ariston issued “Tu semplicità” (b/w “È così”). In 1979, Ariston issued “Raggio di luna” (b/w “Però che bello”). Semplicità reached No. 12 on the Italian album chart.

Tournée

Matia Bazar released their fourth album, Tournée, in 1979 on Ariston.

Tournée contains eight titles credited to the full group. “Tram” and “Come un fiore” give each side an extended anchor. The album preserves the Cassano lineup before his studio-album exit.

“C’è tutto un mondo intorno” dialogues through Marrale, Cassano, and Ruggiero lines before Ruggiero lifts the final climb into a high, sustained finish.

A1. “Tram” (7:04)
A2. “Non è poi tanto male” [It’s Not So Bad After All] (3:41)
A3. “Ragazzo in blue jeans” [Boy in Blue Jeans] (5:20)
A4. “Per amare cosa vuoi” [What Do You Want to Love] (3:36)

B1. “C’è tutto un mondo intorno” [There’s a Whole World Around] (4:22)
B2. “Oggi per te” [Today for You] (4:25)
B3. “Come un fiore” [Like a Flower] (6:20)
B4. “Tutto bene – All Right” [All Well – All Right] (4:06)

Sessions proceeded for Ariston with Cattaneo, then also credited on Umberto Napolitano singles and the 1979 Umberto Napolitano album.

Ariston lifted “C’è tutto un mondo intorno” (b/w “Per amare cosa vuoi”). The label also paired a twelve-inch version with “Ragazzo in blue jeans,” “Tram,” and “Non è poi tanto male.” Tournée reached No. 18 on the Italian album chart.

Il tempo del sole

Matia Bazar released their fifth album, Il tempo del sole, in 1980 on Ariston.

Il tempo del sole is the last studio album from the Cassano lineup. Pinuccio Pirazzoli joins the arrangement credit. The album contains six group-written songs and three by Cassano and Stellita. “Se lei” omits Cassano from the music credit.

“Italian sinfonia” glides through a honeyed, juke-box-scale line. “Il tempo del sole” settles into the same direct manner, with a soft phrase shaped for an immediate song setting. “Non mi fermare” expands beyond that manner into a broader, multi-section sweep.

A1. “Il tempo del sole” [The Time of the Sun] (4:36)
A2. “Italian sinfonia” [Italian Symphony] (4:12)
A3. “Se lei” [If She] (3:58)
A4. “Senzaguai” [Without Trouble] (4:10) – Stellita–Cassano
A5. “Ti conosco bene” [I Know You Well] (4:08) – Stellita–Cassano

B1. “Una persona normale” [A Normal Person] (5:00) – Stellita–Cassano
B2. “Non mi fermare” [Don’t Stop Me] (5:20)
B3. “Mio bel Pierrot” [My Handsome Pierrot] (4:11)
B4. “Ricordi” [Memories] (5:58)

Sessions occurred at Studi Ariston and Studio Bach with Cattaneo in the producer role. The engineering credit joins Castriotta with Bach Studio soundman Nino Iorio and Ariston/Idea engineer Roberto Di Muro Villicich.

In 1980, Ariston issued “Italian sinfonia” (b/w “Non mi fermare”). “Il tempo del sole” followed (b/w “Mio bel Pierrot”). Il tempo del sole reached No. 10 on the Italian album chart.

Berlino, Parigi, Londra

Matia Bazar released their sixth album, Berlino, Parigi, Londra, in 1982 on Ariston.

Berlino, Parigi, Londra introduces keyboardist Mauro Sabbione after the Cassano exit. Cassano still supplies music for three Stellita lyric titles. The album includes “Lili Marleen” and an Italian adaptation of “Look at the Rain Fall” by Nick Laird-Clowes. Sabbione contributes “Zeta” and shares music with Marrale and Ruggiero on “Astra.”

“Lili Marleen” revisits the German wartime song inside the album’s electronic turn. “Fantasia” coils through sleek electronics, sirens, and a central keyboard solo. “Stella polare” lingers on a plaintive lament. “Fuori orario” careens through a city-night rush.

