Sunday, 4 September 2016

Secos e Molhados “Secos e Molhados” 1973 Brazil Prog Psych debut album

Secos e Molhados “Secos e Molhados” 1973 Brazil Prog Psych debut album recommended...!
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Legendary Brazilian band formed by João Ricardo (vocals, guitar andharmonica), Ney Matogrosso (vocals) e Gérson Conrad (vocals and guitar). With their unique sound (mixing glam rock, folk and MPB) and their exhuberant visual style and make-up (predating the emblematic black and white make-up of British rock group Kiss, though nothing suggests Kiss got their idea from Secos & Molhados).
The band quickly became extremely popular, though the sexual ambivalence in the band’s on stage image caused some controversy. After only two albums recorded and released, the charismatic front figure and lead singer of the band, Ney Matogrosso, left for a solo career in 1974 …..~

Secos e Molhados' classic debut. An early 70s brazilian funky rock bestseller includes the killer track "Amor" as featured on Soul Jazz Records' "Brazil 70". Very Recommended ....~
The phrase spoken by guitarist Mutantes, Sergio Baptista shows that, unlike today, attitude was something more than mere verbiage. And there was reason to be afraid. Brazil was experiencing the so-called “years of lead” and the artists had little room to express themselves. And in this context, the Rants and Raves was admirable.
Secos & Molhados born through the leader João Ricardo, main songwriter of the band in September 1970. The following year, in April, the band gained two new members: Antonio Carlos (Pitoco) and Fred. Pitoco played 12-string guitar and harmonica, while Fred, a guitar of 10 strings and percussion.
Inspired by Vinicius de Moraes, Cassiano Ricardo and Fernando Pessoa, the group makes a season in Kurtisso Negro, in the neighborhood of the bladder, in São Paulo, and soon attract a crowd interested in new things. One of the first fans would Luli, with whom João Ricardo wrote some of the greatest hits, such as “O Vira” e “Fala”.
But Pitoco and Fred soon quit the group and João Ricardo goes on the hunt for a vocalist. Just knowing Ney de Souza Pereira, future Matogrosso, entering pro group, although lived in Rio de Janeiro. A few months later, Ney moved to São Paulo, entering definitively pro Secos & Molhados, in the month of November. On the same day, they record the “Flight” music for theatrical assembly Melee, directed by Antunes Filho.
The two begin to rehearse and, in January 1972, make tests with various musicians and invite only, flutist Sergio Rosadas, the “Gripa” and also Gerson Conrad, neighbor of John. The band rehearses all year until their debut Half the theater, Ruth Escobar, a mix of house-night, bar and restaurant name house of hype & Boredom, where they get an unexpected success.
In January of the following year, they receive an invitation to record in Rio, through the Val Moracy journalist. Go looking for musicians for the contract.
They are two months in the state capital, while not receive Continental recording signal to enter the studio.
Finally, assemble a band composed of Gripa (flute), John (guitar), Willy (bass) and Marcelo (drums) and rehearse during the months of March, April and May, when they start recording on 23.
The songs are completed in a fortnight. Deliver the master for Continental, as they start working on making the cover.
On 6 August, are the first LP release show at Theatre Aquarius in São Paulo. They note the look, with painted faces, a lot of production.
The LP soon becomes an astounding commercial success, selling over 300,000 copies in two months, and, before long, become the home of a million copies. And it is no less.
Besides the beautiful compositions of João Ricardo, the Secos & Molhados dare incorporating Brazilian elements with the rock of the Rolling Stones, an extremely intelligent and fun mix. ….. ~ 

It`s hard to picture nowadays the impact this album had in BrazilÃ?´s music scene at the time. The mix of rock music to brazilian rhythms and styles were not exactly a novelty: Tropicalia is a good example of giving a modern and psychedelic treatment to MPB (the letters standing for brazilian popular music, in portuguese), but it didnÃ?´t reach a big audience at the time. Secos & Molhados debut album, on the other hand had an immediate and profound impact. The mix of national folk music and rhythms with rock, blues and prog was so perfect, seamless and subtle no one dared call it a sell out to "american music", like all the other attempts up till then were. And their visual was extremely bold for the time, even dangerous: three androgynous men with heavy make up and outrageous clothes, making provocative poses at the height cold war and military government. It certainly appeal to the "glam"youth, but to a lot of people they just looked like a bunch of weirdos (or worse). Yet, their music captivated just about everybody: from hippies to squares, from adults to children. It was the bestselling album of the decade and one the biggest musical and cultural phenomenons in the brazilian music history. 
Looking back, some details can be seen more clear: they had the songs (JoÃ?£o Ricardo was a gifted songwriter), an excellent and fluid backing band and, more than anything else, an extraordinary singer in Ney Matogrosso. His unique vocal style made many people think it was a woman singing. Small wonder he is regarded as one of MPB´s living legends with an ongoing solo career after all these years. The lyrics were a novelty too: they actually chose to put music into already written poetry, some of it penned by JoÃ?£o RicardoÃ?´s father, portuguese poet Joo Apolin¡rio. The result was some of the most intelligent and poignant words to be put into music at the time, like Rosa de Hiroshima (HiroshimaÃ?´s Rose), a well known poem about the effects of the atomic bomb on Japanese people written by famous poet Vinicius de Moraes. 

As almost anything that arrived too much too soon, it would not last long: the band dissolving about an year latter, among bitter fights regarding money, jealousy and bloated egos. But their legacy was a lasting one. And their music still stands as one of the best to ever grace popular radio and the charts. For once quality music, with sophisticated lyrics, was a big hit, both with intellectuals and the common men. A rare feat indeed. But it did happen. And I still love this CD to this day. 

Rating: for all the sheer quality, groundbreaking novelty and historical importance, anything less than five stars would be criminal. Liking it or not. A real classic of the 70´s.....by Tarcisio Moura ....~


Secos & Molhados' debut album is an eccentric mashup of Brazilian folk, art pop and prog sensibilities, with frontman Ney Matogrosso and the gang blending together an invigorating mixture of influences into a product which was simultaneously undeniably Brazilian in character but at the same time celebrated a vision of Brazilian culture far from the dour conservativism of the military junta of the time. Matogrosso's startling singing voice is applied to various poems, whilst the musical backing reminds me at points of Audience on a Brazilian vacation. Add an injection of glam androgyny and you get a feast just as rich as the one on the cover...by Warthur ...~

One day we woke up and we heard a sound, it seemed strange because we did not know if the voice of that artist was of man or woman, speculations by sight, on television we watched a presentation of the most extravagant possible, after all what was what we loved so much, Where did those beings come from? And the ones that are broken? Bizarre, it was what some more conservative would say, others also twisted their noses, society was not prepared for such boldness, but what does it matter! The sound was wonderful and it was there, ready to change our destinies, reform concepts, and open paths to the changes of thinking and acting of the famous and traditional Brazilian family.
    It was like this more than 30 years ago in 1973 when the world seemed to fall on our heads, when the dream had already hopelessly ended, that a bunch of young, not so young, resolved to transgress the aesthetic and behavioral patterns making a music that fell from a gentle way in our ears, pulsed the heart, made us laugh, cry, dance and think we could, revolutionize, be aliens in our country, making a profound impact on all of us, and making us happier. Dried & Wet, this was the name of the comet that crossed the skies of Brazil and our popular music in the height of bombs detonated on all sides.
    These heroes had their name and were called Ney de Souza Pereira, which the artistic world renamed Ney Matogrosso, born in Bela Vista, Mato Grosso on August 1, 1941, Gerson Conrad, born in 1952 and finally João Ricardo Carneiro Teixeira Pinto, born in Ponte do Lima, Portugal, but Brazilian like any of us. Together this group decided to make a new sound, and with them a modern look, totally different from everything that was done at the time, colorful clothes exotic, a multicolored makeup, props and drawings in the body, and even more the sensual roll of Ney Matogrosso owner of an absolutely disconcerting voice never seen in Brazilian music. It was a delusion, overnight the group's performances filled the theaters, everyone wanted to see and listen to those boys and dance to their music.
    A comet was beginning its trajectory in Brazilian popular music and would leave deep marks of its passage. From the stages to the recording of the first disc was a step, after all the public was already guaranteed in the concerts, it lacked only the stops of success in radios and TVs. Between May and June of 1973 they recorded for Continental their first LP, titled Secos & Molhados, and in the month of August the disc was already in the stores, enclosed in a double cover of high luxury for time with the letters and technical fiches of all the songs.
    Immediately they could not hear anything else in Brazil, they all sang and tried to imitate the voice and tricks of Ney Matogrosso, to the sound of "Sangue Latino", music of João Ricardo and Paulinho Mendonça, that opened the LP and already made clear his message in the verses "I broke treaties, I betrayed the rites, I broke the spear, I threw it in the space, a cry an outburst, and what matters to me is not to be defeated" The disc still had "O Vira", the hymn of an era, made music of all generations, after all who did not sing these verses:
The black cat crossed the road,
He passed under the stairs.
And there from the blue background in the forest night
The moon lit up, the dance, the wheel the party
Turn around, turn around, turn around
Turn, turn, become a man
Turn turn
Turn around, become a werewolf.
Owls and fireflies dance
Between the gardens and the fairies
And there on the blue background in the forest night
The moon illuminated the dance, the wheel, the party.
Turn around, turn around, turn around
Turn, turn, become a man
Turn turn
Turn around, become a werewolf.
    In a perfect marriage the poetry of Vinicius de Moraes fits masterfully in the melody of Gerson Conrad and many are moved by the "Rose of Hiroshima". Innovations are not lacking and Ney Matogrosso in several moments reaches the vocal perfection as for example, in "Speech" of João Ricardo and Luli. The disc of the Secos & Molhados represents one of the maximum points of Brazilian Progressive Rock, a historical landmark of aesthetic renewal in our popular music with a daring until then not tried and with touches of genius as in "Our daily boss", and a lot of fun in "So Barbecue" and "Barbagian Woman".
    That way over the years we have lived and heard this wonderful sound, this unforgettable record, this beautiful and fleeting dream, reference of a time when daring was very difficult, but that they managed with their music and their talent to overcome the barrier of time without aging and communicating fully with the new generations.
Luiz Américo Lisboa Junior


Secos & Molhados was a Brazilian vocal group from the 1970s whose classical formation consisted of João Ricardo (vocals, guitar and harmonica), Ney Matogrosso (vocals) and Gérson Conrad (vocals and guitar). João had created the name of the band alone in 1970 until joining with the different formations in the following years and to continue also alone with the album Memória Velha (2000). 

In the beginning, the daring performances, with extravagant costumes and makeup, made the band gain immense recognition and recognition, above all for songs such as "O Vira", "Sangue Latino", "Assim Barbados", "Rosa de Hiroshima" that mixes dances and songs of the Portuguese folklore like the Vira with critics to the Military Dictatorship and the poetry of Cassiano Ricardo, Vinícius de Moraes, Oswald de Andrade, Fernando Pessoa, and João Apolinário, father of João Ricardo, with a heavy rock unpublished in the country , which made it become one of the greatest musical phenomena in Brazil at the time and one of the most acclaimed by the critics these days. 

His debut album, Dry and Wet I (1973), was made possible by such performances that aroused interest in record companies, and projected the group on the national scene, selling more than 700,000 copies in the country. Financial disagreements made this formation disintegrate in 1974, the year of the Dry and Wet II, although João Ricardo continued with the brand in Secos & Molhados III (1978), Dry and Wet IV (1980), The Return of the Black Cat (1988) , Theater? (1999) and Memória Velha (2000), while Gérson continued to play alone. Of the group, Ney Matogrosso is the most successful in his solo career, and remains active since Water Bird Heaven (1975). 

The Secos & Molhados are enrolled in a privileged category among the bands and musicians that took Brazil from bossa nova to Tropicália and then to Brazilian rock, a style that only flourished expressively in the 80's. Their two debut albums incorporated new elements to the MPB, ranging from poetry and glam rock to progressive rock, serving as a fundamental reference for a generation of underground bands that did not accept MPB as an expression. The group continues to gain new generation attention: in 2007, Rolling Stone Brazil placed the first LP in fifth place in its list of the 100 greatest albums of Brazilian music and in 2008 to the 250: Essential Albuns of All Time Latin Alternative - Rock Iberoamericano placed him in the 97th position.
The initial formation of the group was composed by: João Ricardo (guitar of twelve strings and gaita), Fred (bongô) and Antônio Carlos, or Pitoco, as it is better known. The sound, completely different at the time, made Black Kurtisso owned by Peter Thomas, Oswaldo Spiritus and Luiz Antonio Machado in the neighborhood of Bixiga, in São Paulo, where the group performed, were visited by many people interested in know the group. Among the "curious" was the singer and composer Luhli, with whom João Ricardo composed some of the group's greatest hits ("O Vira" and "Fala"). 

Fred and Pitoco, in July of 1971, decide to follow solo career and João Ricardo goes looking for a vocalist. By indication of Heloísa Orosco Borges da Fonseca (Luhli), meets Ney Matogrosso, who moves from Rio de Janeiro to São Paulo. After a few months, Gerson Conrad, neighbor of João Ricardo, is incorporated into the group. Secos & Molhados begins rehearsing and after a year presents at the Teatro do Meio, by Ruth Escobar, which has become a mixed bar restaurant called "Casa de Badalação e Bédio". 

Classical formation (1973-1974). 

On May 23, 1973, the group entered the studio "Prova" to record - in sessions of six hours a day for fifteen days in four channels - their first album, which sold more than 300 thousand copies in just two months , reaching one million copies in a short time. 

The Drought & Wet have become one of the biggest phenomena of Brazilian popular music, beating all records of record sales and public. The disc was formed by thirteen songs that in the view of the critic, seem current until the present day. The most performed songs were "Sangue Latino", "O Vira", and "Rosa de Hiroshima". The album also highlights countless critiques of the military dictatorship that was implanted in Brazil, in songs such as the alternative blues "Primavera nos Dentes" and progressive rock "Assim Assado" - this most explicitly in verses that personify a dispute between socialism and capitalism . Even the cover of the disc was chosen by Folha de S.Paulo as the best of all times of Brazilian records. 

The success of the group attracted the attention of the media, which invited them to various appearances on television. The most relevant were the specials of the Fantástico program, Rede Globo. They always appeared with unusual makeup, different clothes being one of the first and few Brazilian bands to adhere to glam rock. 

In February of 1974, they performed a concert at Maracanãzinho that beat all the indices of audience never seen in Brazil - while the stadium had 30,000 people, another 90,000 were outside. Also in 1974 the group went on an international tour that, according to Ney Matogrosso, generated opportunities to create a solid international career. 

In August of the same year, the band released their second studio album, which featured "Flores Astrais", the album's only success. Launching just before the end of the band's classic lineup, due to internal fights. Maybe that's why the second album - untitled, with a black cover - has not been as commercially successful as the first. 

Period of inactivity (1974-1977). 

After the end of the group Dry and Wet, the three members followed in solo career. Ney Matogrosso released the following year, in 1975, his first solo album with the name of "Water of the Sky-Bird" (stuffed with musical experimentalism) and with the success "South America". João Ricardo also released in 1975 his homonymous album, better known as Disco Rosa / Pink Record. Gerson Conrad joined Zezé Motta and released a record also in 1975. 

João Ricardo acquired the copyright under the name Secos & Molhados, after a few fights in court, and went on the search for new musicians for the band to have new formations. 

Other formations. 

The first formation after the group ended in 1974 came in May of 1978, João Ricardo released the third disc of Secos & Molhados with Lili Rodrigues, Wander Taffo, Gel Fernandes and João Ascensão. The third album was released, and one more success of the group - what would be the last one of national recognition, and unique outside of the original formation - "Que Fim Levaram All Flores?", One of the most performed songs in Brazil that year, the who brought the new group of João Ricardo to the television presentations. 

In August of 1980, together with the brothers Lempé - César and Roberto - the Secos and Wet ones released the fourth disc, that did not have commercial success. The group's fifth formation was born on June 30, 1987, with the enigmatic Totô Braxil, at a concert at the Palace, in São Paulo. In May of 1988 left the album "the Return of the Black Cat", that was the last one of the decade. 

Alone, in 1999, João Ricardo released "Teatro?" showing the brand of the creator of Dry and Wet. 

According to the official website of the band, João resumed the group's work in June 2011 with the entry of a new member, Daniel Iasbeck. The duo released in November of the same year the autobiographical album titled "Chato-....~ 


The 1970s in Brazil and South America were marked by heavy dictatorships that made the continent bitter a period of censorship, torture, silence and the "disappearance" of those who tried to retake the lost identity of various peoples. As strong as the armed struggle was the artistic struggle. It is no secret to anyone that all art produced in periods of turbulence, comes full of arrows embedded in poetry, traces, images and sounds that can be more accurate than any bullet or anything that counts. It's just a quick stroll in the works of Caetano, Chico, Gil, Glauber Rocha, Hélio Oiticica, the newspaper Pasquim, Secos e Molhados and so on. Dry and Wet?!?!? Yes, after all it took a lot of courage to go up on stage, even with all the poetic beauty, and to present yourself in costumes and tricks that were not suitable for that time. And this is where our talk begins about this group that, without pretense of changing anything, changed everything.
The story begins more or less like this, two friends and neighbors come together to make a sound without much commitment and create a group called Eric Expedition. João Ricardo and Gerson Conrad were two young people full of musical ideas, but still lacked some elements to create a group of weight. At that moment João began an outline of what Dry and Wet would be, inserting into his music violas, percussion and harmonica. But ... ..it was still missing, and this "thing" was in Rio de Janeiro. The singer Luli (of the duo Luli & Lucina) has released the tip: there is a singer there in the capital of Rio de Janeiro who has an unusual voice. Result, the two left Sampa rushed to Rio and came face to face with Ney Matogrosso. Soon ... the sound chemistry happened.
The year was 1973 and after two years playing in the night of São Paulo, and winning an increasingly faithful audience, Secos e Molhados signs with the continental label and records, in 2 weeks, a record that would never leave the memory of the music Brazilian Years later,  - the Secos e Molhados  album - influences, makes sing and passes that idea of transgression, even in the XXI century. Sometimes we can even ask ourselves: what makes this work so timeless and striking? One of the answers may be aesthetics, concept and good taste. Yes, the repertoire was composed of poems by Vinicius de Moraes and Manuel Bandeira and by the letters that went from the social character to love written by João Ricardo and his father João Apolinário. All served in a melodic range that went from fado to rock in seconds.
In the Secos e Molhados music and poetry gained a face, a body and an image. What started without big intentions became a brand of the group. The elaborate costumes and heavy makeup completed the creative circle proposed by the boys. Half men, half animals, in dark or bright tones, with fur or feathers, all added to the powerful voice and interpretation of Ney Matogrosso. And remember: in full Medici government. Speaking and acting out of "them" was a problem. But it was not for the Dry and Wet, after all the track O Vira conquered the innocent little Brazilian children and if you have around 40 years already danced, and much! , that music. You should also remember the striking images of the group's presentation at Maracanãzinho and songs like Flores Astrais, Rosa de Hiroshima, El Rey, Fala and Sangue Latino. Just listen to this album carefully to see the complexity of the arrangements, the multicolored timbres, and the creative freedom that these guys squandered. A complete work of art full of poetry, music, theater and dance.....~


The release of the first LP of the ,“Secos e Molhados” which bears the name of the group, impressed the Brazilian public. It was a completely different group from all that was known at the time. It brought the incredible Ney Matogrosso on vocals, lyrics against military politics and style marked by MPB and progressive rock. In addition to the visual concept, translated through the masks that the quartet used and the stage performance never before seen in Brazil. There are 13 tracks, seven of the composer and guitarist João Ricardo. The album "O Vira", "Sangue Latino", "Barriguda Woman", "Assim Asado" and a melancholy version of "Rosa de Hiroshima" performed by the unforgettable voice of Ney Matogrosso. His cover features an anthology photograph of Antonio Carlos Rodrigues in which the heads of four of the members are served on trays. It was voted the best cover of a Brazilian album by Folha de São Paulo in 2001 and is always remembered as such.....~ 

In assessing this classic Brazilian release from 1973, one that enthralled millions at the time and influenced thousands in the decades since, I feel almost as heretical as SECOS & MOLHADOS surely were at the time. Visually part of the glam movement, with a lead vocalist who in short order professed sexual interest in men, their mere existence flouted the military dictatorship of the time. They grew out of the Tropicalia movement of the 1960s which was spearheaded by OS MUTANTES among others, and that forms a pretty reasonable summation of their sound at the time of this debut. To those who have arrived here via the prog folk classification, I must warn you this isn't especially folky, acoustic guitars and woodwinds notwithstanding, but that does seem to be the default position when world music trumpets its presence in these parts. 
Not surprisingly, the more acoustic oriented pieces have aged the best, with the opener "Sangue latino" (Latin blood) being the strongest, an irresistible bass line lying down first and having its way with the strummed and picked guitars that form the upper layer. Most strikingly is the voice of Ney Matogrosso. To say it's androgynous is to imply ambiguity of a sort, but his pitch perfect and versatile counter tenor is a ringer for a woman singer, and an accomplished one at that. His voice is one of the calling cards of the group, and, while later lineups did not include him, it's hard to think of them as emanating from the same collective. Other superb contributions in this vein are "Amor", again with killer bass but also harmony vocals. 

In contrast to the sultry acoustic numbers are the more upbeat fuzzy leftovers from a bad 1960s hangover. "O vira" would be one of the best/worst examples. The approach is light and silly while retaining musical professionalism, like the aforementioned OS MUTANTES but also like what QUEEN would cash in on a few years later. I'm not sure if this would have been considered groundbreaking at the time, but my prog antennae barely rise from the horizontal. 

A suite of 5 tracks toward the tail end all clock in at barely 2 minutes or less, and, apart from the mammoth 2:02 length "Rosa de Hiroshima", are predictably both pretty and as fleeting as the proverbial ephemeroptera. Sadly, this lineup mimicked said life cycle, and split before their follow up was even released. I realize that awarding two stars for a landmark debut might result in my certificate of cultural competency being shredded before my eyes, so a weak 3 stars it is. I'm not saying you had to be there in both space and time to fully appreciate SECOS & MOLHADOS' calling card, but I'd wager a tastefully stocked boutique of wet and dry goods that it would sure help.... by kenethlevine ...~ 


Ney Matogrosso: vocal 
João Ricardo: violões de 6 e 12 cordas, harmônica de boca e vocal 
Gerson Conrad: violões de 6 e 12 cordas e vocal 
Marcelo Frias: bateria e percussão 
Sérgio Rosadas: flauta transversal e flauta de bambu 
John Flavin: guitarra e violão de 12 cordas 
Zé Rodrix: piano, ocarina e sintetizador 
Willi Verdaguer: baixo 
Emilio Carrera: piano 


1. “Sangue Latino” (João Ricardo/Paulinho Mendonça) – 2:07 
2. “O Vira” (J. Ricardo/Luli) – 2:12 
3. “O Patrão Nosso de Cada Dia” (J. Ricardo) – 3:19 
4. “Amor” (J. Ricardo/João Apolinário) – 2:14 
5. “Primavera nos Dentes” (J. Ricardo/J. Apolinário) – 4:50 
6. “Assim Assado” (J. Ricardo) – 2:58 
7. “Mulher Barriguda” (J. Ricardo/Solano Trindade) – 2:35 

Lado 2 

1. “El Rey” (Gerson Conrad/J. Ricardo) – 0:58 
2 . “Rosa de Hiroshima” (G. Conrad/Vinicius de Moraes) – 2:00 
3 . “Prece Cósmica” (J. Ricardo/Cassiano Ricardo) – 1:57 
4 . “Rondó do Capitão” (J. Ricardo/Manuel Bandeira) – 1:01 
5 . “As Andorinhas” (João Ricardo/C. Ricardo) – 0:58 
6 . “Fala” (J. Ricardo/Luli) – 3:13 



Secos E Molhados recorded six albums, but I’ve only heard this one, their 1973 debut. Because Secos E Molahdos is so great, maybe I don’t need to her anything else by this Brazilian group. Oftentimes, bands peak with their first full-length and their discography becomes a case of diminishing returns. I suppose curiosity will get the better of me and I’ll eventually check out later releases. But for now, Secos E Molhadoswill keep me sated until further notice.
From the first seconds of the opening tune, “Sangue Latino,” you’re struck by the excellent production values here. Willi Verdaguer’s bass tones have the richness of Dave Richmond’s playing on Serge Gainsbourg’s Histoire De Melody Nelson (pretty much the gold standard, along with anything massaged or thumbed out by Herbie Flowers and Larry Graham), and it contrasts extremely well with Ney Matogrosso’s countertenor, which initially fooled me into thinking he was a woman. Now that I know his gender, Ney comes across as a Freddie Mercury-esque presence on the mic—and one of the best goddamned singers I’ve ever heard.
More proof comes from Matogrosso’s unbelievably gorgeous lead vocal and from João Ricardo and Gerson Conrad’s dulcet backing vox on the acoustic guitar ballad “O Patrão Nosso De Cada Dia.” Even better is the heartbreakingly pulchritudinous “Rosa De Hiroshima,” a sparse folk-rock ballad whose emotional resonance could make a dictator cry. For variation, there are the strutting, rollicking glam-rock of “O Vira” and “Mulher Barriguda” the latter of which boasts strafing harmonica and manic piano, summoning the over-the-top energy of Sweet’s “Ballroom Blitz.”
Secos E Molhados peaks on “Amor” and “Assim Assado.” The former is my go-to Secos E Molhados jam in DJ sets, as it possesses an ascending, sidewinding bass line and vocal harmonies that caress your frontal lobes like the tenderest lover does your nether regions, all while being festively funky. Yes, the erotic imagery is necessary for this almost unbearably sensual song, which stands up to anything by peak-era Os Mutantes. Another DJ favorite, “Assim Assado” is spiced by quirky ocarina motifs (by Zé Rodrix of Som Imaginário), fuzzed-out, Blue Cheer-like guitar soloing, and a melody that arches and curves like a swan’s neck.
“Fala” provides an ideal note on which to close the album—a ballad that gathers momentum and orchestral sweep as it goes, soaring to the vanishing point with the grace and grandeur of a bald eagle. That Dick Hyman-esque synth solo that squiggles into earshot, though, steers the piece toward a surprisingly charming and absurd tangent.
Secos E Molhados isn’t as well known as other classic Brazilian albums by Mutantes, Caetano Veloso, Gilbert Gil, Gal Costa, and Tom Zé, but it deserves to be worshipped just as fervently as those essential documents of South American music. -Buckley Mayfield....~


Discography
Secos & Molhados (1973) 
Secos & Molhados (II) (1974) 
O melhor de Secos & Molhados (1976) 
Secos & Molhados (III) (1978) 
Secos & Molhados (IV) (1980) 
Secos & Molhados - Gravado ao vivo no Maracanãzinho (show de 1974, lançado em 1980) 
A Volta do Gato Preto (1988) 
Teatro? (1999) 
Secos & Molhados - Série Dois Momentos (1999) 
Memória Velha (2000) 
Secos & Molhados - Série 25 Anos Warner (2001) 
Ouvido Nu (2003) 
Secos & Molhados - Série 30 Anos Warner (2006) 
Secos & Molhados - Nova Série (2007)





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