01	Introduzione						03:26
	02	L'uomo						03:33
	03	Mirror Train						04:55
	04	Non Sei Vissuto Mai						06:00
	05	Vado Verso Una Meta						03:15
	06	In Un Vecchio Cieco						03:30
	07	I'amore Vincerd Di Nuovo						06:13
	08	Everybody's Gonna See You Die						03:04
	09	Lady Power						03:55
	10	Oro Caldo						18:25
	11	Stanza Citta						01:44
	12	Animale Senza Respiro						21:36

Osanna [Italy]
L'Uomo (71), Milano Calibro 9 (Preludio, Tema, Variazioni, Canzona) (72), Palepoli (73), Landscape Of Life (74), Suddance (78)

Fusion in the sense of a fusion of many different styles of music in which this fantastic band move from genre to genre with ease. Their first three are masterpieces in their own right. The superb L'Uomo in which heavy rock and spacey jazz are only a few of the styles included. The soundtrack Milano Calibro 9 and their best, Palepoli, which is so bizarre and complex beginners may be too dazzled by the array of styles presented. Progressive (as opposed to popular) opinion warns me to stay away from Suddance although I haven't heard this either.

The first rock-sounding album is very good: the lyrics are in Italian and English. This LP was the soundtrack to the film "Grazie, Signor P.." The second LP was the soundtrack to the film "Milano Calibro 9." The last album was very bad. When the band finished, Lino Vairetti and Massimo Guarino went to play in Citta Frontale.

Time to let all my biases hang out. For my money one of the best progressive bands ever. Many might shy away because of the Italian vocals, but to do so would miss some incredible music. Palepoli is perhaps their best though I have not as of yet heard the most recent release of their material, Landscape of Life. If Osanna were to be categorized (and if any band defies that they are it) they could be called symphonic. Palepoli is an incredibly diverse album, full of ever changing moods. Honestly, I cannot find a true comparison or state influences, I find this band to be so creative and unique. An earlier release of theirs Milano Cabrano 9 is also quite good. However it is not quite as strong as Palepoli and is perhaps a little darker album. Definitely check this band out...you will not regret it.

Based on Landscape of Life, I don't see what all the fuss is about these guys, this album sounds like very average '70s Italian. I've been told that their album Milano Calibro is supposedly better.

I have their first three albums. The one thing that they have in common is music constantly shifts among different styles, ranging from acoustic guitar and tambourine to driving guitar and fluttering flute to jazzy passages and screaming sax. I think they cover all possible territory in between. Some comparisons could be drawn to early Jethro Tull (but heavier) and even Focus in one or two places. For the most part, they sound totally unique because they rarely settle into one style. This seems to be a problem for some people so you may want to try before you buy, if you can. Palepoli is a monster and the recommended starter. Stylistically, it is similar to Semiramis and Balletto di Bronzo in that there are many unpredictable changes in the music. At one time it well be laid back prog, then manic and frantic, then blues-rock, then off someplace else. The changes don't come as often, perhaps, than the other two bands mentioned, but they are probably more varied and cover a wider range of styles. Vocals are in Italian, but the instrumental sections dominate. Milano Calibo 9, the sound track to the movie of the same name, is also quite a good starting place though Palepoli is a tad better. -- Mike Taylor

Landscape Of Life is the fourth release of "hard" progressive rock with classical influences from the Italian band that is probably best compared to Jethro Tull and Focus.

I've only heard one album: Milano Calibro 9 (a.k.a. Preludio, Tema, Variazioni e Canzona). It's a very short but first-rate Italian prog album, mixing Pink Floydian music with jazz fusion, hard rock, symphonic, Jethro Tull, whatever. Lots of synth and mellotron, and great guitar work by Danilo Rustici. Elio D'Anna is a very forceful flute player, some of the variations feature some really fiery flute work (interjected with Can-like shouts), his sax playing is very good as well. Orchestrations by Luis Bacalov give this album a very full sound. I definitely hope to hear more by this band. -- Mike Ohman

[See Cervello | Citta Frontale | Jethro Tull | Luna | Nova | Uno]




OSANNA:
L'UOMO (Fonit Cetra CDM 2037) [1971]
MILANO CALIBRO 9 (Fonit Cetra CDP 420) [1972]
PALEPOLI (Fonit Cetra CDLP 425) [1973]
LANDSCAPE OF LIFE (Fonit Cetra CDLP 424) [1974]
SUDDANCE (Italian Columbia COL 466421 2) [1978]

UNO: UNO (Fonit Cetra CDLP 428) [1974]

CITTA' FRONTALE: EL TOR (Fonit Cetra CDM 2028) [1975]

NOVA: BLINK (Vinyl Magic VM 020) [1976]

The tangled story of Osanna -- a major force in Italian rock in the seventies -- begins around 1970 in Naples, with the formation of the first version of Citta' Frontale. This band, which never recorded, included keyboardist Gianni Leone (who later recorded as Leo Nero). Leone left to join Il Balleto di Bronzo, and Elio D'Anna joined and the group became Osanna.

The original Osanna -- which remained the same for the first four albums recorded under that name -- was a quintet consisting of Danilo Rustici on guitars and keyboards; Lino Vairetti on vocals, guitars and keyboards; Elio D'Anna on saxes and flute; Lello Brandi on bass; and Massimo Guarino on drums and percussion. The music they played came at "progressive rock" from a different, harder-edged direction than most Italian rock. The Mediterranean melodic sensibility is there, but it's blended with a psychedelic, Jimi Hendrix-influenced hardrock. In essense, Osanna was more of an old-fashioned rock 'n' roll band than were most Italian progressive bands of the seventies. Osanna could kick ass.

Paolo Barotto, in THE RETURN OF ITALIAN POP, states, "Their first album is another fundamental event in the history of Italian pop music and shows their fine writing and playing. The spotlight is on Elio D'Anna, who plays sax and flute, and on the electric guitar of Danilo Rustici. Their rock is aggressive even if a little bit 'naive,' and the lyrics are very interesting, half Italian half English, sung with great power and emotion." D'Anna's flute ranges from pretty to dirty in the style Ian Anderson picked up from jazzman Rahsaan Roland Kirk, and his sax playing (mostly on tenor) is wildly uninhibited -- combining r'n'b honk-and-scree with psychedelic freakouts. As Barotto puts it, "the protagonist was always Elio D'Anna, well backed up by the very disciplined Danilo Rustici and the good voice of Vairetti."

Their first album, L'UOMO ("a man"), was launched with a deluxe package from Fonit -- the triple gatefold cover opens into a poster and even has a hanger! This is better treatment than the label gave the New Trolls. The album was also an unacknowledged movie soundtrack -- to "Grazie Signor P." Their second album, produced with Luis Enriquez Bacalov, was openly acknowledged as a movie soundtrack. MILANO CALIBRO 9 is their weakest (and, at only 31 minutes, their shortest) album. Oddly, it was also the first album which the American company Peters International issued on their domestic Cosmos label in 1973 -- and thus the first Osanna album I encountered. (Later Peters also did a domestic edition of the fourth album, LANDSCAPE OF LIFE. Once Peters issued a foreign album on its Cosmos label imported copies of the original albums ceased to enter the U.S., which was annoying because Peters' versions were more poorly packaged and not as well pressed as a rule.)

MILANO CALIBRO 9 uses an orchestra in places and is a classical/rock hybrid of the sort not uncommon in Italy in the early seventies. RDM's CONTAMINATION was the best such fusion and Osanna's MC9 probably the weakest, since Osanna's rough-and-tumble music made an uncomfortable fit with Bacalov's extravagant classical orchestral flourishes.