A1. “Lili Marleen” (3:10) – Leip–Schultze
A2. “Io ti voglio adesso” [I Want You Now] (5:02) – Stellita–Cassano
A3. “Passa la voglia (Look at the Rain Fall)” [The Desire Passes] (4:12) – Stellita–Laird-Clowes
A4. “Che canzone è” [What Song Is It] (4:15) – Stellita–Cassano
A5. “Fortuna” [Luck] (4:35) – Golzi–Stellita–Marrale–Ruggiero

B1. “Fantasia” [Fantasy] (4:19) – Golzi–Stellita–Marrale–Ruggiero
B2. “Stella polare” [Pole Star] (4:15) – Stellita–Cassano
B3. “Zeta” (1:45) – Sabbione
B4. “Fuori orario” [After Hours] (4:48) – Golzi–Stellita–Marrale–Ruggiero
B5. “Astra” (6:10) – Sabbione–Marrale–Ruggiero

Sessions occurred at Studi Ariston with Maurizio Salvadori, the Ariston production figure behind the post-Cassano Matia Bazar line. Pino Vicari mixed the album.

In 1982, Ariston issued “Fantasia” (b/w “Io ti voglio adesso”), then paired a twelve-inch “Fantasia” with “Lili Marleen.” In 1983, Seven Seas issued the Japan-only promo single “Il treno blu” (b/w “Il video sono io”).

Tango

Matia Bazar released their seventh album, Tango, in 1983 on Ariston.

Tango is the second and final Sabbione studio album. Roberto Colombo joins the production and arrangement credit. Stellita supplies most lyrics, with Marrale and Sabbione as the main music sources. Enzo Jannacci adds a spoken translation part to “Elettrochoc.”

“Vacanze Romane” glides through old-Rome nostalgia on a synthetic bed as Ruggiero holds the high line in restrained arcs. “Palestina” threads Middle Eastern phrasing through Unicef sample fragments and electronic bell accents. “Elettrochoc” races through an obsessive synth grid as Jannacci’s translator voice cuts across the psychiatric text. “Intellighenzia” flickers through synth-altered diction, keyboard chimes, and slower ambient spans.

“Il Video Sono Io” marches through a vocoder exchange and synthetic trumpet figures. “Scacco un po’ Matto” unspools through a doubled Ruggiero line and a long synthetic coda. “Tango Nel Fango” circles through a retro-fairground turn with TR-808 programming and vocoder figures. “I Bambini Di Poi” climbs on an octave lift toward a severe final phrase.

A1. “Vacanze romane” [Roman Holidays] (4:13) – Stellita–Marrale
A2. “Palestina” [Palestine] (4:16) – Stellita–Sabbione
A3. “Elettrochoc” [Electroshock] (4:49) – Stellita–Marrale
A4. “Intellighenzia” [Intelligentsia] (4:45) – Guzzetti–Stellita–Marrale–Ruggiero

B1. “Il video sono io” [I Am the Video] (3:54) – Stellita–Ruggiero
B2. “Scacco un po’ matto” [A Slightly Crazy Checkmate] (5:17) – Stellita–Marrale–Sabbione
B3. “Tango nel fango” [Tango in the Mud] (3:26) – Stellita–Marrale
B4. “I bambini di poi” [The Children Afterward] (5:11) – Stellita–Marrale–Sabbione

Sessions occurred for Ariston with Roberto Colombo as producer and arranger and Salvadori in the executive role. Colombo, the Ultima Spiaggia bassist–keyboardist behind Sfogatevi bestie and Botte da orbi, had moved into electronic pop production through Alberto Camerini titles such as Rock ’n’ Roll Robot and Sintonizzati Con Me. He added keyboards, synthesizers, and programmed electronic drums.

In February 1983, Ariston issued “Vacanze romane” (b/w “Palestina”). The single reached No. 1 on the Italian chart. “Elettrochoc” followed as a twelve-inch remix, while Seven Seas tied “Il video sono io” to the Japan-only “Il treno blu.” Tango reached No. 14 on the Italian album chart.

Aristocratica

Matia Bazar released their eighth album, Aristocratica, in 1984 on Ariston.

Aristocratica occupies the keyboard gap between Sabbione and Sergio Cossu. Colombo remains in the production and arrangement role. Cossu appears as a guest on “Logica attenuante” before his full membership. Garbo joins “Ultima volontà.” Massimo Luca adds acoustic guitar, and Riccardo Giagni appears on “Carmen.”

“Sulla Scia” spins through a gurgling synth bed, voice samples, and a rapid motorik pattern. “Carmen” steps through robot chirps and sci-fi march figures before the bridge opens into Mediterranean contours. “Ultima Volontà” drives a motorik pattern under Garbo’s answer and a Che Guevara speech fragment. “Milady” dissolves from a tzigane prelude into stagnant synth layers and Marrale’s shadowed reply.

“Aristocratica” glides through piano, strings, and synthetic rhythm under a neoromantic song line. “Mosca Helzapoppin” floats through lunar synth harmonies, liquid guitar figures, and a brief Howard Blake fragment. “Logica Attenuante” looms through programmed blocks, vocoder shadows, and Cossu’s synth solo. “Luci Al Neon” sinks into dark resonances with vocoder, Hammond, Unicef samples, and string arrangements.

