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26 May 2017

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
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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 )...................

Credits
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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