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I first dug in to Latin American bands back on Vol43:'Transfusión de Luz'. That one ended up using mostly Argentinean bands, a country that certainly had more than it's fair share of heavies! This new volume is the result of my searches for Brazilian bands, and it's been a lot of fun doing it. I had a few left over from 43, and it was TDATS reader Diego de Almeida who recently encouraged me to finish it by sending a few more band names. What I've found is that there were not a lot of Brazilians at any time in the 70s that set out to make the heavier kind of stuff I usually look for. The country did apparently have more than it's fair share of beat & mersey-sound copy cats in the 60s, and lots of great psychedelic singles were produced, and the prevailing sounds of the 70s were the Tropicália and MPB (Música Popular Brasileira) acts rather than anglo/euro/US influenced rock and prog.
I guess you could say that Brazil's Tropicália scene was comparable to Germany's 'Krautrock', being that it was intertwined with the emergent avant-garde counterculture of the young generation. It reminds me of Norway's 'Trønderrock' (see Vol81) and Sweden's 'Progg' (see Vol75) movements, with it's frequent use of traditional and folk music. It also faced Brazil's socio-political turmoil and like Franco's Spain, was up against a dictatorship's attempts at censorship. Two of it's leaders, Caetano Veloso and Gilberto Gil, were arrested by Brazil's military regime and forced into exile in London. According to RYM, the record 'Tropicália ou Panis et Circencis' represented an important coming-together of musicians in 1968 that helped establish the scene.
Rio de Janeiro's O Terço (trans:'The Rosery') formed in 1968 and became one of the first Brazilian progressive rock groups. By their second album, the record of theirs which is most interesting to to me, they were veering from folk to heavier sounds and the track I used, 'Deus', is a great piece of doomy psych with a mellon collie atmosphere. Flavio Venturini (keyboards, vocals) and Sergio Magrão (bass, vocals) left in 1976 and joined '14 Bis', who I checked out but was not so impressed by.
|Lar de Maravilha|
One night I was watching a show by Gal Costa in the Theather 'Opinião'. She was accompanied by group Som Imaginário who worked a lot with Milton Nascimento, and was composed of musicians from heavy. Wagner Tiso, who accompanied Milton Nascimento since the beginning of his career, drummer Robby Silva and bassist Luiz Alves. Guitarist Frederyko (also vocalist), Tavito and his 12-string guitar, Naná Vasconcelos on percussion, and Zé Rodrix on organ and vocals.
After the show I talked with Zé Rodrix I already Knew since the times that he was of 'Momento Quatro' When he sang in the program 'Fahrenheit 2000'of Taiguara and Eliana Pitman. For which I did some texts on TV Tupi. moreover Zé was my fan confess the times I worked in 'Falção Negro' in Tupi and he always enjoyed in pronouncing my name in Hungarian.
Conversation goes, conversation comes! And then the short film I wanted! I Wanted to do a film with Som Imaginário!! In times when nobody even imagined that one day there would be video clips was a snap mind. He had a beautiful music of Wagner, with different climates, a progression that went from the romantic mystic. A big trip. Traveled in it. I had a text from Fredera (Frederyko) that said it was 'time for the new star' and so on.
My idea was to start with images of the group accompanying the Gal (she accepted to participate in a take, that was all I needed) and then explode in the progression of music for free outdoor shots. In beautiful places where I was going with Luiz Fernando and Luli. Of course the Cinematography had to be of the Luiz. everybody agreed the idea, including Milton Nascimento. I listened the song countless times, with the text of Fredera, At one point needed a beautiful woman, a magical figure to give it a'Iemanjá' because the pictures the would be very sea. She would make the offering (which was neatly armed by my brother George) would vanish and the sea itself. And had to have a child that would be the very expression of a new star. Easy, Tania Scher and her daughter Claudia who was 2 years old and was a magical sweetness.
All very good, but movies always it cost money, we went to talk with my friend Carlos Eduardo de Andrade. Which at the time had a boutique Aquarius (well suited) and enjoyed movies, and knew how to deal with banks. My Friend David Havt was into production, with negative but at the time it didn't happen. It was when I met Pedro Carlos Rovai We went knocking on the door of Synchro Film, and he broke his own refrigerator and lent us two cans of Eastmancolor 35mm. After Pedro and I would be friends and I would also be his assistant director on 'A Viúva Virgem' and 'Ainda Agarro Esta Vizinha.'
