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26 May 2017

Patrulha do Espaço “Patrulha do Espaço” 1981 Brazil Heavy Rock Hard Rock

Patrulha do Espaço “Patrulha do Espaço” 1981 Brazil Heavy Rock Hard Rock

Patrulha do Espaço   l is a Brazilian rock band. The group was created in 1977 by Arnaldo Baptista (former Mutantes), along with drummer Rolando Castello Junior (who had already played with Made in Brazil and with Aeroblus, from Argentina), bassist Oswaldo "Cokinho" Gennari and Irish guitarist John Flavin (ex-Dry & Wet). Space Patrol, subtitle of the instrumental music Honky Tonky of the classic solo disc Lóki de Arnaldo, premiered at the 1st Latin American Rock Concert at Ibirapuera Gymnasium in São Paulo in September 1977, becoming one of the main expressions of São Paulo's rock Of the last decades. 
With the departure of Arnaldo Baptista in 1978, the band began to count on the participation of Percy Weiss in the vocals and realized the recording of the first independent disc of rock of Brazil, known like Disco Black, from where the hits "Arrepiado" and " Let's enjoy one together "marked the success of the eight tracks released on vinyl.

From 1979 to 1985, the Space Patrol established itself as the first heavy rock trio performing hundreds of shows, most notably the opening of Van Halen's performances in São Paulo in 1983, when he received personal praise from Eddie Van Halen. From this period are recorded the third, fourth and fifth albums of the Patrol, containing songs like "Columbia", "Feast of Rock" and "Do not be afraid".
The Space Patrol also had the participation of Argentine guitarist Pappo (Riff and Aeroblus), which resulted in the recording of the Patrulha 85 album, also released in Argentina, with the songs "Animal Eye" and "Robot".

The Space Patrol resumed work in 1992 when it released the Primus Inter Pares vinyl, A posthumous homage to bassist Sergio Santana.

A withdrawal from the scene was motivated by the incessant activity of drummer Rolando Castello Júnior, ahead of the production of cultural events and as a clerk, speaker and music producer.

In the 90's, the "Dossiers" Series was also launched, presenting the Space Patrol's work in CD format, chronologically telling the story of the band, beautifully illustrated, presented in four volumes or boxed with all the CDs. The Space Patrol counted in its route with the production of sixteen discs.

Returning definitively to the road, from 1999 to 2008, he performed hundreds of concerts all over the country and, back to the studios, also released the Chronophagia CDs, Dossiê Volume 4, Compact and Mission in Area 13, Containing 12 unreleased songs.

In 2009, the Space Patrol performs the national and international tour that brings together some of the band's main successes and new compositions.

The Space Patrol has performed at the main rock and music festivals in Brazil: Virada Cultural in São Paulo, Camping & Rock in Minas Gerais, Psicodália and Rural Rock Fest in Santa Catarina, Festival of Independent Bands of CAASO at EESC / USP In São Carlos, Goiânia Noise in Goiás, Ferrock in the Federal District, besides performing shows in theaters and country rock houses.

In this tour of 2009 Space Patrol will be presented in his classic trio lineup, with Rolando Castello Junior (drums), Marcelo Schevano (guitar and vocals) and René Seabra (bass and vocals). Rumor has it that the band would be recording a new song, Rolando Rock, in honor of the drummer and founder Rolando Castello Júnior.

In 2011, the band contributes a song on the soundtrack of the Brazil Heavy Metal documentary. In 2012 was released the CD Sleeping In Bed Nails Cleison Ferreira ..............

The Space Patrol is admittedly one of the heaviest groups in the history of Brazilian Rock. They always made a point of playing loud and bringing the audience the true essence of Rock n Roll.
The first album, recorded in 1979 (edited in 1980) had already been a beautiful "business card". In it, it was possible to perceive the grip of the unequaled Percy Weiss on vocals, as well as the pleasantly rustic side of all the songs. A band that showed great potential, but still sought its definitive sound.
In this second album, released in 1981, the Patrol showed that it had achieved its goal, showing an even more precise and constant sound. It was in fact a clear musical evolution, but they kept the same footprint of the previous work, with songs "dirty" and that suggest a maximum volume from the beginning to the end.
After some important changes, the formation of the time counted on Eduardo Chermont on guitar and vocal, Rolando Castello Junior on drums and Sergio Santana on bass and vocals. An extraordinary power trio with great musicians.
It turns out to be difficult to highlight the main songs, since the entire album is very inspired. It is possible to say only that "That Irritates Me", "Streets of the City", "After the Eleven" and "Nada a Perder" would enter any compilation of best songs from Rock Brazuca.
Fans of Lynyrd Skynyrd, Little Feat, Eagles, among others, should yearn for the songs "Berro" and "Planet Rock". They are as captivating and beautiful as the songs of the bands mentioned.
Watching all the work of the Patrol, it is possible to affirm that it is a very influential band, that is in the first step of the Brazilian Rock. Space Patrol 1981 is the pinnacle and the synthesis of this magnificent work. Highly recommended for those who love music.
It increases there that the sound is of the Space Patrol !!................

A1 Isso Me Irrita 2:35
A2 Planeta Rock 5:00
A3 Berro 3:45
A4 Nada A Perder 3:16
B1 Sai Dessa Vida 3:30
B2 Ruas Da Cidade 1:42
B3 Vampiros 4:00
B4 Depois Das 11 5:50

Gal Costa “Gal” 1969 Brazil Psych Funk Rock,Experimental Tropicalia

Gal Costa “Gal” 1969 Brazil Psych Funk Rock,Experimental  Tropicalia....recommended...

This rare and sought-after album features the brilliant Middle-Eastern influenced track 'Tuareg'! This is a landmark piece of Brazilian psychedelic rock experimentalism and is awash with Hendrix-style fuzz guitars, funky drumming, unusual orchestrations and weird sound effects! This is easily the most tripped-out of Gal Costa's albums and represents a high point of the Tropicalia movement - indeed, this album features contributions from Rogerio DuPrat, Caetano Veloso, Jorge Ben, and Giberto Gil, and is awash with the political power and cultural experimentalism that marked Tropicalia's brief flowering. Very highly recommended!.................