A1. “Sulla scia” [In the Wake] (4:50) – Stellita–Guzzetti–Marrale
A2. “Carmen” (4:20) – Golzi–Ruggiero
A3. “Ultima volontà” [Last Will] (5:30) – Stellita–Marrale
A4. “Milady” (4:30) – Golzi–Stellita–Marrale

B1. “Aristocratica” [Aristocratic] (5:10) – Stellita–Marrale
B2. “Mosca Helzapoppin” [Moscow Helzapoppin] (5:10) – Golzi–Guzzetti–Marrale
B3. “Logica attenuante” [Mitigating Logic] (4:10) – Stellita–Cossu–Ruggiero
B4. “Luci al neon” [Neon Lights] (4:40) – Golzi–Marrale

Colombo produced and co-arranged Aristocratica with Matia Bazar, extending the electronic production method already fixed on Tango and the early-Eighties Alberto Camerini run.

In 1984, Ariston issued “Aristocratica” (b/w “Milady”). “Cercami ancora” appeared in Japan after the Tokyo World Popular Song Festival appearance.

Melanchólia

Matia Bazar released their ninth album, Melanchólia, in 1985 on Ariston.

Melanchólia is the first studio album with Cossu as a full member. Marrale and Cossu provide most music. Stellita remains the main lyricist. Serse May and Piero Cairo add programming. Saxophonists Rudy Trevisi and Jacopo Jacopetti appear on selected titles.

“Ti sento” ascends through a polished electronic base as Ruggiero carries the main cry into sustained upper notes. “Via col vento” winds through compact switchbacks and varied song motion. “Cose” hovers in retro haze before the track tightens into the firmer block that carries into “Da qui a…” “Da qui a…” extends that block through compact, varied turns.

“Fiumi di parole” rides a programmed machine pattern under Ruggiero’s shaped line. “Amami” circles through a hypnotic electronic pattern. “Angelina” lingers in a troubled love lament with a sarcastic backward glance at Mister Mandarino. “Souvenir” drifts through soft electronics and Paris-postcard imagery.

A1. “Ti sento” [I Feel You] (4:14) – Stellita–Marrale–Cossu
A2. “Via col vento” [Gone with the Wind] (4:52) – Guzzetti–Golzi–Marrale–Cossu
A3. “Cose” [Things] (4:58) – Stellita–Marrale–Ruggiero
A4. “Da qui a…” [From Here to…] (4:04) – Guzzetti–Stellita–Cossu

B1. “Fiumi di parole” [Rivers of Words] (4:08) – Golzi–Stellita–Marrale–Cossu
B2. “Amami” [Love Me] (4:06) – Stellita–Cossu–Marrale
B3. “Angelina” (4:51) – Stellita–Marrale–Ruggiero
B4. “Souvenir” (4:36) – Stellita–Cossu–Marrale

Sessions occurred at Maison Blanche in Modena with Celso Valli on the album balance, Roberto Colombo on “Souvenir,” and Salvadori in the executive role. Valli, a former Bulldog, Ping Pong, Azoto, and Tantra figure, entered the album from Italo-disco and Italian-pop arrangement work. Roberto Costa engineered and mixed the sessions amid 1984/86 credits with Lucio Dalla, Luca Carboni, Ron, and Stadio.

Melanchólia appeared in a Studio Convertino sleeve with photography by Fred Greissing, a Milan-based fashion, beauty, and portrait photographer also credited on late-Eighties editorials for L’Officiel and Donna Italia. Graphyche Magica 2000 handled the Italian jacket printing.

In 1985, Ariston issued “Souvenir” (b/w “Sulla scia”). “Ti sento” followed (b/w “Fiumi di parole”) and reached No. 2 on the Italian singles chart, No. 1 in Belgium, and No. 2 in the Netherlands. Melanchólia reached No. 5 in Italy, No. 4 in the Netherlands, and No. 23 in Sweden.

Melò

Matia Bazar released their tenth album, Melò, in 1987 on CGD.

Cossu holds most music credits on Melò, the second album by the Ruggiero–Marrale–Stellita–Golzi–Cossu lineup. The program includes the Thelonious Monk–Cootie Williams standard “‘Round Midnight” under the adapted title “Oggi è già domani… Intorno a mezzanotte.” Serse May adds programming. Paolo Gianolio adds guitar overdubs, and Jacopetti adds tenor saxophone.