And then the news! The Federal Censorship banned text of the Fredera. Subversive. Star must be communist! My script had been thought up over music and text. What to do? Well, let's go ahead anyway.
We had already filmed in black and white, 16 mm to be expanded and grainy, taken in the Theatre 'Opinião'. Entitled to moral support from Lucina (which at the time was using "h"), and went to Filgueiras.Luli,then as a composer, was my assistant director, taking care of the continuity of that visual trip.
Who had a girlfriend brought girlfriend, who had wife brougth wife! A Wonderful Astral!!! Lizzie Bravo, at the time married with Zé Rodrix, became pregnant with her daughter Marya this trip. Tavito and Zé Rodrix began to get ideas to compose 'Casa no Campo' on this trip. But had the French!
One of the locations was a small island and we found out when we were ready to filming, appeared that the French was the owner of island(we did not even know had an owner) saw a lot of bearded men (almost all wore facial hair ornaments) some girls enjoying a bath for naturist and did not want we filmed in her island. I first tried to be gentle as if she was own Madame Vincent's book of G. Maugier, used at the Alliance Française. It did not work. I asked if she disliked "Travessia" of Milton Nascimento, she certainly knew the festival on TV.- Look at him here with us! The french did not The relented. I know I was just mistreating Mata Hari That threatened to call the DOPS. I suggested for she follow the example of Villegaignon in 1558 and return to France. I remember that she took my picture for 'denounce' but I gave a lovely smile for her camera making a "V" of peace with hand.
Anyhow, there were wonderful locations in Mangaratiba, including a beach where the seagulls flew over and landed on the guys together at the right time. It was quiet operation to arm the camera away and take personal boat to the edge of the sand.
The last shot of the film was made in traveling (not easy to ride in the sand) and that was the end of the negative. We could not repeat.
But the material was great, and we had been combined with Egberto Gismonti to make a short film with him. Would have been beautiful. But there was no 'MTV'. Fewer still Canal Brazil. 'A Nova Estrela' then had its debut to the public. He was invited to the Cine 'Jóia', one of the smallest that ever existed in Rio, and was in the same mall where Carlos Eduardo had his boutique. There was no law requirement for short, and exhibitors Brazilian national film went virtually only when required by law. Still, I signed the film and the INC (National Institute of Cinema) chose to represent Brazil at the Berlin Film Festival. Nothing happened, but the can did a nice trip back and forth to Europe!
The other international exhibition of the film in the cinema was the Public Theatre in New York in the 80s. I had an old copy was homesick and 35mm film. It was a display ultra privê ... just me and the Fabiano Canosa. Fabiano was the programmer of cinema. Unfortunately the copy wasscratched with jumps frames and filled with oil. You could not display.
Across the years, always put me Lizzie Bravo battery pack for a copy of the film. Once when we had lunch with Bituca in New York, told me that never got to see the film. Gee, Milton Nascimento had to watch! This was still the 80's.
A Couple of days I arrived in Budapest last year and a surprise in the post. Paulo Mendonça send me a DVD of the ‘Old Star’ discolored by years, but by bringing the evocation of an important era. Too bad the sound! was distorted. But I gave joy to have a very special, and then give lots of laughs. I didn’t remember why some things.
But in the scene, or better on Skype, Lizzie. She got me and send the original Mp3 track with the text of Frederyko. Synchronized on the computer and I finally recalled of my film. I put on Youtube. Paulinho and Lizze were the first 1737 people who attended before I block for a while.
