PALEPOLI

One eventually gets it, this album, and why the 70s Italian scene was much more than pristine symphonics and precious cherubs. A few spins may be required though, and Osanna were not Banco. But they were terribly progressive and they rocked. The quintet also happened to be incredible musicians, it's just that they were a rebel-rock band first and made no apologies for that. 18 minutes of sheer heavy progdom is 'Oro Caldo', a raw jambalaya of moody atmosphere, experimental samplings, greasy garage dirt, and some flat out classic symphonic prog with a great-sounding mellotron - and other unique and wonderful synth sounds - from Lino Vairetti. Plus the hot flute riffs of Elio D'Anna, absolutely smokin' rhythm section Massimo Guarino (drums) and Lello Brandi (bass), and lo-fi blooz chunks of guitarist Danilo Rustici. But there is so much more going on here it could require months, maybe years, to sort it all out and fully absorb this recording. More than prog rock, with a pull toward the avant garde but never slipping too far away. The session has an inviting, casual tone wherein everyone is welcome to listen and even participate, deep dreams and strange parties abound, plenty of texture, sensuality and odd people... like watching an orgy but not sure if you should join in. The set reminds at times of modern theater as well (i.e. 'Hair'), but shouts out with heavy mercury and constant invention. 'Animale Senza Respiro' takes over for the second half as things really begin to come on. The drugs have kicked-in, man, and it keeps getting better with some ripping guitar and hot band interplay, D'Anna's disjointed saxophones, wild changes, and bathtubs filled with lysergic trips. It all climaxes with the melodic and powerful voice of Vairetti and a bit of insanity, and leaves the listener wondering what they just heard in a very good way. Fabulous, and recommended.