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24 May 2017

Belchior “Alucinação” 1976 Brazil Psych Latin Funk Rock,Soul

Belchior “Alucinação” 1976 Brazil Psych Latin Funk Rock,Soul 
In the middle of a pile of very well written stools, guitars and poetry, only part of the popular Brazilian music enchants my ears. I speak of music that is made with seasoning, which tastes strong, and leaves marks in the memory. I like the rebellion, the malandragem, the deep sadness, the music that exposes the weakness itself, the screaming, the new. I speak of people singing things like "Do not ask me to make you a song like it should, correct, white, soft, very clean, very light / Sounds, words, are razors, and I can not sing as it should without wanting to hurt no one". I speak of singers like Belchior.
My first contact with the singer from Ceará happened with the album Alucination, 1976, the second recorded by Belchior after his arrival in Rio de Janeiro. He left the Northeast to vandalize Brazilian music, disinterested in theory, throwing flaming verses in the absolute state of things. Hallucination that comes from day to day, from the violence of things and feelings, from that which is nothing divine, nothing wonderful.

But do not worry, my friend.
With the horrors I tell you
This is just a song.
Life really is different.
I mean…
Live is much worse!
From this album are the hits Only a Latin American Boy, who presented him nationally, Old Colored Clothing and Like Our Parents, eternalized by the re-recording of Elis Regina. More towards the end of the record, one of the most visceral songs I've heard in my life, the protest to Palo Seco. With a verse of this, I explain why I urgently recommend to my friend the Hallucination audition: "I want that crooked corner, made a knife, cut your flesh." RANIERI ...................

"Alucinação" ("Hallucination") was not the original name of Belchior's second studio album, recorded in just three days and released in May 1976. The first choice of Sobral's musician and producer, Marco Mazzola, was to name the album "Only A Latin American boy, "a song already released in a compact earlier that year. I do not know if Belchior considered all ten songs on the album to name him, but he may have considered "Like Our Parents" and "Old Colored Clothes", which were already being sung by Elis Regina in Faux-Bright and would also attract attention. Speculation aside, it is good that he did not go down this path, because it is in the chosen "Hallucination" that there is the great message of the music of Ceará.
Belchior is not interested in any 'tiuria' because he already knows that 'loving and changing things' is much more interesting. In a very fluid lyric, one of the marks of the singer, he presents himself as a pragmatic subject, with no interest in the exoteric, but never skeptical, for he is open to delirium. And he delights listing a series of "real things" that he watches, participates, and sees happen. Good and bad things, from day to day, some presented with metaphors, another not.
There is a lot of anguish in Belchior's music. It is something that pervades not only the song but the whole disco hallucination. But the solution to overcome this anguish, that suffering that makes us bleed all year promising not to die in the end, is also there. It is the experience with which surrounds us, with the people around us, those with whom we can talk through the night, listening, of course, to Belchior.............

In 1976, Antonio Carlos Gomes Belchior Fontenelle Fernandes, or simply Belchior, was just another singer and composer from Ceará who tried to live in Rio de Janeiro. Two years earlier, he had released his first record, "A Palo Seco", by Continental Records, which had its first critical hit "Lunchtime". But the repercussion was only there. The public did not buy. Even so, he got a contract with Polygram, the most important label in Brazil at the time. With Mazzola's production, he entered the studios and made the fifth disc of my favorite list and the first one of MPB of this personal and nontransferable list: "Hallucination".

Like everyone else at the time, I listened to the record for the first time on the radio. Continental 1120, of course . The song was the track that opens the album, "Just a Latin American Boy". With that way of expressing himself, only Raul Seixas in his "Fool's Gold" had done something like that. A Dylan way of singing and reciting lyrics at once, unusual at the time. Long before rap. The harmonic helps in comparison with Robert Zimmerman. In it, Belchior makes his profession of faith as composer in those times of military dictatorship: " Do not ask me to do it / A song as it should / Correct, white, soft / Very clean, very light / Sounds, words are / And I can not sing as it should / Without hurting anyone. Further up, He warns that the listener should not worry about the horrors he says, for "life is much worse." In today's perspective, it is incredible that censorship - so angry at countless moments with other composers, for example, Chico Buarque and Milton Nascimento - has been patronizing the lyrics of Belchior.

