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22 May 2017

Os Brazões “Os Brazões” Brazil 1969 Brazil Psych Rock,Tropicalia,Samba Rock







Os Brazões “Os Brazões” Brazil 1969 Brazil Psych Rock,Tropicalia,Samba Rock
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Rare and highly sought after in its original format, Os Brazoes self-titled album was originally released on RGE Discos in 1969. It is a psychedelic masterpiece that fuses samba, r’n’b and rock ’n’ roll influences using fuzz guitars, synths, percussion, lush vocals and effects.

Os Brazoes formed in Rio de Janeiro in the late 1960’s. They backed Gal Costa during her Tropicalia period, yet apparently never recorded in the studio with her. Miguel de Deus, the bands front man, recorded the highly sought after ‘Black Soul Brothers’ LP in 1977, which became an important record in the ‘Black Rio’ movement. Mr Bongo released the title track from that LP, on the ‘Brazilian Beats: Brooklyn’ compilation in 2006 and recently as part of their Brazil 45’s re-issue series.

‘Os Brazoes’ features covers of Gilberto Gil’s ‘Pega a Voga, Cabeludo’ and Jorge Ben and Toquinho’s ‘Carolina, Carol Bela’

The Mr Bongo LP reissue is manufactured in Japan, presented in a super high quality card sleeve with replica original artwork. The CD is presented in a 4-page digi-pack.....................

Here is an obscure slice of late-’60s killer Brazilian psychedelia ! Little is known about OS BRAZÕES except that they formed in Rio De Janeiro late in 1969 and that their main claim to fame was being picked by Gal Costa as her backing band when she was making her early, and hugely, influential forays into Tropicalia – her best and most psychedelic effort being the « Tuareg » song. It turns out her sidemen had a pretty great album in them as well; they created a synthesis of North American rock & roll and native Brazilian styles, with results similar to those being explored by Tropicalia ringleaders Os Mutantes, Gilberto Gil, Jorge Ben, whom the band cover on this record.

Buzzing fuzz guitars, pop vocals, space-out effects and exotic percussions : the band blend ethnic rhythms with some jazzy, western-influenced pop-rock before launching into weird euphoric space trips!

Miguel de Deus (vocals, rhythm guitar & arrangements), Roberto (vocals, lead guitar & arrangements), Taco (vocals, bass & arrangements), Eduardo (drums & arrangements) and Mandrake (percussion).

For the first time on vinyl again since original 1969 RGE release with a new cover, hand-silk-screen printed with a very special red feather inserted in each sleeve. Original copies are long time impossible to find, even in Brazil. All tracks have been remastered. A very special red feather is inserted in each sleeve...........

Brazilian airwaves were ruled by two distinct powers in the late ’60s: the verbose political rhetoric of a military regime hell-bent on keeping Communism out of Brazil by any means necessary, and the advent of tropicália. The new sounds were an alchemy of psychedelic rock tinkered with by locals, making it their own by mixing in local flair and bossa nova. By 1969, the same year Caetano Veloso and Gilberto Gil were arrested and sent into exile, military dictator Emílio Garrastazu Médici took the reins of the country, and the death penalty was instituted. This provided a turbulent yet fertile soil for Brazilians to express the woes of the times in song and art. It was also the time Os Brazões released its sole self-titled album, influenced by the angst of the day and the sounds of a hopefully better tomorrow.

The group first made a name for itself as Gal Costa’s backing band, yet allegedly never recorded alongside her. After seeing the electrifying shows put on by the group, the RGE label soon signed the group to record a single album. Though the influences of Os Mutantes and other tropicália artists of the time are present, what is laid to tape sounds nothing like the group’s contemporaries. The gloss of lush horns and complex arrangements found on Veloso and Gil records from the same era is missing. Found in its place is a wall of fuzz spread across the majority of the songs provided by, simply, Roberto. Layered within is wah-wah-drenched rhythm guitar by Miguel, who later adopted the moniker Miguel de Deus, recording one solo album titled Black Soul Brothers and another as a member of Assim Assado
From the album’s first cut, a cover of Gilberto Gil’s “Pega a Voga, Cabeludo” things take off with an aggressive guitar lead that just doesn’t seem to halt until the album is over. The fully charged “Tão Longe de Mim” is undoubtedly the psychedelic crown jewel of the album, showcasing Eduardo’s scrappy drum work.

Os Brazões created music in a time of political upheaval; their copacetic original compositions are juxtaposed with subtly acidic Brazilian standards like “Volks, Volkswagen Blue” and “Carolina, Carol Bela.” The listener never forgets that this album is distinctly Brazilian, an audible Polaroid of their world slowly developing through four young Brazilians’ eyes: a fusion of past tranquility, present upheaval, and future uncertainty.....................

In full phase of Brazilian psychedelia,"Os Brazões"not fled to the rule. Miguel de Deus was a composer, arranger, guitarist and singer. Born in ,Ilhéus Bahia. But it was in Rio de Janeiro, in 1969, formed the band ''Os Brazões'' with guitarist Roberto,(lead guitar) Taco bassist, drummer Eduardo "Edu" Rocha, occasionally percussionists Mandrake and Gastão,but also passed through the band musicians Bandeyra Sérgio (guitar and vocals, formerly of Albatross band that played Lulu early career), Augusto Paulinho (guitar, who played in the Band), Roberto (organ), Luís Carlos (drums and percussion), Francis (drums and percussion),Clarita (backing vocals) and Walkíria (backing vocals) the backing band for various singers, including Gal Costa and Tom Zé. Cultivated a style immersed in tropical with high doses of psychedelia, fuzz guitar evidenced by Roberto and the wah-wah guitar of Miguel .