This Brazilian classic finally gets a proper US release one of the greatest psychedelic albums of the late 60s, and a key part of the Tropicalia movement as well! The record is easily the most tripped-out album ever from Gal Costa far more sinister than Gal's debut of a few months before. The session was still recorded with full arrangements by the legendary Rogerio Duprat (who'd worked previously with Costa, Os Mutantes, and others), but it also features a lot heavier guitar and a blazingly psychedelic feel overall. Gal's usually-sweet vocals take on a much sharper edge and the album's awash in the political power and cultural experimentation that characterized the best years of Tropicalia. Caetano Veloso and Gilberto Gil make a guest appearance, and also contribute some songs to the set as do Jorge Ben, Jards Macale, and Roberto & Erasmo Carlos. First time on CD in the US and newly remastered, with liner notes from Chris Dunn, author of Brutality Garden: Tropicalia & The Emergence Of A Brazilian Counterculture. Features the famous tracks 'Tuareg', 'Cinema Olympia', and 'Meu Nome E Gal'....................

As previously mentioned by another reviewer, this is not the place to start with the great Gal Costa. Her album Não Identificado would be the place for that. That was the first album by her that I heard and it's immediately beautiful. But after you fall in love with that one, which you will, give this one a try. I bought this album months ago. The first few times I listened I was a bit perplexed. However I persevered due to my love for the artist and MBP and all I can say is WOW! It all starts falling into place eventually, brilliantly. Now I'm convinced it's one of the great rock/psychedelic/blues classics of all time. Some of the production choices can sound a bit dated at times to modern ears, but it still packs a huge wallop. Definitely one of the greatest Gal Costa albums ever, and that's saying something..........ByT. McAuley..............

The second solo album by Brazilian superstar Gal Costa, this is one of the purest. loudest expressions of the late-1960s "tropicalia" scene, with clanging electric guitars, and crazed vocals that were unlike much of Costa's later, croonier career. Fabled avant-classical composer-arranger Rogerio Duprat adds his eclectic touch, and Gal gets wild like she seldom did in later years. Anyone wanting to check out how psychedelic music entered into Brazilian rock and pop will definitely want to check this one out. (DJ Joe Sixpack, Slipcue Brazilian Music Guide)......ByDJ Joe Sixpack..........

After Caetano Veloso broke out with his solo debut, the self-titled 1968 release recognized as the building block for the now infamous Brazilian Tropicalia movement, his friends and musical peers released similar albums, always upping the ante in terms of outrageousness and inventiveness. This release, the second of two self-titled albums released by Gal Costa in 1969, set the high watermark in terms of overall insanity and complete experimental freedom for the entire lot; not Veloso nor Gilberto Gil, Tom Zé, or even the rambunctious Os Mutantes stepped this far out into psychedelia, and even though Costa had hinted at the noisier aspects she was interested in exploring with her previous release, this album must have shocked listeners when it arrived on the shelves. In fact, 35 years of MPB -- or music from anywhere else in the world for that matter -- hasn't heard another sonic assault quite like this. Costa is a ball of contradictions here: overtly wild but in control; sweet and accessible, yet brash; and, at times, almost violent as she screams and moans her way through the album while spindly, whiny guitars mix with soulful bass grooves, bombastic drums, exotic horns, woodwinds, and strings. The sonic textures are taken completely over the top with judicious use of delays, reverbs, and various production techniques new and exciting at the time. When taken all together, the listener may not at first notice the high quality of the songwriting for the unreal, emotional freak-outs laced throughout the performances. Costa's crazy improvisations over Caetano Veloso's tune "The Empty Boat" serve as evidence of this delightful impulsiveness when placed side by side with Veloso's own rather forward-thinking recording of the song, which sounds positively conservative by comparison. All in all, Gal Costa is an indescribable, unpredictable, ambitious, and fun record preserving a slice of time when Brazil was at its most controversial state musically and politically and is a must-have for any psychedelic Gregory McIntosh ...............

The most experimental and psychedelic record of Gal's early career, attuned to the tropicalist movement, where irreverence and improvisation are used to the extreme, while Brazilian music was dominated by the aesthetics of bossa nova. Highlight for the participation of guitarist Lanny Gordin..................

Cinema Olympia
Cultura E Civilização
País Tropical
Meu Nome É Gal
Com Medro, Com Pedro
The Empty Boat
Objeto Sim, Objeto Não
Pulsars E Quasars

Novos Bahianos + Baby Consuelo ‎ “No Final Do Juízo” 1971 EP Brazil Psych Folk Rock

Novos Bahianos + Baby Consuelo ‎ “No Final Do Juízo” 1971 EP Brazil Psych Folk Rock

Em 1972 by Novos Baianos is the definitive form of the history of the universal history of the history of the Acabou chorare, considered by the people (créticos e ouvintes), which is the melody of the nacionalis of the todos tempo - ou o melhor, segundo alguns outros.

The disco is not intended to be a contradictory contrario, which means that it is not the case that it is possible that it would be preferable to do so in a fairly simple manner and that it is not No meio da tal mpb, ao menos não totmente.
This cover up there is of a compact homonymous released by the Baianos in 1971, between its first album, the sensational It is iron in the doll !, of 1970, and the celebrated Finished chorare.

As can be noticed, there is not yet the presence of the always remarkable Baby Consuelo; Only Moraes Moreira, Paulinho Boca de Cantor and Luiz Galvão were part of the band during the recordings. At the time the guys were much closer to psychedelia than anything else. Not that afterwards, already hand in hand to the samba and everything else they have escaped the trips of acid, but here the great influence of the trio was the rock.

In the same year of '71 they would receive a visit from the illustrious and eternal annotator João Gilberto, who would try to present other musical thrusts to the Baians from one base to the next. But for now hear this compact and understand where the boys' heads were.
Contrary to the famous Bahian sloth, the quartet - yes, Baby was already part of the band, just did not participate in the above compact - decided to take a little more of his hat before the arrival of 1972.