In the sequel, he makes less rocky versions of two songs that had been recorded by Elis Regina in his album "Falso Brilhante": "Velha Roupa Colorida" and the album hit, "Como O Pais". In "Old Clothes ..." he worries about nostalgia: "In the present, the mind, the body is different / And the past is a suit that no longer serves us." It also says that a new change will happen. But it took almost nine years to get started. In "Like Our Parents," he assures us that " living is better than dreaming" and that despite struggling to look for life rather than dream, the conclusion is terrifying: "We are still the same and we live / Like our Parents" . The disc is all packed by mid-tempo ballads - as the Americans say - well, in style,

"Lucky Guy" is different. After a beginning that flirts with the rock a little heavier, she turns a song where the electric piano of Jose Roberto Bertrami (of the Azimuth group) makes the melodic base for the battery of Ariovaldo. And the lyrics say, " I've bled too much, I've cried for the dog / I've died last year, but this year I do not die," in a direct reference to Dylan's "Its All Right, Ma ." He again. "As the Devil Likes" has a solemn tone with the organ making the basis for guitars and violas and Belchior singing: "And the only way that can have norm / is no rule to have / is to never do anything that the master commands / always disobey / Never bow. " A fashion of viola "muderna".

Side 2 begins with the most important song of all this great album, the title track that, direct already says: "I'm not interested in any theory / In any fantasy, nor in anything else ... my hallucination is to bear The day to day / And my delirium / is the experience with real things ". And after a description of the difficult and insipid life of big cities, Belchior says that "love and change things / interests me more." This is another song in which Ariovaldo's drummer makes a difference, playing the "beans with rice" needed to pass on the composer's message. In this sense, the production of Mazzola is exemplary. The band stands out for carrying convincingly the lyrics and vocals of the bard from Ceará.

Dylan's reference mixed with Luiz Gonzaga is in "Nâo Leve Flores", with guitars and country piano next to an accordion, underlining the cowboy brand or ... well, you know. Belchior's pessimism is evident in this passage: " Everything could have changed, yes / by the work we did - you and I / but money is cruel / and a strong wind took friends / away from conversations, coffees and coats / And our hope for young people did not happen, no, no. "

As many people had not heard their first album, Belchior decided to re-record "A Palo Seco" (which had been performed by his friend and fellow countryman Raimundo Fagner on the 1975 album, "Ave Nurna"). And he reinforces the song written in 1973 saying, "And I want this crooked corner made knife, cut off your flesh." Pay attention to what makes José Roberto Bertrami's piano throughout the song. It reminded me of what Nicky Hopkins did on the Rolling Stones records of the '70s.

"3X4 Photography" is perhaps the most desperate and autobiographical song of the whole album. "I remember very well the day I arrived / Young person descending from the north to the big city / The tired and wounded feet of walking tirana legua". And, from there, it follows the difficult saga of an immigrant. And even for Caetano of "Joy, Joy": "Veloso the sun is not so beautiful for those who come / from the north and will live on the street". Already aware that this record would change his reality, he hesitates to say: "My story is ... maybe / It is maybe just like your / young person who came down from the North / and in the South lived on the street". How important it is for him to reinforce this notion that the immigrant, especially the Northeastern, suffered greatly from this exodus.

To close, in a country levada again, a quick and basic "Before the End" message: "I want to wish, before the end / for me and my friends / lots of love and everything ... do not take care / do not be careful With me / that I am not dangerous / living is what is the great danger ".
This record meant a lot to me. I believe it was from him that I began, at the age of sixteen - late, I know, but sooner than never - to realize that we were living those terrible years that were called "lead." But I think, at 15 to 16, I had an alibi. We lived in a military dictatorship where nothing was counted as it should, everything was hidden. It was the beginning of the climax of TV Globo dictating the rules of Brazilian communication. He studied in a wonderful public school where, however, we studied "OSPB" (for those who do not know Brazilian Social and Political Organization) and "Moral and Civic Education". Two classic stories where we were taught to worship the Transamazon and the "achievements" of the military government. With all this brainwashing, It was very important to have an album like Belchior to give a demystified in what we learned even in schools. And it's a record I hear not only with the nostalgic bias, but as a quality music record. Who does not know, listen...............

It took me a long time to like Belchior, as it took me a long time to like Ivan Lins. Today, with more musical maturity, I take back anything that has said bad of the two, I redeem myself and I say that every time I am surprised more with them.

It was this album that drove me back to this blog that I love so much, but that I have saved for a year and many months. I've been listening to it very closely every day, with a lot of respect and today it's one of the most fantastic records I've ever heard. Belchior's song is prophetic. It's sharp, it's sincere. This record is pure feeling. The lyrics are poignant, are outbursts, shouts of alert, stories of us all. It is irresistible to comment track to track.

The track that opens the disc is "Only a Latin American Boy"; A boy who comes from the north, common as we are, opening the eyes of people, saying that the "old Bahian composer who told him that everything is divine, everything is wonderful" is already ancient (Gilberto Gil, who at that time was a Sweet Barbarian Along with Caetano, Gal and Bethânia);

"Sounds, words are razors
And I can not sing as I please Without wanting to hurt anyone"

Everything is forbidden, or rather, everything is allowed when no one sees us. At the end of the song, nothing else is divine, nothing is wonderful, nothing is secret, nothing else is mysterious ...

