Unveiling the Obscura: A Deep Dive into Gianfranco Reverberi’s ‘Rivelazioni’
Gianfranco Reverberi’s ‘Rivelazioni Di Uno Psichiatra Sul Mondo Perverso Del Sesso’ is like unearthing a buried treasure from Italy’s weirdest vaults, slated for release on November 22, 2024, via Four Flies Records.
The soundtrack, originally made for a lurid 1970s psych-thriller, hits with a wild mix of drum machines, synths, and spaced-out flutes that feels more like an underground experiment than film score. Reverberi, working under the alias Umberto Cannone, had the kind of freedom most composers only dream of—free to create without his name plastered all over it. The result is pure renegade: raw, rough around the edges, and all the more addictive for it. Eric Adrian Lee’s bold cover art brings out that twisted edge, dressing up the release like a rare gem. And for the hardcore collectors, the digital version tosses in eight bonus tracks that keep the original vision intact, expanding the release without cramming too much onto vinyl. Enjoy our conversation with the curator of the project while exclusively listening to a track from the soundtrack, ‘Revelations Blues.’
“Recovering the original ‘Rivelazioni’ master tapes seemed like a distant dream”
The discovery of ‘Rivelazioni’ feels almost like a cinematic plot in itself—how did Four Flies come across these original tapes, and what was the process like in getting them restored?
Pierpaolo De Sanctis: Honestly, recovering the original ‘Rivelazioni’ master tapes seemed like a distant dream. For over 20 years, I wondered where they had disappeared to, both the film and the soundtrack. So, you can imagine my amazement when we found them in Gianfranco Reverberi’s archive—especially since even Gianfranco himself didn’t know they were there! It was truly a stroke of luck.
I remember vividly the day we uncovered two tapes with the eight original recordings. What made things challenging was that each instrument was recorded separately, so the drums are on one track, the guitar on another, bass on a third, and so on. We took the master tapes to a transfer studio here in Rome, where we worked on creating a new mix that would capture the sound exactly as we remembered from the film.
It wasn’t easy; the original recordings had a very raw, underground quality to them. The process took time and care, but we’re thrilled with the final sound quality. It’s genuinely satisfying and feels like a real achievement to bring this piece of history back to life.
“In his own recording studio, he had complete freedom to explore his ideas”
Given the clandestine nature of Reverberi’s involvement in exploitation films, how did Four Flies approach the challenge of presenting this work while honoring both his anonymity and his legacy as a renowned composer?
Reverberi initially chose to hide behind the pseudonym Umberto Cannone, a close friend since school. Reverberi’s goal was to avoid drawing attention to himself as the creative mind behind soundtracks for this kind of film, as he was a well-known producer who worked with Italy’s top songwriters in the 1960s and ’70s and collaborated with major labels like RCA, Ricordi, and Ariston. However, anonymity granted him tremendous freedom, fueling his creativity. He was able to experiment extensively with synthesizers, electronic music, and sound effects, all without limitations.
In his own recording studio, he had complete freedom to explore his ideas, with the director encouraging his experimentation. This level of creative freedom was something composers often found in B-movie productions, allowing them to take risks and push boundaries.
It’s incredible to see how these anonymous works have achieved such worldwide recognition today. I remember Gianfranco telling me that a similar thing happened with a soundtrack he composed with his brother, Gianpiero, in 1967 for the film Preparati La Bara! (Django, Prepare a Coffin), a spaghetti Western starring Italian actor Terence Hill. From that soundtrack, he took the base of a track called ‘Nel Cimitero di Tucson’ and transformed it into one of his most successful compositions in 2006. You might remember ‘Crazy’ by Gnarls Barkley, which went on to win a Grammy. Reverberi was awarded a Grammy alongside producer Danger Mouse for his contribution. It’s amazing how a piece created for a “minor work” back then has since gained such tremendous recognition and respect.
‘Psicolimite’ has garnered cult status as a coveted collectible. What do you think it is about that track, and the soundtrack as a whole, that makes it such a “Holy Grail” for fans of the spaghetti sound?
