Felona e Sorona
(from Zarathustra's Revenge - A Tribute To Italian Progressive Rock Of The Seventies)
Mellow Records MMP 328 - 4 CD box set, December 1997
Mario Giammetti: lead & backing vocals, bass, acoustic and electric guitars, mandolin
Roberto Polcino: keyboards, programming
Rino Pastore: declamating voice, sadistic laugh, synth
Maria Giammetti: alto and soprano saxes (including ship's call and pig's slaughtering)
special guest Enzo Del Basso: drums
Recorded at Lady Music Studio on 25th April and 2nd May 1997.
Mario: "It was a really hard time for us. Salvatore had left us on the eve of this recording, which was proving to be the most ambitious piece to date. Felona e Sorona was, and still is, a classic of all time progressive, so it wasn't easy at all to find the way to do an original thing. Of course we had to arrange a synthesis, so the first step was Rino's choice of the parts from the original concept. He also mixed a bit the original chronology and slowly the song gained it's identity. We decided to record it in Cervinara (where we had recorded our first single 13 years before), which had become by then a professional (and expensive!) studio. Roberto learnt all the complicate keyboards parts and he sequenced a drum part on his keyboard. We assumed it was a simpler way to work, but we experienced instead huge problems in trasferring the programmed part on the studio machines! We had two studio session days, and were forced to call a session player. Enzo Del Basso is an excellent drummer and he shows it, but on the other hand he didn't know the song properly, so there are a couple of slight imperfections in an overall strong performance. When I arrived in the afternoon to record my bass parts, I discovered a couple of pleasant surprises: first, Rino's incredible spoken introduction; second, that the Ritorno al nulla section had been transformed by Enzo in a sort of punk track! This turned to become one the most original parts: I changed my bass playing hitting continuous notes, and Maria did a stunning performance with her sax, which we called the 'slaughtering pig' part! Another section I am very fond of is Ritratto di un mattino, where not only I played two electric guitar parts, but also a simple mandolin line. The mandolin was lent us by a musician who played with Roberto in another group, a folk traditional music band. And Le Orme fans can recognize of course excerpts from Collage at the end of the song. 14 minutes!"