“Noi” glides from its electronic intro into a clean modermist frame. “Mi manchi ancora” circles through hypnotic motion and syncopated traces. “Oggi è già domani… intorno a mezzanotte” folds “‘Round Midnight” into a late-night sung adaptation. “Aria” rides Ruggiero’s written rhythmic bed. “Grande piccolo mondo” loosens into earthier rhythm accents. “Vaghe stelle dell’Orsa” lingers in atmospheric lyricism as Cossu’s English answers pass behind Ruggiero.

A1. “Noi” [Us] (5:06) – Stellita–Cossu
A2. “Mi manchi ancora” [I Still Miss You] (5:25) – Stellita–Ruggiero–Cossu
A3. “Ai confini della realtà” [At the Edge of Reality] (4:20) – Guzzetti–Stellita–Cossu
A4. “Oggi è già domani… Intorno a mezzanotte (‘Round Midnight)” [Today Is Already Tomorrow… Around Midnight] (4:50) – Capelli–Stellita–Williams–Monk

B1. “Aria” [Air] (5:20) – Stellita–Ruggiero
B2. “In nome della luna piena” [In the Name of the Full Moon] (4:19) – Guzzetti–Stellita–Cossu
B3. “Grande piccolo mondo” [Great Little World] (4:33) – Stellita–Ruggiero–Cossu
B4. “Dieci piccoli indiani” [Ten Little Indians] (4:41) – Stellita–Cossu
B5. “Vaghe stelle dell’Orsa” [Faint Stars of the Bear] (3:46) – Stellita–Giagni–Cossu

Sessions occurred at Maison Blanche and Medicina, with “Dieci piccoli indiani” recorded at Chorus in Bologna. Valli produced the album after the “Ti sento” and Melanchólia sequence.

In 1987, CGD issued “Noi” (b/w “Ai confini della realtà”), then issued the twelve-inch “Life” remix with versions of “Noi.” In 1988, CGD issued “La prima stella della sera” (b/w “Mi manchi ancora”). Melò reached No. 5 in Italy and No. 68 in the Netherlands.

Red Corner

Matia Bazar released their eleventh album, Red Corner, in 1989 on CGD.

Red Corner is the last Matia Bazar studio album with Ruggiero. Marrale takes a larger singing role. The guest list expands with drummer Lele Melotti, bassist David Paton, guitarist David “Clem” Clempson, and singer–harmonica player Edoardo Bennato. Jacopetti appears on three titles, and Hugo Heredia returns on “Nell’era delle automobili.”

“Stringimi” rises through Marrale’s returning guitar line and Ruggiero’s widening crescendo. “Winnie” dims around Bennato’s harmonica in a twilight tone. “Cuba” pairs Ruggiero and Marrale in a duet with Marrale’s charango detail in the arrangement. “Besame” sways through retro, decadent tango echoes. “Caccia alle streghe” bites through a sardonic text and leaner band drive. “Nell’era delle automobili” slips into a jazz-styled miniature with an extended instrumental tail.

A1. “Stringimi” [Hold Me Tight] (5:18) – Stellita–Cossu
A2. “Se tu” [If You] (5:11) – Stellita–Marrale
A3. “Il mare” [The Sea] (4:20) – Guzzetti–Stellita–Cossu–Marrale
A4. “Winnie” (4:32) – Stellita–Cossu
A5. “Sentimentale” [Sentimental] (4:54) – Stellita–Marrale

B1. “Cuba” (5:08) – Stellita–Marrale
B2. “Cuore irlandese” [Irish Heart] (4:51) – Stellita–Cossu
B3. “Besame” [Kiss Me] (4:42) – Magni–Stellita–Marrale
B4. “Caccia alle streghe” [Witch Hunt] (5:00) – Stellita–Marrale
B5. “Nell’era delle automobili” [In the Age of Automobiles] (4:28) – Stellita–Marrale

Sessions occurred at Mulinetti Studio in Recco with Marco Canepa, whose concurrent credits include recording, mixing, and synthesizer programming on Paolo Conte (Aguaplano). Renato Cantele mixed Red Corner at Morning Studio with assistant Giorgio Prattella. Giamba Lizzori recorded overdubs at Morning Studio after preparation work at Marrakesh in Milan and Sergheij in Padua.

Red Corner appeared in graphics by Lapislapis Studio. The cover uses the Carlo Marrale photo “red corner,” a 1989 black-sea image, with additional pictures by Steffen Umsonst.

In 1989, CGD issued “Stringimi” (b/w “Il mare”). The single reached No. 14 on the Italian singles chart. Red Corner reached No. 3 on the Italian album chart.

Discography: