Osanna
L'Uomo

It is 1971, an extremely important year for European progressive rock. Finally, this new way of making music also arrives in Italy. Italian musicians proved adept at "making it their own" by adding distinctive elements of our musical culture.

Among the first groups transitioning from "Beat" to progressive territories were bands like Le Orme, Pfm, New Trolls (groups I will discuss soon), and certainly Osanna. This Neapolitan band immediately caught the attention of critics, earning a first-place tie (the others were Pfm with a version of "La carrozza di Hans" and Mia Martini) at the '71 Festival of Avant-Garde Music. Their live performances were immediately noted for their outward theatricality, which blended well with their painted faces (years before Kiss...), often sharp guitars, original riffs, beautiful acoustic ballads, and an original and aggressive role in the use of flute and sax.

Let's get to know this first album by Osanna, titled "L'Uomo," released in 1971 by Fonit. It is a rare example of a happy blend between music rooted in its Neapolitan origin but with a clear and predominant rock vein. As often noted, this is one of the most beautiful musical moments of Italian rock, independent of the more classical symphonic prog-rock matrix. While in Pfm, traces of King Crimson or Genesis can be found, or in Le Orme references to Van der Graaf (to be clear, these are Italian groups that could compete with the "sacred monsters"), in Osanna's "L'Uomo" this does not happen. Here, clear traits of early Jethro Tull might be present, but the group's originality is assured.
The structure of the album is that of a concept; all the lyrics (in Italian and English) are interconnected, with the central theme being suffering, both physical and psychological. "L'Uomo," in all its aspects, is the centerpiece of the work. Beautiful and evocative is the Intro that preludes to "L'Uomo," one of the finest pieces of the album. Highlighted are the acoustic and electric guitars of Danilo Rustici (brother of Corrado, who would become a guitarist and producer for Zucchero and important American artists), the flute of Elio D'Anna, a creative and never predictable drumming. Some choral interventions may seem a bit dated. We then move to the gritty "Mirror train", sung in English. Here the reference to Jethro Tull is more evident, especially in the instrumental "swinging" part; the atmospheres are typically seventies.

The next track, "Non sei vissuto mai," among the most beautiful of the album, starts with an original and captivating guitar riff. Within the track, there's also a nice instrumental digression, very atmospheric and naturally reconnecting to the rock spirit of the song. After the rock of "Vado verso una meta," we arrive at what is probably the album's finest piece: "In un Vecchio Cieco." The lyrics reach the album's highest point, with spiritual research being the core of the text. The acoustic guitars are prominently featured, but it will be D'Anna with his sax ruling the scene, with piercing and wrenching notes. With "L'amore vincerà di nuovo", Osanna give a glimmer of hope after the anxieties of the previous track. The first part is in English, but it soon returns to Italian. Rhythmic guitars stand out well, as do the winds. The sound is typically Osanna, as are the "laughs" at the end of the track. "Every's body gonna see you die" and "Lady Power" close the album. Here too, the use of the flute recalls Ian Anderson, and the guitars start from an evident Hendrix insight.

Two curiosities: the self-citation at the end of "L'Uomo" and a militant reference with "Bandiera Rossa" hinted at with just the guitar at the end of "Mirror Train."

In short, the maturity is not yet that of "Palepoli," but the ideas, the strength of this album allow forgiveness of some ingenuities and make "L'Uomo" one of the most important and original albums of the Italian prog-rock scene.