Why the blockade? Because finally, three and a half decades later, on Monday, March 12, 2007, Channel Brazil, 19hs. ‘ A Nova Estrela'(The New Star) comes to television! I never less than 9 minutes took so long to be shown to so many. And I think for many this will be a trip is. For me, it certainly is. I was 26 years old. I'm 62 years."
|A Bolha - Sem Nada EP (1971)|
|Perfume Azul do Sol - Nascimento (1974)|
|Rock da Mortalha|
|Loyce e Os Gnomes|
Rosicrusions and The Bavarian Illuminati. Its all came from this book. Bergier and Pauwels were two right wing French journos who some how managed to get access to the French National Archives. They forged documents in relation the Priory of Sion to support their political agenda , which was to undermine the left and the communists in post war France by alleging that Mary Magdalene came to France in the 1st century AD bringing with her the child of christ.That the Merovingians protected her descendants and the Royal Family of France was related by blood to the Royal family of Davis through Christ! I know it sounds strange so please read the book". There is also more information here and here. As Dusted Magazine's review describes the track 'Que é Isso?' (trans:'What is That?'), it is a very early example of nihilistic Brazilian fuzz and I love the dragging, shuffling pace. This is what good psych is all about, stretching out time... another particularly good track on that comp is 'God Save The Queen', by a very obscure one-single-only band called '14 Bis', which I will use at some point in the future. As mentioned previously, one of two Brazilian bands with that name.
|Os Novos Baianos|
|Som Nosso de Cada Dia|
|Blow Up's 2nd album (1971)|
|Joelho de Porco|
|O Peso - Em Busca Do Tempo Perdido LP|
|Rita Lee & Tutti Frutti|
An interesting coincidence that I have noticed in the bunch of bands I used here is that no less than three of them chose to make both of their first two albums self-titled, thus they had the same names; O Terço, Som Imaginário and Blow Up. Of course, I've noticed bands have done this before, but three within this collection is strange! As bands must be aware that this is bound to cause problems and mistakes for people trying to order/buy or differentiate between their records, especially back in the pre-information age, it makes you wonder why they (or maybe their labels) did it.
This ties in with another thing I noticed about a lot of the Brazilian bands I listened to while choosing for this volume; despite them all being technically very good musicians, they tended to be unsure of what over-all sound they were aiming for, they lacked direction over an album, or over their range of albums. The result being that the style a band chose from song to song could vary wildly, to the point where they sounded like different bands playing them; often it was clear to me that a band might for instance have been thinking, "right, this one will be our Deep Purple rocker, this one will be our blues song, this one will be our soft pop hit-maker, and this one will be our wah wah-filled Hendrixy one etc....you get my drift. I can offer no explanation why this has been more apparent with the Brazilain bands I studied, maybe there's just an eclectic, restless nature to Brazilians!
To get back to my first point, it seems to back up the idea that they were consciously re-inventing themselves from song to song or album to album, and so they called their second album by the same name as the first, as though the first album had never happened. Please feel free to comment on this, and please let me know if you do not agree with me here too! Eclectic or not, I love all the tracks I have chosen here so enjoy, and adeus for now!
01. Naná Vasconcelos - No Norte do Polo Sul (1972)
from album 'africadeus-n.angelo-novelli'
02. O Terço - Deus (1972)
from 2nd album 'o terço'
03. Casa das Máquinas - Liberdade Espacial (1975)
from album 'lar de maravilhas'
04. Kris Kringle - Sarabande (1971)
from album 'sodom'
05. Som Imaginário - Ué (1971)
from 2nd album 'som imaginário'
06. O Bando - ...É assim falava Mefistófeles (1969)
from album 'o bando'
07. A Bolha - Sem Nada (1971)
08. Beatniks - Alligator Hat (1968)
09. Perfume Azul do Sol - 20000 Raios de Sol (1974)
from album 'nascimento'
10. Rock da Mortalha - Satânico Estripador (1976)
11. Loyce e Os Gnomes - Que é Isso? (1969)
12. Novos Baianos - Barra Lúcifer (1976)
from album 'caia na estrada e perigas ver'
13. Som Nosso de Cada Dia - Bicho do Mato (1975)
from album 'snegs'
14. Blow Up - Tá Cozendo o Tempo (1971)
from 2nd album 'blow up'
15. Módulo 1000 - Salve-se Quem Puder (1970)
from album 'não fale com paredes'
16. Joelho de Porco - Aeroporto de Congonhas (1976)
from album 'são paulo - 1554 / hoje'
17. O Peso - Eu Não Sei de Nada (1975)
from album 'em busca do tempo perdido'
18. Rita Lee & Tutti Frutti - ...Tem uma Cidade (1974)
from album 'atrás do porto tem uma cidade'