PALEPOLI had only three tracks, two on its first side without a track-break, and one on its second. But the album is a direct and seamless continuation of the music on the first album (itself really one long suite), full of middle-eastern sounds blended into psychedelic effects, and rocking, manic sax solos. LANDSCAPE OF LIFE, in contrast, has six tracks which blend into each other. On the first, third and fourth albums all the compositions are credited to the group as a whole. As Barotto notes, "Another reason for the success of this band from Naples is the great sense of collaborative involvement that all members felt for each other: the compositions were written by all five musicians, and in the first four albums the lineup remains absolutely unchanged."

But the group had broken up by the time the fourth album, LANDSCAPE OF LIFE, came out, and according to Barotto, "the album kept a low profile compared to previous works." Rustici and D'Anna went to England to form Uno.

Uno was actually a trio. The two Osanna members were joined by Milanese drummer Enzo Valicelli (although Toni Esposito had been the rumored first choice) and they collaborated with British lyricist Nick Sedgwick, who had been working then with Pink Floyd. He brought singer Liza Strike (who sang on DARK SIDE OF THE MOON), and she is featured on one track ("Goodbye Friend") of the album they made. The UNO album is better than any of the Osanna albums, with stronger compositions and melodies, and D'Anna's manic sax is employed to best effect. As an LP it had two incarnations: the Italian version on Fonit is half in English and half in Italian, but the German (!) version, on the Pan label (a subsidiary of Ariola), is entirely in English and has a cover by Brit album packagers Hipgnosis. Only the Italian version of this album is available on CD.

Perhaps over-hyped, Uno, despite an excellent album, met with a disappointing response. In consequence they brought in Corrado Rustici from Cervello (guitar and bass) and made Uno into a quartet. Barotto says, "Their live work got better but at the moment of their definitive 'consecration' Uno transformed itself into Nova, taking up jazz rock influences."

Valicelli left. Franco Lo Previte, from Circus 2000, became the new drummer. Luciano Milanese joined on bass. Nick Sedgwick wrote all the lyrics (in English) and Maurice Pert added percussion in spots. Nova sounded a lot like Brand X and other jazz fusion bands of the time. BLINK was initially very disappointing to me when I heard it -- a surrender of all those uniquely Italian aspects which had fired Osanna and Uno -- but on relistening to it I found that touches (mostly in D'Anna's sax parts) of the old music remained. But D'Anna had given up his tenor sax for the most part in favor of soprano and a bit of alto sax -- thinning his sound and rendering it significantly more "polite" than had once been the case. This flirtation with jazz fusion swept Italy in the mid-seventies, weakening groups like PFM as well.

Nova made four LPs, all for Arista (a non-Italian label), of which only the first, BLINK, is available on CD. Danilo Rustici left after the first album (to reform Osanna -- which we'll get to soon), and Renato Rosset, the keyboards player in New Trolls Atomic System (which had also gone the jazz fusion route with its second album) joined Nova. Others, like Percy Jones, Phil Collins and Narada Michael Walden joined for an album or two -- and Ric Parnell (Ibis) joined later as drummer. Nova became almost indistinguishable from bands like Brand X, although its final album, SUN CITY, marked a partial return to rock. But by then it was too late; the band had no real identity left.

At this point Citta' Frontale reformed in Naples. Osanna's other members, Lino Vairetti and Massimo Guarino, brought in Gianni Guarracino (formerly Saint Just) on guitar, along with Enzo Avitabile on flute and sax, Paolo Raffone on keyboards and Lino Zurzolo on bass. They made the EL TOR album, released in 1975. It's not impressive, but sounds much like a tamer Osanna. Vairetti's vocals are strong, however, and contribute greatly to the appeal of the album. Citta' Frontale made no further albums.

"In 1977," Barotto states, "after three years of contradictory rumors, Osanna recorded another album." The new lineup reunited Danilo Rustici with Lino Vairetti and Massimo Guarino, but added Enzo Petrone on bass and Fabrizio D'Angelo on keyboards. They made SUDDANCE -- with added violin from Antonio Spagnolo and saxes from Benni Caiazzo. Barotto calls it "the worst" of Osanna's five albums, and the reason is the still-lingering presence of the spirit of jazz fusion. SUDDANCE sounds more like a Nova album than an Osanna album. It is polite where previous Osanna albums were rude, and it is restrained where they were exuberant. It was a disappointment, and the end for Osanna in the seventies.

In 1994, as bands like PFM, New Trolls, Banco and Le Orme were reforming in a wash of nostalgia and the reemergence of progressive rock in Italy, some of Osanna's members tried to reform the group, first under the name of Progetto Osanna and then as Citta' Frontale, doing some live performances. There have been no new recordings, however. Both Rustici and D'Anna turned to producing, and Rustici today has a recording studio in Los Angeles.

Some of the Osanna CDs are Fonit Cetra's own releases and some are Fonit Cetra-labelled Vinyl Magic "Limited Editions." The latter include the first and fourth Osanna albums and the Uno album. I'm not sure how "limited" these in fact are, but I believe all are still available. (In addition, two of these albums -- MILANO CALIBRO 9 and PALEPOLI -- were released on CD in Japan on King's Nexus label, although I suspect they're now out of print.) I recommend the first, third and fourth Osanna albums. I recommend the Uno album highly. I suggest you try these first, and if you like them try the others, with the Nova and fifth Osanna coming after the Citta' Frontale.

Return to Dr.Progresso Back to Top

If you are interested in obtaining any of the music discussed in this site,
click on Ordering Information

I welcome feedback on these pages. I can be reached directly at tedwhite@compusnet.com, or through cosmicat@holeintheweb.com.
Let me hear from you. --Dr. P


--------------------------------------------------------------------------------







Artist

OSANNA



Lino Vairetti (vocals, acoustic guitar, keyboards)
Elio D'Anna (flute, sax)
Danilo Rustici (guitar, organ, vocals)
Lello Brandi (bass)
Massimo Guarino (drums, percussion)



One of the greatest bands in the italian prog field, Osanna came from Naples, formed in 1971 by the members of I Volti di Pietra and Citta Frontale (another band with the same name came from Osanna ashes and recorded El Tor) whose keyboard player Gianni Leone has gone to Balletto di Bronzo. Reeds player Elio D'Anna came from Showmen, the others didn't have significant experiences.

During their four years lifespan Osanna failed to create, as many critics have pointed, the perfect album, but left us four very good LP's, among which Palepoli deserves a particular mention.

L'uomo, their first album, released in a memorable triple gatefold cover, already contains their distinctive elements, the nice voice of Lino Vairetti (with interesting lyrics indeed), the aggressive flute of Elio D'Anna, fluid guitar playing by Danilo Rustici and the solid rhythm section of Lello Brandi and Massimo Guarino. Taken from this album the tracks L'uomo and In un vecchio cieco were also released as a single, both starting with an acoustic guitar introduction followed by guitar and flute riffs.

The band also had an intense live activity, with band members all dressed in long vests and with their faces painted. The collaboration with theatrical groups produced interesting shows, unique for the italian audience of the time. They also played with Genesis in their early italian tour, and who knows if the Osanna stage show has somehow inspired Peter Gabriel...

Second album, Preludio, tema, variazioni, canzona, also known as Milano calibro 9 from the name of the film for which it was chosen as soundtrack, is a step backward, with few band compositions mixed with composer Bacalov's orchestral themes. Some of the Osanna tracks are beautiful, though, like the first three Variazione.

Third album, and their best one, Palepoli, from 1973 sees the band at their peak. The album only contains three long tracks and is housed in a nice gatefold whose inner picture is based on the band live stage background. The starting track, Oro caldo, mixes the band typical style with folk chants from their native city Naples. while Stanza citta and the side long Animale senza respiro all give space to the good playing of the band members. In many writers' reviews one of the best italian prog albums.

Unfortunately things didn't go well between the group's members and the band came to a split during the Landscape of Life recording sessions, producing a sparse album. Housed in a great cover designed by drummer Massimo Guarino, with an inner gatefold painting by singer Lino Vairetti (some of the band members came from the Naples Academy of Arts and also had an artistic career),the album contains some nice tracks, but suffers from the lack of a real band playing it.
The band was trying to play abroad and the album was also intended for the foreign markets, so five of the seven tracks are in english, but due to the split it had to be finished with the help of Corrado Rustici (Danilo's younger brother from Cervello) and drummer Enzo Vallicelli (then with Uno).