The following tracks are "Old Colored Clothing" and "Like Our Parents" , both designed in the voice of Elis Regina and in their original arrangements are very different. The first has mysterious conventions, steel guitar, slides, very free interpretation, a very present organ - a folk ballad that says the past is a suit that no longer serves us, we need to rejuvenate.

"In the present, the mind, the body is different and the past is a suit that no longer serves us"

The second receives an interpretation as poignant as that of Elis and claims that we have to pay attention to what we really live and not only to the "things we learn from the records".

" Any corner is smaller than the life of any person." "To hug your brother and kiss your girl on the street is that you made your arm, your lip and your voice." 

But the biggest slap is in the next verses: The great cry of revelation of the nostalgia that floods us, is what we revere of the discs we hear, is to recognize that "our idols are still the same", "we live as our fathers", who We love the same past, that many do not see that "the new always comes". But Belchior continues with the presentiment of the "smell of the new season", with blind hope, with the life of the big city.

"Lucky Guy" is an incredible song, strong, positive. A song easy to imagine in the voice of Maria Bethânia. A song that I want to sing. It is self-explanatory.

"I can think of myself as a lucky guy,
because although I am very young, I feel safe and strong
and I have with me in mind: God is Brazilian and walks by my side
And so I can not suffer last year
I have too much bleeding, I have Cried for the dog
Last year I died, but this year I do not die "

The introduction of "How The Devil Likes" has a thing about the Beatles ' "Blackbird" intro . In it he says that everything is as the devil likes, without rules, without order. A reflection of your time. End of side A.

Side B opens with the incredible title track, "Hallucination".

"I am not interested in any theory (...)
My hallucination is to endure day-to-day
And my delirium is the experience with real things"

Nothing is more precious than real experiences. Nothing is worth more than what is real, than what the eyes see. Take to the streets. Pay attention to your neighbor. Observe life with the heart. Realize that we are not alone. This is the real hallucination.

"(...) my body falling from the eighth floor
and the loneliness of people in these capital
Violence night, traffic movement
A gentle and cheerful boy who sings and shake it
's too much! (...)"

"(. ..) To love and change things interests me more. "

The next track, " Do not Take Flowers" brings an air of lightness and optimism. Once again I remember Beatles, with Rick's guitar solos. A thing about Octopus's Garden in the air and the verse "It's always day of irony in my heart" in the ears.

"Palo Seco" has some of the most beautiful verses I've ever heard. It's a sad song, direct, but sweetly aggressive.

" (...) I know that in this way you think that this despair is fashionable in seventy-six
But I'm really discontented,
Desperately I scream in Portuguese ..."

"... I have twenty-five years of dream, of blood and of South America ...

" (...) And I want that crooked corner, made knife, cut your flesh . "

Next comes the apex of the disc, in my opinion. "3X4 Photography" is sharp. It is a real account of the experiences of so many people who leave their cities to live in the big cities, observations that we who live here have never done, because we live within the eye of this hurricane. The song begins with a vocalized singing that is like a lament and, between real verses, this lament repeats itself. And among so many images that go by, so many findings about the city and so many confessions, the verse "I am like you" ends the speech. The stories are the same. We are all "Latin American boys", we are "like our country", we are "lucky guys", we have the hallucinations of the day to day. We are the multitude.

To close the disc,
"I wish, before the end,
me and my friends,
love and everything else;
they are always young
and have clean hands
. And learn delirium with real things

. Do not take care
not take care myself,
the singing was Approved
and God is your friend.Don't
be careful.Don't
be careful with me,
that I'm not dangerous:
- Living is the great danger "

... a wonderful and irresistible album.....................

I have been writing, here in the Altamont, about the records that I consider fundamental in the history of Brazilian popular music. I do so without any major concern, and with the modesty of those who know that the subjectivity of this kind of purpose is wide, and so I believe that my texts should always be read with this in mind. I am, however, a listener attentive to the Brazilian musical universe for more than 30 years, which allows me to have the ability to do the filtering necessary so that my opinion can appear so, shameless and in writing, in a site that is read by people Equally attentive and open-eyed. Assertively, always, and absolutely aware of fashions that dictate names and make them huge, and in this avolumar of good times and good and less good artists, some were forgotten, Erased in the collective memory that did not appreciate them at the level of their true dimensions. This is the case of the artist and the disco present: Hallucination , from the northeastern Belchior.

