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28 May 2017

O Bando “O Bando” 1969 Brazil Psych Pop Rock








O Bando “O Bando”  1969 Brazil Psych Pop  Rock
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In the frenzy of the Jovem Guarda in 1965, Os Malucos - Diógenes Burani (drums), Paul de Castro (guitar and voice), Américo Issa (guitars and vocals), Emilio Carrera (organ and piano), Rodolpho Grani, (Bass and vocals) and Marisa Fossa (lead vocals) - performed weekly in fashionable places, such as the O Beco restaurant and the Urso Branco nightclub. This last house was hosting an event sponsored by Coca Cola. Through the entrepreneur Teo de Barros, (not to be confused with the composer), Las Malucos were able to take part in the event alongside "Ronaldo Lark and the Versatiles". The success at Urso Branco provided an excursion through South America and two months in Venezuela. In Caracas, the boys recorded sixteen TV shows on the main local station, one of them accompanying actress-singer Sarita Montiel. "Arriving there, we were delighted with the salsa and other local rhythms. Ali painted the idea of ​​putting another percussionist in the group, "says drummer Diogenes.

Again in São Paulo, they began to be called O Bando. Emilio's friend Dudu Portes soon left the O Fino da Bossa television program, presented by Jair Rodrigues and Elis Regina, to join the first Brazilian band with two drummers. The pioneerism of these young musicians did not stop there: they made a very bold sound within psychedelic standards, and just like the Beat Boys and Os Mutantes, they were always summoned to take part in Tropicalism. Under the aegis and protection of Solano Ribeiro, great mentor of the band, they secured a contract with Phillips of Brazil. André Midani fell in love with their sound and, in order to serve the open market by the Mutantes, he added O Bando to the cast of the record label, placing at their disposal the maestros Júlio Medaglia, Damiano Cozzela and Rogério Duprat. With the contemporaneity of rock, united the academy with the garage tradition: "I had no one ... we and Os Mutantes were the ones!".

In 1969, at ease, entered the studio Scatena to register the first disc of the group. Working with the maestros allowed the accumulation of great knowledge in the area of ​​arrangements and orchestration. For Diogenes, the masters took on the role of interpreters: "We worked the arrangements and they translated our language of crazy hairy to the staff of the record company." In eight channels recorded a disc with support the careful of the regents. Elaborated parts of strings and metals paint in lively colors, under the tropicalist sign, songs from the popular songbook such as "Disparada" and "Quem Sabe", compositions by Caetano Veloso and the first and final version of "Que Maravilha", music Of Jorge Ben, with which the Bando competed in the Festival of the Tupi TV, conquering the first place.
Many were the incursions of Bando by the south of Brazil. Led by the Academic Center of Architecture of UFRGS, they won many fans at Festivals in the Pampas. During this period the composers Hermes Aquino and Laiz Marques met. At the University Festival of Brazilian Popular Music in 1969, where Zé Rodrix, Danilo Caymmi and O Som Imaginário were present, O Bando defended "Pela Rua da Praia", by the Gaucho duo Hermes and Laíz, and received an unwanted second place: We just did not win because we were Paulistas. " With the schedule full, Bando spent much of the year 69 traveling. In the summer, they leased the nightclub Barbarela in Ubatuba, making good season and resting. The "routine was beach, rehearsal and show", memory of Diogenes.

In addition to the life of a Californian rocker, the group made appearances on television shows by Wilson Simonal and Roberto Carlos' Young Guard. The great post-disco merit came with the participation in the play The Plug, multimedia spectacle, with representations of theatrical type, underground film, audiofotonovela with participation of Décio Pignatari, Duprat and Grupo OEL. Between Roman columns, verses and the most absurd happenings, the Bando showed all its balance. The heavy rhythmic session echoed like a noisy symphony of Beethoven or Berlioz. With his cameras overflowed, Rogério Sganzerla records everything. It was the year of 1972, already near the twilight of the band.

The end of Bando was a natural consequence of the musical direction that each member followed. The experience with tropicalistas maestros, producers and entrepreneurs in an era of frank expansion of the disc industry in Brazil, provided members of O Bando with excellent professional contacts, which eventually led them to different paths.................