New Bahianos + Baby Consuelo was born at the end of the judgment, or simply At the end of the judgment (note that in this compact as in the previous one the band signed as New Bahianos). Now with Baby on the cover - besides a half sinistrão jesus - the disc still brings the group more rocky and less willing to sambar; Pepeu Gomes was already on the roll with the troupe (in fact he was the only 'real' musician), but his face still did not appear there, even though his name was recorded in the credits of the tracks. League only:
As I said, the stop here is pretty cricket rock star. "Take a Rope", which opens the double compact in a footprint half Jethro Tull or the other speaks better than I, with the letter 'I am love, I am love, I am love from head to toe. And I'm just kissing the face of someone who gives value
For those who are worth more than a hundred thousand reis. '

Already "Way of Peter" has that groove more sambista, an embryo of that would become in the following years. Oh, just to put an end to this text, Tulipa Ruiz always plays "You give me a record" on the Dancê tour shows, his last album.

Anyway, not to curl too much remember that these two discs were relaunched recently, to show the hippie hippie who were the original dirty feet. In '71 the Bahians were new, crazy and rockers, and so good.........................

Not surprisingly, the New Baianos made history in Brazilian music in the 70's. Nor is it news that the group was made up of excellent musicians, who had a unique Brazilianness and who played and sang with great emotion and sincerity, as if it were for the last time. Now, what most people do not know is that between 1970 and 1971 (after the release of LP É Ferro na Boneca), the group fell headlong into Tropicalismo, in Psych-Rock, a sound almost Hard and produced one of the most incredible works Of all times, the compact At the End of Judgment.
This causes a certain strangeness because a lot of people have learned to love the New Baianos after hearing the eternal Chorare, where a more regional music, focused on Samba and Bossa Nova (by the clear influence of João Gilberto), is noticeable.
Of course, it is worth remembering that at that time, they already had the support band A Cor do Som (formerly called The Leifs), the brothers Pepeu and Jorginho Gomes and who knows their work, know their potential and the sound they could take .
At the time of this release the sound was really heavy (even the metals and the bases), with well recorded battery and many phrases / guitar solos, but even being "only" a double compact, they were able to vary slightly in the sound proposal , With Moraes Moreira playing flute and accordion, for example. But make no mistake, everything here leads to the most beautiful and powerful Rock.
The first song of At the End of the Judgment ("Give a Rolê") is a little intimist, that grows in a surprising and visceral way until the refrain, with Paulinho Boca de Cantor chanting "I am the love from head to toe" . "Give a Role" was also recorded on Gal Costa's wonderful Fa-Tal album, which earned a version that was as impressive as the New Baianos.
Queen Baby Consuelo gives a show of charisma and talent in the song "Você Me Dá Una Disco?", With the right to the lyrics in two languages. Lots of fun !!
"Pedro's Way" has an interesting letter, with the beautiful balcony of the similarity between the words "stone" and "Pedro", except that the sound is contagious.
To finish, the paused "Risque", a Rock of high level, that even, contains the phrase that gives the title to the disc.
Unfortunately, none of the songs were reused in the following works and as the compact came out with a limited run, it has become a rare item for collectors. Thankfully, in the digital age, it is possible to find the download links and videos on you tube and this tends to satisfy (a little) those who want to appreciate this pearl of National Rock.
In this beautiful work, the New Baianos show that even though it seems little, four tracks is more than enough to wash the soul of lovers of good music and also enough to enter the hall of the essential records of Brazilian music.
New Baianos ... a music lesson, great influence!..............................

A1 –Paulinho Boca De Cantor E Novos Bahianos* Dê Um Rolê
Composed By – Galvão*, Morais*
A2 –Baby Consuelo E Novos Bahianos* Você Me Dá Um Disco?
Composed By – Galvão*, Morais*, Pepeu*
B1 –Morais* E Novos Bahianos* Caminho De Pedro
Composed By – Galvão*, Morais*
B2 –Novos Bahianos* Risque
Composed By – Galvão*, Morais*

Arnaud Rodrigues "Murituri" 1974 Brazil Soul Funk Psych Soul

Arnaud Rodrigues  "Murituri"  1974 Brazil ultra rare & excellent Soul Funk Psych Soul
A few years ago, at the same time that Chico Anísio recorded in Philips the lp "Chico Anísio inaugurates the humor dançante", produced by Nonato Buzar, Arnaud Rodrigues, editor of Chico's humorous programs also made a lively LP in Copacabana, if we do not fool ourselves . Now, when a new lp of Chico Anísio appears on Continental, in which the clever artist tells some delightful comic strips Arnaud attacks again as a singer, in lp of the same recorder "murituri" (Continental), SLP_10.130 December-73). And there is no doubt that Chico Anísio is right to keep Arnaud on his production team: after all, the versatility of the young man is impressive and he composed the songs for this album - with different partners (Antônio de Jesus / Sebastião Valentim, among the unknown , Chico himself and Arthur Verocai, among the famous) - as if writing a screen-play for "Chico City". So it goes from a tasty Sambão ("Nega") to a spiritualistic song, in the most commercial line "Superstar" in "Murituri", with very surreal verses ("The truth had sprouted / The seed explodes the earth / Make up ") going through the rhythm in the districts in" Antônio Nepomuceno "(where he had no partners). What proves this LP is the creativity of Arnaud a young man who knew to dominate the words, reasonable voice and summoning good maestros for the arrangements - Octavio and Verocai - realized a pleasant LP, that using the own titles of its songs could be said: "That and I" that "There" is the "Consumer Society". Eat up!.....................

Arnaud Rodrigues was the hero comedian who did not have time to escape the fatality that was his death in a shipwreck on the night of Carnival Tuesday, February 16, 2010. Born in Serra Talhada (PE) in 1942, Was singer, comedian, composer and author.

He was a screenwriter for Chico Anysio's 'Chico City' program, and it was there that he and Anysio created a tribute to newly exiled Bahians, Caetano and Gil, and the New Baianos, with 'Baiano and the New Caetanos'. In this pair, Chico Anysio, was the Baiano, and Arnaud made the Paulinho.

"Death, the lack of luck. I'm alive ... You know? I live without the north, I live without luck ... I live! I live, Paulinho ... Then we find a goat in the street and ask: Alright? He says to us: Alright! Is not that cheap, Paulinho? It's a cheap ... "

He recorded the first album under the influence of the sound of Pilantragem, represented at the time by Wilson Simonal, the album 'Sound & Pyla'. Then came 'Murituri', which already had a certain northeastern psychedelia. This album had the participation of great Brazilian music beasts. We blow people like Márcio Montarroyos, Léo Gandelman and Paulinho do Trumpete. On the keyboards was Zé Roberto Pastrane, from 'Azymuth'. On female vocals, the album featured Jane Duboc, Rosana and Trio Tenderness.