The success of this track was partly due to the rarity of the original 7’’ vinyl and the fact that it was hidden away on the B-side of a record covering Gato Barbieri’s soundtrack for Bernardo Bertolucci’s Last Tango in Paris. Reverberi used the pseudonym Sharon Chatam and his orchestra, so at first glance, it looked like a standard Last Tango cover—a record that was quite common in the ’70s. But on the B-side, listeners would discover a track from ‘ivelazioni Di Uno Psichiatra Sul Mondo Perverso Del Sesso.’ The music stood out with a unique blend of early electronic sounds, dark funk tones, and heavy drum breaks that later became perfect for hip-hop sampling. Over the years, this 7’’ has earned “Holy Grail” status among collectors, and for good reason.
Renato Polselli’s films have a reputation for their outrageous and avant-garde themes, but the score seems to stand apart. What elements of Reverberi’s composition, in your opinion, elevate the music beyond the film itself?
Personally, I never really liked Polselli’s film. I used to collect it in the late ’90s when I was a kid, as I enjoyed hunting for avant-garde and unusual movies, but this one just didn’t resonate with me. It felt schizophrenic and technically lacking. There were some interesting visual choices—like wild editing, psychedelic colors, and experimental lighting—but the music was, without a doubt, the most beautiful part of the experience. Reverberi’s score was in a league of its own, far surpassing the quality of the film itself. He created something truly original and powerful, a piece that was destined to outlast the movie.
Eric Adrian Lee’s artwork gives this release a pretty lavish look for something from the bowels of exploitation cinema. What’s the story there—how do you make something so raw look so slick, without making it feel like a museum piece?
We absolutely love working with Eric. He’s not only a fantastic visual artist, but he’s also a genuine fan of Italian soundtracks and cinema from the ’60s, ’70s, and ’80s. His approach is rooted in a deep appreciation for exploitation cinema, which brings a unique perspective to our collaboration.
Drum machines, synths, and spaced-out flutes in ’73… was Reverberi out of his mind, ahead of his time, or both? Do you think having to use a fake name let him go full mad scientist on this one?
As I mentioned before, Reverberi was completely free in his creative process, especially since his name didn’t appear in the movie credits. This anonymity allowed him to experiment with drum machines, synthesizers, and spaced-out flutes without any limitations. I agree that he can be described as a mad scientist of sorts. In his recording studio, surrounded by his instruments, he worked like a scientist in a laboratory, crafting sounds that straddled the line between horror and sci-fi.
The film was, let’s be honest, a fever dream of psychoanalytical nonsense and sleaze. Do you think anyone listening today, who hasn’t sat through the movie, can even handle the sonic trip this score puts you on?
Absolutely! I believe the music transcends the film. You can listen to the score independently and appreciate it without any connection to the movie. It’s a satisfying experience in its own right, allowing listeners to enjoy the music on its own merits.
What was the most challenging aspect of bringing this project to life? Were there any moments where it seemed like the soundtrack would remain lost forever?
The most challenging aspect was recovering the master tapes. Not just for me, but for everyone involved in the search, we all thought the entire soundtrack was lost forever. It felt impossible at times.
The digital version of the soundtrack includes eight bonus tracks. Can you share how these additional tracks were selected and what they add to the overall experience of ‘Rivelazioni’?
We added the bonus tracks because we ran out of space on the vinyl. We couldn’t print three records for the same release, so we decided to include these digital bonus tracks to ensure the complete original soundtrack was available.
Looking at the broader scope of Italian cinema soundtracks, where do you see ‘Rivelazioni’ fitting into the legacy of Italian genre film music?
‘Rivelazioni’ is quite unique as a soundtrack, especially when compared to other Italian genre film music of the time. It truly stands out and doesn’t resemble anything else from the early ’70s. There’s a definite psychedelic component, and we believe it will be regarded as one of the most precious Italian scores in the future. It’s an important part of Italy’s legacy in film music.
Klemen Breznikar
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