O Bando's lone, self-titled album, originally released in 1969, is quite a different beast from most of what often pops up under the umbrella of hippie-era Brazilian psychedelia. Sonically speaking, the record really has nothing whatsoever to do with the cutting-edge tropicalia sound of the time, as it contains no indigenous Brazilian elements at all. Instead, it's a solidly U.K./U.S.-inspired piece of work, and a quite ambitious one at that. While such tropicalia icons as Jorge Ben and Caetano Veloso -- as well as bossa nova legend Dori Caymmi -- made some contributions to the songwriting here, the dominant influences seem to be artists like the Beach Boys, the Beatles, and Traffic. Folk-rock, baroque pop, and straight-up psych sounds all come into play over the course of the album, which is said to have been recorded with the most state-of-the-art gear available in Brazil at the time. While O Bando shift back and forth between the aforementioned approaches, their classic-sounding garage-psych combo organ, fuzz guitar lines, and male/female sunshine pop vocal harmonies maintain the most consistent presence throughout the tracks. The most immediately striking aspect of the sound, though, comes from the bold string and horn arrangements, which move between agreeably loungey ‘60s mod stylings and a more ornate, artful, classical-influenced feel seemingly informed by Pet Sounds. Some ‘60s collectors might toss this record too casually into the bin marked "Brazilian," but it stands up equally well alongside its English and American counterparts........ by James Allen .....allmusic.......

Bando is an album originally released in 1969. Unlike most of what often appears under the hippie aegis of the Brazilian psychedelic era. Sonorously speaking the record really has nothing to do with the sound of the tip tropicália of the time, since it does not contain Brazilian indigenous elements. While icons of tropicália, like Jorge well and Caetano Veloso as well as in the bossa nova the legend Dori Caymmi that made some contributions to the compositions, s dominant influences seem to be artists like the Beach Boys, Beatles, and Traffic, Folk-Rock, baroque pop , And straight-up psych. Sounds that come along the album are said to have been recorded with most of the state-of-the-art gear that was available in Brazil at the time. While O Bando performed garage-psych songs with a combo organ, with lines of fuzz guitars and male and female voices that maintains the most consistent presence along the tracks. Good appetite...............

Bando was another interesting group in the musical scene of the time. A pop group, but very well seasoned, with arrangements of maestros Rogério Duprat, Damiano Cozzela and Júlio Medaglia. This differential makes them more of a tropicalist ensemble than a rock band. The album, which was the only one recorded by them, has songs by Caetano Veloso, Jorge Ben and even the 'passing cloud' Hermes Aquino. This album, although widely publicized on the net, remains a rare and highly sought after piece by collectors. Touch this ringtone you like................

500 numbered / heavy sleeve / 180 gram pressing /2 page insert
O Bando was recorded in 1969 in Sao Paulo by 5 guys and a beautiful singer Marisa Fossa. The production was state of the art hosted by the 3 top producer of Brazil. For 1969 it was recorded in Scatena studios in Sao Paulo with 8 channels equipment which was the best you can get at this time. The music has sophisticated brass arrangements very much like the same level as US bands Chicago Transit Authority, The Flock and Blood Sweat & Tears with the charme and rhythms of Brazil Exotics. If you like the album by Liverpool this one would be for you. A real summer record, should make the stoned Psychedelic listener move his hips and dance or at least nod their feet. Great guitars, smashing vocals, Samba rhythm, horns, tons of effects, a real trip to Brazilian underground music....................

Credits
Bass, Vocals – Rodolpho*
Drums – Diógenes*, Dudu*
Guitar, Vocals – Américo*, Paulinho*
Lead Vocals – Marisa*
Organ – Emílio*
Photography By – Solano Ribeiro
Producer – Solano Ribeiro

Tracklist
1 ...E Assim Falava Mefistofeles 3:44
2 Fossa Boboca 3:06
3 Que Maravilha 2:45
4 Disparada 4:24
5 Vou Buscar Você 2:15
6 Sala De Espera 2:40
7 Alegria-Alegria 3:01
8 Quem Sabe 3:15
9 Pela Rua Da Praia 2:39
10 Esmagando Sua Sorte 2:33
11 Longe Do Tempo 3:51

Discography

(1969) IV Festival Internacional da Canção Popular - fase nacional (vários artistas) - participação • Philips • LP
(1969) O Bando (O Bando) - Polydor/Shadoks - LP, CD
(1969) Esmagando a sua sorte/Vou buscar você • Polydor • Compacto simples

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