He also made the first exclusive soundtrack to a television soap opera, 'Tilim'. "I knew at the time that when the Americans were going to release a movie, they released six months before an LP with the track. So when the movie came out, the songs were already successful. So when people went to see the movie, it was not because of the movie but because of the songs. That's how I thought, 'Why not do some of these here too?' "

Arnaud also collaborated with the soundtrack of two films by Trapalhões, in 1984 in Trapalhões and O Magico de Oróz and in Da Filha dos Trapalhões. In both films, Arnaud composed the track, adapted the plot and participated as an actor, creating at least one character wanted by the audience, the Soró of the film based on The Wizard of Oz. While the movie 'The Daughter of the Bummer' was based on Charlie Chaplin's 'The Boy'.

He also made soap operas and humorous television programs. He always embodied the Northeastern quiet and calm and like that who wanted nothing ... He made laughing very simply. Lately he lived in Palmas, capital of Tocantins. God knows why not? But he explains how he does not want anything ...

"Once I came to do some shows here and when I got out of the airport and got into a taxi, the first thing I saw was a pequi foot with two little balls on a branch. I immediately remembered Pajeú and thought, 'This is where I'm staying!' Then I stayed and I ended up staying right here. "....................

It's really fascinating to see the genius of the true Brazilian artist! There is no doubt that Arnaud Rodrigues was one of the greatest figures this country has ever seen, so much so that it is difficult to define in which area he was most complete. An accomplished comedian, a beautiful actor, an extremely sensitive composer, a great musician and a masterful interpreter, with an unparalleled voice. That was Arnaud! 
Those who closely follow his musical trajectory know that before the Murituri, he was already extremely respected. He formed with the no less genial Chico Anysio and Renato Piau, the good-humored group Baiano and the New Caetanos and toured extensively throughout the country. Not to mention the soundtracks of TV shows, such as Chico City and Tilim. And even in his solo career, he had already designed one of the greatest masterpieces of our music, the Sound & Pyla, from 1970, with delightfully funky songs. 
Already in Murituri, it is evident the special care that they had with the production and the arrangements, with the beautiful contribution of the master Arthur Verocai. Having this mark of genius plus Arnaud's decisive contribution, one really expected a more than perfect job. 
Now, if there was a need to summarize in just one word the beauty of this record, the choice would be versatility. In only nine songs, we identified several musical styles and all with the soul and Brazilianness of our music. Unique themes, different from each other, but which in the general context are completed. 
To begin, the true essence of the so-called samba-rock, with the hyper-dancer "Nêga" (obs. Already had been worked with Baiano and The New Caetanos, in his first disc). "Nêga", here, reaches its perfection, with a precise arrangement, a lot of balance and a dirty letter (obviously in a good way). Wonderful! 
"That's Me" stands out mainly for the acid guitar and the rocker footprint in all its progress. It is practically impossible to go unnoticed. Already "On the Beach of Boa Viagem" presents a very regional climate, or to be more specific, it is a beautiful forró, in the best style Gonzaga, Dominguinhos, Oswaldinho Silva and Jackson do Pandeiro. One of the best of the record, no doubt. 
"He arrived from Bahia", remembers, slightly, the song "Nêga". It has practically the same swing and a very similar musical proposal, which is great. Closing the A side, we have "Conscachá, Fimará (Magnífico), which, analyzing coolly, could well have been written by Jorge Bem, not only for portraying / narrating some unique moments of a football match, but also for toasting with Elements of the "new samba scheme", so well executed and popularized by Jorge. 
The B-side already begins with the super rocker, "Murituri". Forgive me for the expression, but this one is fucking, by far, my favorite of the album !! There is a legend that this visceral and vibrant guitar would have been performed by Professor Lanny Gordin, however, there has never been such confirmation on the part of the guitarist. In fact, hearing the timbre / fuzz effect, I would say that makes all sense. But it is also fair to say that Lanny was already idolized by the new generation guitarists and that there were certainly many "imitators" who sought his sonority, his style. In particular, I believe more in this hypothesis. 
The taste of want can be satiated with the fantastic "Consumption Society", which has the same effect of guitar and certainly the same weight. Beautiful double! 
The songs "Antonio Nepomuceno" and "Tá" follow a more rural line, with the harmonious harmony of sertaneja music (the real one, of root), but of course, with hints of rock, soul and samba. Anyway, all the elements of our music, served in the same dish. 
After this discus, Arnaud would still release the powerful sound of Paulinho (from 1976), that reached the same degree of inspiration of the previous ones. 
The stage Arnaud Rodrigues musician, singer and performer is one of the most beautiful dreams and legacies that this great artist could have left. The countless fans of your work (like me) must agree with this ....Fabiano Oliveira.............

A1 Murituri 3:37
A2 Antonio Nepomuceno 3:05
A3 Sociedade De Consumo 3:06
A4 Tá 3:53
B1 Nêga 2:27
B2 Esse Ê Eu 3:06
B3 Na Praia De Boa Viagem 2:20
B4 Chegou Da Bahia 2:27
B5 Conscachá, Firmará (Magnífico) 3:20

1970 – Sound & Pyla (LP)
1970 – Tilim – Trilha Sonora da Telenovela (LP)
1974 – Murituri (LP)
1974 – Baiano & Os Novos Caetanos volume 1 (LP)
1975 – Baiano & Os Novos Caetanos volume 2 (LP)
1976 – O Som do Paulinho (LP)
1977 – Cuca Fresca (LP)
1978 – Redescobrimento (LP)
1982 – Baiano & Os Novos Caetanos – A Volta (LP)
1985 – Sudamérica (LP)
1987 – Arnaud Rodrigues (LP)
1998 – Coronel Totonho – vol.2 (LP)

Sá, Rodrix & Guarabyra “Terra” 1973 Brazil Psych Folk Rock,Country Rock

Sá, Rodrix & Guarabyra “Terra” 1973 Brazil Psych Folk Rock,Country Rock

Luiz Carlos Sá, Zé Rodrix and Guttemberg Guarabyra joined these three strands in their compositions, electrifying violas on one side by country rock and on the other by baião, xotes and xaxados as well as by the country music of the interior of Minas and São Paulo. Caipiras, sophisticating harmonies northeastern and inserting in the letters the renewed vision of a Brazil still half-hidden from the great metropolis. Thus, joining the best of the pop world to the exciting and rich simplicity of the Brazilian interior, the work of Sá, Rodrix & Guarabyra ended up inaugurating a real movement that was called "Rural Rock".
After the departure of Rodrix in 1974, Sá & Guarabyra continued to raise the banner of Rural Rock with the release and booming success of "Sobradinho", in 1977, brought to the fore the ecological issue in Brazilian popular music, which would eventually infect the MPB of the following decade.

Today, the Sá & Guarabyra duo already have more than thirty albums, thousands of shows, dozens of soap operas, master theses, monographs and documentaries on social networks, more than four hundred songs (recorded by them and singers of the new generation of Brazilian music).
I leave here the download links of the albums Sá, Rodrix & Guarabyra - Otra Vez Na Estrada (2001), O Melhor de Sá & Guarabira (1994), Sá & Guarabyra - Série Aplauso (1996)......................

In 1971, a trio appeared in Brazil, which in their own way marked the lives of everyone they met, listened to their songs and lived their moments: it was called Sá, Rodrix & Guarabyra, one (as it was called at the time ) Super group, formed by three artists (Luiz Carlos SÁ, Zé RODRIX & Guttemberg GUARABYRA), who had been developing their solo careers, but moved by the friendship that united them, by the identity of their styles of composition and by their way of life , Decided on an album that at the time was an unexpected surprise, thanks to the verve, the brilliance and the unexpected and extremely artistic result of this union.
They were, after all, not one but two albums (Past, Present, Future and Earth) released by EMI-Odeon, in addition to some special guest appearances in some compilations, among them the Juiz de Fora Festival of 1972. In fact, Festivals they always had a lot to tell: Luiz Carlos Sá was the most active participant of them, always having one or two songs classified; It was in a FIC that GUARABYRA took the maximum prize with MARGUERITE and, a few years later, it was the same Festival of Juiz de Fora that Zé Rodrix (in partnership with Tavito) emulated under a boom the song Casa No Campo, later recorded by Elis Regina , And of which a part of the Carioca music critics pinned the expression 'Rural Rock' to classify the music that Sá, Rodrix, Guarabyra did.
It was an intense career. From their first show at the Teatro Opinión, with houses full every night, the three went to the circuit of the time: televisions, universities, clubs, traveling all over Brazil the way, as it did when nothing was mega, not Be the problems. But the songs were exceptionally good: Ama Teu Neighbor, First Song Of The Road, Cumpadre Meu, Today Is Still Rock Day. At the end of their first year together, they moved to São Paulo, following an invitation from their friend Rogério Duprat, who needed the three in his commercials production. And on the second LP appeared the Sixties, Master Jonas, Pindurado No Vapor and Blue Riviera. In São Paulo, due to ideological differences (Zé RODRIX began to detest roads, hotels, hotel showers, hotel beds, etc.), and after almost two full years of living in common, the three A pursuit of his solo career. While Zé Rodrix faced the vicissitudes of popular success (in the same hotels that he detested) with several first places in the charts, produced by the hands of bandits who were then amateurs and today are professionals, SÁ and Guarabyra walked each one trying to take his career Just the way they could and, one fine day, at a show, they decided to sing again together.
It was a very wise decision: in the years that followed, the two became the parameters of a song with roots in the interior and in the city, the development of that same rural rock they had created as a trio. But with much more proficiency: these years marked Brazil with a true flood of successes, such as Sobradinho, Spanish and the songs made for the novel Roque Santeiro (Abc De Roque Santeiro, Dona E Verdades e Mentiras). This besides songs that composed for other interpreters, like Hunter of Me and others.
While Sá and Guarabyra traveled in the backcountry roads, Zé Rodrix made his contribution to Brazilian publicity in a constant way, crossing a road that the three had started together and that both Sá and Guarabyra also traveled in a more alternative way. The day Sá and Guarabyra turned ten, Zé RODRIX appeared on the show in a circus near Anhembi. When twenty-five years of rural rock were completed, Sá and Guarabyra invited Ze Rodrix to make an arrangement on the album. He did and ended up singing some three songs together on that same album. But it was only now, when their initial meeting turned thirty, that they decided to set foot on the road. More experienced, more experienced and rigorously willing to resume with the same impetus as before the trio's life, they chose Rock in Rio for the national debut of their tour Sá, Rodrix, Guarabyra - Reencontro: 30 Anos De Rock Rural, in which accompanied by A band not only relive the great successes together and separate, but also show first hand to the public the new crop of songs that have produced and that are in the CD that they launch simultaneously with the tour.
The first of these songs, not by chance, is called Another Time On The Road and lists, with great poetry, the reasons and motives that gather after 30 years these long-time friends. And there arose in the sequence Here Is Done, Here If It Pays, a humorous survey of the vicissitudes of contemporary man; Jesus Numa Moto, a tense and emotional rock-ballad, that speaks of the hidden desires in all of us; And In The Time Of Our Dreams (New Age), a lively rock about the loves of the past that insist on knocking at our door.
It is as if time had stopped and the past at the same time: and the children of his followers will, finally, be able to know live what is what his parents from time to time put to play on his old vinyl record player................

In a spoken and homonymous album released in 1966, psychoanalyst Timothy Leary coined the phrase "turn on, tune in & drop out". The following year, the sentence reverberated again, broadly, in a speech given by Leary at the opening of the Human Be-In , a gathering that brought together more than 30,000 hippies at Golden Gate Park in San Francisco. The provocative staff was then adopted by young people around the world to summarize the libertarian ideals of the counterculture and the transcendental experience provided by the use of the substance scientifically known as Lysergic Acid Diethylamide, the infamous LSD.

Until 1966, with the scientific endorsement of researchers such as Leary, who first made closed experiments on some of his patients, LSD was sold to US pharmacies with the simple requirement of a prescription. The substance was distributed throughout the country by the Sandoz laboratories (a release that, incidentally, inspired The Girl Named Sandoz , psychedelic composition of the band The Animals, listen ). But came the so-called Summer of Love, in the transition from 1967 to 1968, and the use of LSD ran out of control. Thousands of hippies, from coast to coast of the United States, began to act as multiplying agents of the lysergic culture spread by Leary. A situation that haunted the American authorities of the urgency of an end to the journey of the class. Or not, as Caetano Veloso would say.

A collective experiment, a divider for the migratory movement made by LSD, which left the scientific environment to become the generalized trance fuel of the Flower Power generation, was the subject of the book The Acid Test of Electric Refreshment, a classic of New Journalism published by Tom Wolfe in 1968. In the catatau, the reporter, notorious for his white outfits, narrates the succession of three-faced adventures lived on the road by the group called Merry Prankters (Festivos Gozadores). Led by writer Ken Kesey, author of the classic A Stranger in the Nest , the Pranksters convened in 1962 to begin embryonic collective and recreational use of LSD in an alternative community headquartered in La Honda, California. Two years later, The Pranksters embarked on a literal, unprecedented journey. Kesey decided to buy an old school bus, made in 1939, made in it a series of psychedelic paintings and adaptations, such as including an audio system so that the musicians of the troupe could "fuck" a sound. Having the furthur neologism as its itinerary (a pun in between the words beyond and future), loaded with too much LSD, diluted in orange juice, Kesey fell on the road with the Pranksters. On the wheel, writer Neal Cassady, author of The First Third and inspirational character Dean Moriarty, of On The Road , Jack Kerouac's masterpiece. The drop out of Kesey and his Lysergic disciples had a well-defined purpose:

But, after all, what the hell, all this has to do with the album that will be covered today in Quintessence ? Everything and little more. Past, Present and Future , the debut LP of the trio Sá, Rodrix and Guarabyra is a yellow-green portrait, with some historical delay, of the outburst driven by Leary's recommendation for youth to "fall out" of the worn-out conventions of their parents' generation And create statutes of their own world. The parallel universe defended by Sá, Rodrix and Guarabyra, as in Casa no Campo , the Rodrix song eternalized by Elis, was composed of love, dissociated values ​​of possession, contemplative life, rural rocks, a lot of brotherhood, peace of mind, furtive passions And the expectation of bequeathing to children children of "legal cuca". Launched in 1972 by Odeon,
Luiz Carlos Sá, from Rio de Janeiro as Zé Rodrix, was the first of the trio to venture professionally with music. The song Baleiro recorded in compact of the singer Luli, in 1965. In the same year, other three accomplishments paved way for the debutante composer: Pery Ribeiro interpreted Giramundo , first radio success of Sá; Nara Lion recorded Hiroshima Girl ; And he formed the group Message, with Sonia Ferreira, Marco Antonio Menezes, Paulo Tiago and Sidney Miller (the latter also became a renowned singer and songwriter, but his enormous talent succumbed to a depression that led him to commit suicide at age 35, In 1980 - listen to the album Línguas de Fogo , from 1974).

Still in 1965, integrating the Message, which later would count on the presence of Luli, Sá participated in the musical show Samba Pede Passagem , of the Opinion Group. Directed by the playwright Vianinha, the show featured other noble guests: Baden Powell, MPB-4, Araci de Almeida, Ismael Silva and the Conjunto Época de Ouro. In 1966, Sá participated in the First International Festival of Song with the composition Inaiá, released, later, in compact. Alongside debutant Gutemberg Guarabyra and Miller, he participated, in 1967, in the opening performance of the Casa Grande Theater in Rio de Janeiro. Shortly before forming the trio with Guarabyra and Zé Rodrix, invited by Nelson Motta, joined the team of creation of jingles Aquarius producer alongside two stars,

Soon after Guarabyra began his artistic career with the opening show of Casa Grande, he decided to embark on a series of shows in the interior of Bahia, his native state. On his return to Rio, at the end of 1967, accompanied by the Manifesto group, the Bahian won the II International Song Festival, with the composition Margarida . The impact of his talent soon led him to sign the musical production of two cariocas programs TV Tupi, the Bibi Live and Blota Jr . In 1969, Guarabyra won the Juiz de Fora Festival (MG) with the composition brown coat , written for four hands by Renato Correa and Danilo Caymmi, and performed by Evinha . In 1971, at the invitation of Augusto Marzagão,

Zé Rodrix, the most experienced of the three, began his musical career in 1966 by training with Ricardo Sá, David Tygel and Maurício Mendonça group Moment Four who came to record the following year, a simple compact with the song Glory, his Authorship Also in 1967, Momento Quatro was an ancillary to a historical event, the presentation of the champion Ponteio , at the III Brazilian Music Festival of TV Record, alongside the author, Edu Lobo, the New Quartet and Marília Medalha. In 1968, it was the turn of the group to release their first and only album, namesake (listen to the tracks Festa and the re-reading of He Falava Nisso Todo Dia by Gilberto Gil). Despite the quality of his LP, Zé Rodrix left for Porto Alegre (RS) in 1969, with the repercussion of Moment Four, Following the theatrical company GRAL and its musical group First Manifestation of the Plague. In the Gaucho capital, Rodrix fattened his income by acting as music teacher and reporter for the newspaper Zero Hora . 
 When he returned to Rio de Janeiro, Rodrix formed the supergroup Som Imaginário. In addition to it, the combo was joined by Wagner Tiso, Robertinho Silva, Tavito, Luiz Alves, Fredera and Laudir de Oliveira. Among the most accomplished artists of that turn of the decade, precisely because of his mastery of modern musical languages ​​- they knew everything from Brazilian rhythms, but also from jazz, psychedelic rock, soul, folk-rock - Som Imaginário was a joker of artists Such as Gal Costa, Milton Nascimento and Marcos Valle, who, working with the group on their 1970 album, came to compose a theme in honor of him, called Imaginary Suite . In 1971, the band recorded the first of three great LP's. But Rodrix's foray into "imaginary sounds" was short-lived. Soon after the release of the first album, 

Launched by Odeon in 1972, Past, Present and Future finds a meeting of the happiest of three young modern composers, unsuspecting and fraternal in their artistic and existential convictions. Reiterating my arguments about the dimension of disbanding and drop out represented by the trio Sá, Rodrix and Guarabyra, a doctoral thesis defended by the historian Victor Henrique Resende, at the Federal University of São João Del Rey (MG), entitled O Rock Rual de Sá, Rodrix & Guarabyra: countercultural romanticism in Brazil in the 1970s, presents a curious infographic, which cuts the themes of the 12 compositions of Past, Present and Future into three categories. According to Resende's academic analysis, Two of them deal with "criticism of the way of life in modernity and / or dictatorship"; Eight deal with "transit elements" (between) "field and city; And / or valorization of the field "; And the final two deal with "bucolic, romantic, and other sounds." 

Listening to the album from track to track, identifying the compositions cataloged by Resende, from the analysis of the lyrics, is not a job that requires much effort. Academic interpretations aside, what really counts is to revel in the psychedelic of pearls like Juriti Butterfly (written by the three), with the urgent rock of riponga Ama Teu Vizinho (de Sá and Rodrix), with the stoneana construction of Today Still Is Rock Day (Rodrix), with the harsh melancholy of Cumpadre Meu (Guarabyra), or with the lyricism beat of First Song of the Road (also of the three). 

Before reaching an early end in 1974, the trio released a second album . As inspired as its predecessor Land brings classics like Master Jonas , Blue Riviera , Ahead and Pindurado na Vapor . As we well know, after the break, Sá and Guarabyra went ahead and made success as a pair. Rodrix preferred to start solo career, also of great success, and later joined the group Joelho de Porco, in addition to composing dozens of jingles, with the unmistakable mark of his talent, for the advertising market. 

Today exactly five years ago, Zé left, at age 61, the victim of a heart attack. Our bows to this great Brazilian composer.......................

Written-By, Guitar, Vocals – Gutemberg Guarabyra*, Sá*
Written-By, Keyboards, Vocals – Ze Rodrix*

01. Os Anos 60
02. Desenhos no Jornal
03. Meste Jonas
04. Blue Riviera
05. Adiante
06. Pindurado no Vapor
07. O Pó da Estrada
08. O Brilho das Pedras
09. Até Mais Ver

Da esquerda para a direita, Gutemberg Guarabyra, Luiz Carlos Sá e Zé Rodrix (foto Reprodução  Odeon)

Joelho De Porco “São Paulo - 1554 / Hoje” 1973 Brazil Prog Punk Rock

Joelho no Mercado Municipal de SP, para fotos promocionais em 1971 Gerson Tatini, Rodolfo, Conrado, Próspero, Tico e o produtor Leon Cakoff

Joelho De Porco ‎ “São Paulo - 1554 / Hoje” 1973 Brazil  Prog  Punk-Rock
In the period that I played from June 1972 to July 1973, there were many concerts, trips to the south of the interior country of São Paulo. Things happened very fast back then. There is a lot of misinformation about the Knee of Pigs, guilt of ignorance and Carlos (Tico) Alberto Terpins himself. (Rodolfo Braga).

I started playing (guitar and guitar) in the 60's, precisely in 1964. There was never a bass player so I was forced to use the guitar as bass ... It played in many neighborhood ensembles. My first duet was called "The Beethovens", which soon became "Trouble Makers", I had a group in 1966 (the first time I played with a real bass), we played in a big show in São Paulo at Side of such luminaries as Beatniks, Lunatics, Deni & Dino & the late comedian Renato Corte Real on the show "Spring Night in the Military Circle". The name of the set where I played bass (with a real bass) in my 16 years was called "The Febris" (set formed by my then teacher the multi instrumentalist Enio, guitar, I in the bass and I in the bass, Daniel Haar-guitars base & Joaquim Cunha Bueno, we played Poor Girl, I remember wearing a caravelle glasses - because it was the biggest pawn in front of the public, the name Febris was given by the father of then guitarist Daniel Haar, son of the then Photographer of the "Manchete" magazine, Sigmund Haar). Curiously, the drummer was Joaquim Cunha Bueno (cousin of the politician Cunha Bueno), who later became a photographer. The solo guitarist (he lent me the bass model copied from a Mosrite made by "Snake") was Enio (a fabulous musician / teacher, guitarist and bass player who worked at the Isnard stores demonstrating instruments), and who was my teacher and mentor (1966- 68) in my early jazz days. 
It was the first time I played with a bass guitar and it was a success: In the end I gave a lot of autographs (in those diaries that the girls of the time carried).

We played at this great show in São Paulo alongside such luminaries as: Beatniks, Lunatics, Deni & Dino & comedian Renato Corte Real on the "Spring Night in the Military Circle" Show. It was my first professional show along with luminaras of the time. I also played in 1967 in "Phase 77" (Ten Years Ago).