Danilo Rustici and Elio D'Anna, with drummer Enzo Vallicelli, went to England to form Uno, while remaining members Lino Vairetti and Massimo Guarino gave a new life to their old band Citta Frontale, this time with new musicians and recording an album in 1975 called El Tor. Things were not so good for both the newly formed bands and Osanna reunited in 1977 with new members Enzo Petrone (that had played with Lino Vairetti in I Volti di Pietra and later with Moby Dick) and Fabrizio D'Angelo, but their album Suddance is very far from their best days.

A further reunion of the bands with some of the original members brought to some concerts in the 90's, and a new CD has been made in 2002 containing old tracks in a re-recorded form.





LP
L'uomo Fonit (LPX 10) 1971 laminated triple gatefold cover with a plastic or metal hook to hang it on the wall
Fonit/3000 (SFC 103) 1976 single cover
Fonit/Pellicano (PL 419) 1980 single cover
Fonit (LPP 440) 1991 non laminated gatefold cover
Preludio, tema, variazioni, canzona Fonit (LPX 14) 1972 textured gatefold cover
Fonit/Pellicano (PL 420) 1980 renamed Milano calibro 9 - single cover with different design
Palepoli Fonit (LPX 19) 1973 laminated gatefold cover with lyric inner
Fonit (LPX 19) 1974 non-laminated gatefold cover with lyric inner
Fonit/Pellicano (PL ...) 1980 single cover
Landscape of life Fonit (LPX 32) 1974 textured gatefold cover
Fonit (LPP 424) 1991 standard gatefold cover
Suddance CBS (82449) 1978 single cover with inner
The first four albums have all been reissued on CD by Fonit (CDM 2037, CDP 420, CDLP 425, CDLP 424 - all now deleted) and Warner/Fonit (26619-2, 82332-2, 28279-2 and 28278-2). Suddance has been issued on CD by CBS (466 421-2)


SINGLES (with picture cover)

L'uomo
In un vecchio cieco Fonit (SPF 31298) 1971

PROMO-ONLY AND JUKEBOX SINGLES (with blank cover)

A' zingara CBS (6428) 1978 promo white label - no cover
unknown B-side

CD

Taka boom Afraka (CDEL 2004) 2002


Osanna albums are rather common in Italy due to the large number of copies pressed.
First album L'uomo was originally released in a triple gatefold cover, with the outer pictures composed in a big exclamation mark, that could be hung on the wall with a small hook (some copies had a plastic hook, others came with a metal one, glued to one of the cover sides). Late 80's reissue on Fonit, in collaboration with the Vinyl Magic shop and label, had a simpler gatefold cover.

Both Preludio, tema, variazioni, canzona (now with the new title of Milano calibro 9) and Palepoli were reissued in Fonit's Pellicano low price series, both with a single cover. In Milano calibro 9 case this was very different from the original sporting the band members' pictures that were on Landscape of life's cover.

Original issue of Palepoli came in a thick laminated gatefold cover that was soon after replaced by a thinner non-laminated one, both completed by a yellow coloured lyric inner sleeve.

All the albums on Fonit were originally released with black/silver labels.

First four albums have been issued in Japan by King label, L'uomo with single cover (K22P154), Milano calibro 9 (GXF2042), Palepoli (GXF2051) and Landscape of life (GXH2016), all with gatefold covers.
Milano calibro 9 and Landscape of life also had a single sleeve issue in USA (Peters Cosmos 9001 and 900?), the first of the two also being released in Venezuela.

Suddance was also released by CBS in other European countries, among which Spain.


For more information Osanna have their own site www.osanna.it
A nice book called Osanna-Naples in the world has been written on them by Carmine Aymone (Afraka 2001 - italian-only).