A controversial artist, almost damn, Belchior emerged as a poet in fairs in Ceará, and was later noticed by larger names of MPB, as was the case, for example, by Elis Regina, who recorded, among others, the theme " Mucuripe ", thus giving it some prominence. But it was, above all, with his second long run that Belchior left his mark forever on the musical history of the brother country. Hallucination is a profound and philosophical statement (Belchior was a student of this fundamental language of human existence) about his life and his time. It is, in this measure, tremendously autobiographical, and the lyrics / poems of the compositions present on this 1976 record are the best example of a difficult time for Brazilians. Freedom, when it is lacking, becomes an inspiring muse, and even then, Only a few can make it vibrant and magnanimous. Hallucination is a corner to freedom at a time when the regime curtailed it, a cry suffered and revealing the increased difficulties of those who live in the backlands, far from the centers where everything happens, and where life is (or seems to be) easier and more wonderful . That's what Belchior tells us, right on the first track of the album. He introduces himself as "Just a Latin American Boy", and the first verses sung are disarmingly beautiful: "I am just a Latin American boy / No money in the bank, no important relatives / And from the inside / But I carry the head A song from the radio / In which the old composer from Bahia told me: / - Everything is divine. Everything is wonderful! "The reference to the composition" Divino, Maravilhoso "(by Caetano and Gil) made famous by the voice of Gal Costa, Is as explicit as it is revealing of the fragility of the certainties it apparently announces. It appears in the first verses of the first song of the disc, as I mentioned, and is present again, for example, in the song that closes it, although in a more veiled way, when it is affirmed "To live is that it is the great danger", last verse of "Before the end". If you bother to listen to the song of the tropical Bahians, dear reader, you will immediately understand the reason for what I say.

The album follows with "Velha Roupa Colorida" (another letter and song of excellence), highlighting the deep expectations of social changes that Brazil lived in the 50s and 60s, but which in reality did not come to fruition, fruit Of coups d'etat of military scope, that caused that practically the whole South American continent would undergo of the oppressive policies imposed on him. Therefore, and in the logical continuity of the speech ( Hallucination , as you may have already noticed, is a political and combat disc), "Like Our Parents" appears in the alignment of the album tracks. And the reference to "Divine, Marvelous" comes back when one sings "So beware, my dear, there is danger in the corner!", As well as another reference to another well-known song, "Signed Closed", by Paulinho da Viola, In 1970. "They won and the signal is closed to us / we are young," Belchior sings. However, in the head of the artist there is a resolution long taken, and from which nothing will demote: "Always disobey / Never revere", sung in "How The Devil Likes." In the lucidity of those who suffer and do not give up, even if the projected future is black and unappetizing, Belchior's song turns out to be prophetic and humanistic. In "Hallucination", a powerful title song, the final verses are again assertive and frontal: "But I am not interested in any theory / In no fantasy, nor in anything else / Away the prophet of terror that mechanical orange announces / Love And changing things interests me more. " The young, now oppressed (I am referring to 1976), will not disarm, nor will they turn away from the country they love. That's for sure. By the way, The song "Do not Take Flowers" announces that it is too soon for the evildoers to sing victory, and that these same young people will always know to be on the right side of the trench. "A Palo Seco", eighth song of Hallucination , is the best example of the best Belchior ! Beloved by future generations of musicians, such as Los Hermanos, for example, but also sung by Oswaldo Montenegro, "A Palo Seco", I repeat, is an extraordinary song, beautiful, powerful, cutting, and greatest success of the career of Belchior, always so little recognized. Already in "Photography In 3 × 4", in which he refers to the name of Fernando Pessoa, a new eye wink to Caetano Veloso, this time modifying the verse of his manifest song "Alegria, Alegria", adapting it to the harsh reality of those who Suffered the impact of living in the big cities: "Veloso, The sun (no) is so beautiful for those who come / From the North and will live on the street ", identifying, nevertheless and nevertheless, with the history of Bahia and with all the young people who tried to live in large settlements City. "Before the End" ends the album with a beautiful and touching message, emphasizing, in a request, "Let them always be young / And keep your hands clean / And learn the delirium with real things."

Besides the obvious poetic and musical quality of Alucination (the album is really good, and addictive), the album's political imprint emphasizes its timelessness, and the times that run make its message current. I do not see myself on the left so often folk and torn, but I am intrinsically liberal (a word that almost turned cursed, but whose meaning I value in the manner of the seventeenth-century French), I hold hallucination a deep and eternal love. I also have Belchior, which is worth knowing. Listen to him, listen to his records, and rescue him from the limbo of oblivion to which he has been voted for too long. And, by the way, in this order: Hallucination , Fear of Airplanes ..............

1 Apenas Um Rapaz Latino Americano 4:10 
2 Velha Roupa Colorida 4:40 
3 Como Nossos Pais 4:33 
4 Sujeito De Sorte 3:10 
5 Como O Diabo Gosta 2:00 
6 Alucinação 4:50 
7 Não Leve Flores 4:05 
8 A Palo Seco 2:50 
9 Fotografia 3x4 5:15 
10 Antes Do Fim 0:55

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