Curiosity: (Nothing is pro chance ...)
Between 1965-67, my current wife (Kika) had a whole: (Tony, Kika & Ulla), which is mentioned in the book of Mutants "Divine Comedy" - This trio 1966, was accompanied by Arnaldo (Mutantes) to the acoustic double bass in the auditorium of Folha de São Paulo. Curiously, I was present at this show, and I remember that it caught my attention ... We only came to know each other years later ... In 1969 I joined the Islander set where I played until the end of 1971 (and later, Keyboardist, singer and drummer would set up the Land Baldio). In 1974 the "Land Baldio" was formed, and with the departure of the bass player João Ascenção (ex-trio Fush) I entered until the end of 1978, Leaving me and Mozart (who came to participate in a formation of the Knee between 1978 and 1979). In this period of the 70's (the story of the Knee begins). For you to have an idea of ​​the "madness" of the time: I played in 1972 in the U. S Mail (set where Percy sang that years later came to participate in Made in Brazil and Duda Neves drummer), in the set Hot Rock ) With Prospero, drums and vocals; Carlos Bogossian (Bogô ex Beatniks, Sic Sunt Res) guitar, Thomas Gruetzmacher (my colleague of the college Porto Seguro), vocal (speaking in English swearing no one understood ... will be?) And I Rodolfo Braga (bass). We played the roots Of Rock. Bogô (Hits veteran, Beatnicks) with his red Gretch plaid shirt (red) and white shoes. Me with a bass Fender (borrowed from Gerson Tatini, first Knee guitarist). But he was on a tour in the northeast with the duo Don & Ravel, it was then considered the Mozart who came to do a rehearsal with me and Prospero at Bogô's house, he did not accept because at that time he was with the Fush trio accompanying Charles & Ralf They sang songs of the Jackson Five) and that they would happen years later like Cristian & Ralf doing sertaneja music. He knew the Prosper to talk to him in the Military Circle Dances in 1970 (where "daddy's boy" sets played with imported equipment known only to English or North American ensembles). Between comments, criticism aside, I said that I wanted to put together a group like Cream (Clapton, Bruce and Baker), Prospero (who loved Beatles, Hollies) knew Tico (who wrote funny lyrics) I knew Walter Baillot ("Provos" & "Twentieth Century") since 1966 (I met Walter playing at bowling alleys and dancing!) I knew the potential of the guy (not even a decent guitar he had) I invited him (Now the father of my nephews), who came to rehearse (at the time he played in the "Fush" Trio, from which came the drummer (Juba) who came to play In the band Blitz), but he preferred to accompany the then pair of Goianos "Charles & Ralf. Mozart Martins de Mello even played the Knee in 1978 (playing some shows alongside Billy Bond). By this time I had already started my night musician career. ) Since 1966 (I met Walter playing bowling alleys and dancing girls!) I knew the potential of the guy (not even a decent guitar he had) I invited him to play with us. Given the impossibility of Walter, I then called Mozart Martins de Mello (now father of my nephews), who came to rehearse (at the time he played in the "Fush" Trio, from which came the drummer (Juba) who came to play Blitz) , But he preferred to accompany the then duo of Goianos. "Charles & Ralf Mozart Martins de Mello even played the Knee in 1978 (playing some shows alongside Billy Bond.) By this time I had already started my night musician career . ) Since 1966 (I met Walter playing bowling alleys and dancing balls!) I knew the potential of the guy (not even a decent guitar he had) I invited him to play with us. Given the impossibility of Walter, I then called Mozart Martins de Mello (now father of my nephews), who came to rehearse (at the time he played in the "Fush" Trio, from which came the drummer (Juba) who came to play Blitz) , But he preferred to accompany the then duo of Goianos. "Charles & Ralf Mozart Martins de Mello even played the Knee in 1978 (playing some shows alongside Billy Bond.) By this time I had already started my night musician career ........................

The first guitarist on the Knee was a bass player ...
Gerson Tatini (ex: Nexus / Eyes), then a guitarist from Domingueiras do Círculo Militar and a friend of Próspero, thought of playing bass rather than guitar. I remember he said: you play the guitar and I the bass, which I answered no! Sorry I took over the bass. Prospero supported me in the decision and said that he had to decide; Either he played guitar on the Knee or was still dancing in the Circulo in the set Nexus / Eyes (At the time I was also playing in the US Mail). And I chose the creation and chose to stay on the Knee. We rehearsed (night and day) for months (August 72 to November 72), played a show with Tony Osanah, accompanied by the vocal trio "Arco Íris" by the brothers of Fábio Jr (my classmate Na Fap- Art They were present Mutantes, Rita Lee, Alpha Centuri and all the class of the Rock and artists of the time in the auditorium of Radio Eldorado of São Paulo. We played on the Acclimatic Conch of Acclimation alongside Tim Maia, Cinthia & KapTa and Memphis. Still in the same year, we played in TBC (a series of concerts led by Cacho Valdez (former Beat Boys guitarist) in November, 72. In one of these concerts we met Cláudio Coimbra from Cambé / Paraná, who invited us to play " First Teaspoon ", an open-air Rock festival, at the time, it was me and Tony Osanah in his blue fusca - I remember driving late at night, arriving at dawn. Gasoline and took a nap and then we went on a trip.In January 1973, in Paraná, we were on local TV, Radio and newspapers announcing the show, and we played alongside the Mutantes, Tony Osanah trio, Vultos de Astorga and The Key of Curitiba; This show was attended by (estimated) 6,000 people or more; There is a super 8 movie in the Prosper's power of this presentation and rehearsals .... It was so much success that we were invited to play in July of '73 at the "Moringão" Gym in Curitiba, where we played alongside Tony Osanah (ex-singer Of the Beat Boys, who accompanied Caetano Veloso in Alegria, Alegria) and Kapta (East Fusion Rock Fusion group). This show was a happening, with all the musicians playing Sunshine of your Love until they turned off the light, which was worth a kick from Waltão (that was beyond Baghdad, and who was not ...) in one of the spotlights of the stage. In spite of this, this show did not obtain the expected stocking (some 10,000 people were expected), Because it was vacation season, and most of the young people of the time were on vacation outside the city. It is estimated that there were 2 000 to 3 000 people .................

Arnaldo Baptista (keyboard of the Mutantes) in the time "producer", in fact a friend giving strength, played synthesizer in the simple compact, Sinter / Phonogram label in the music Fly America (authored by Terpins / Luiz Chaves). Now who recorded the entire LP "São Paulo 1554 - Today" was the blind musician Sergio Sá, a fantastic professional keyboardist. I do not know where Arnaldo's idea came from !!! The release of the compact If you go of xaxado, I go of rock'n'roll / Fly América was in the program "Lunch with the Stars" in the TV Tupy, channel 4, commanded by the pair Ayrton & Lolita Rodriguez. We played in a series of shows at Teatro 13 de Maio, next to the Capote Group, and also at the MASP (São Paulo Art Museum), where we were in our dressing room Rita Lee, a Knee fan. There were shows in Bragança Paulista (local cinema) and in Santos, on the Radio Clube stage. In this show appeared Lulu Santos, who played in Vímana group with Ritchie and Lobão (later, singers and composers), and who gave a soup with my bass and almost broke it (stumbling on the stage, so "drunk" that was )...................

Artwork – Juarez Machado
Bass – Tico Terpins
Drums – Flavinho Pimenta
Engineer – Marcus Vinicius, Renato Viola, Wilson Roberto
Guitar – Walter Baillot
Keyboards – Sérginho Sá
Percussion – Dudi Guder
Producer – Joelho*
Vocals – Próspero Albanese*, Tico Terpins

Hey Jordão
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