The group was a mix of psychedelic rock, Brazilian and African music, resulting in an alchemy between heavy syncopated sounds as ringtone Candomblé and guitar with distortion. Besides exploring african-Brazilian influences and tribal in style of dress and dance. Single record released by the band, "Os Brazões" was shown ahead of its time. Just like the legendary Paêbirú, the disc features a great mix of rhythms. Rock, Samba, regional rhythms and much experimentalism mark the personality of the band and the disc, where the rich percussion work, the lyrics in Portuguese and recurrent use of regional rhythms, complete the formula of sound. For the first time on vinyl again since original 1969 RGE release with a new cover, hand-silk-screen printed with a very special red feather inserted in each sleeve. Original copies are long time impossible to find, even in Brazil. All tracks have been remastered. A very special red feather is inserted in each sleeve. Anyone who smokes marijuana must own this album.

Two groups that I consider part of tropicalism, released their debut albums in 1969, "Os Brazões" is one of them. The inclusion of this group in the movement is consolidated when they saw backing band of Gal Costa's muse during the season at the famous Disco Junk in early 1969 (exactly one in which was recorded the compact Caetano & Os Mutantes) and later followed Tom Zé . Before that appeared tapping the IV Festival of Record with Tom Zé then in defense of ", São Paulo" and participating in their first album, which on the last track,"Sabor De Burrice", quotes the entire gang who participated in the recordings. Another important role was as a band Jards Macalé defending "Gotham City" in IV Festival Internacional da Canção (FIC)

With a life ephemeral recording, according to the Dictionary Cravo Albin, the group has only two records, one from 1969 and another from 1970, this never seen, even thought they had only 69. Biographical data about the group hardly meets. They ended up going pro group of obscure bands of the 60/70. The integral most "famous" of the group is Miguel de Deus, who later recorded solo albums and assembled other groups, all so obscure as this.

The album as a whole is pretty nice, the repertoire is divided between copyright songs and re-readings or recurring themes tropicalistas 1969.

The chosen track to open the album was "Pega a Voga Cabeludo" by Gilberto Gil, an arrangement that shows all the verve of the group and stands now face the elements that make the whole special treatment throughout the disc, such as percussion and guitars . The vocal part is interesting, but sometimes plate too. The second theme of the album is signed by Guilherme Dias Gomes and Luciano Bastos, "Canasta Real" has a vein through Wes Montgomery at the beginning that is pretty cool, this composition competed in the IV FIC, below is a text about the composition and the episode :

"Canasta Real" was composed by Guilherme Dias Gomes and Luciano Bastos, luxurious treatment she received to enter the IV International Song Festival with his right foot. With orchestra conducted by Rogério Duprat (conductor Tropicália) and the band Os Brazões, accompanying the tour Gal Costa, the song was seen as a possible surprise of the competition. On the day of presentation,Os Brazões also defended "Gotham City", composition and Jards Macalé Capinan whose experimentalism was not well received by the public. " Gotham City "was buried by boos and the band was marked. When the musicians returned to play" Real Canasta ", the public would not hear of a second chance. To the dismay of William massacrantes were boos from beginning to end of the song."

The third track on the album is more a composition by the duo signed Macalé / Capinan,"Módulo Lunar" , which I believe, if he had participated in the festival, it was so booed as "Gotham City", ,because it takes the same line experimentalism, I think that even more exotic "Gotham ...". Following we have another Gilberto Gil, "Volks Volkswagen Blue", a well arrajo economical but accurate, liked the arrangement. Still on Side A have "Tão Longe De Mim" composition written by Lais Marques that reminded me a bit of "Paralamas Do Sucesso"! Should be the opposite, no?. This is a song that would fit well in 80 good ... With respect to the composer, perhaps best known work is the trail Lais Marques novel "A Idade Do Lobo" 1972. Closing the A side we have, Jorge Ben and Toquinho, "Carolina Carol Bela", which won a brilliant introduction with a "vibe" and samba-rock.

The B side opens with a composition of Tom Zé called "Feitiço", this track was also recorded by Tom Zé in the same year but released only on compact. Then we have another of Lais Marques, "Planador", followed by "Espiral", the only song in fact signed by the band members, the authors are: Miguel de Deus and Sergio Luiz, they should have signed more bands it is one of best on the album, the arrangement is excellent, by the way, speaking arrangement, the whole album was arranged by the group itself, it further enhances their merit, without tropicalistas Duprat! hehe. The following is the ultra-rumored "Gotham City".

Closing the album we have two more, the instrumental "Moment B / 8" signed by Rogerio Duprat and Brasilian Octopus, one-Acid Jazz genius, and "Que Maravilha", which won a treatment and "thighs", is like continuing of "Carol, Carolina Bela" but without any novelty, they made use of the same rhythmic base and added a rifizinho Jaguara well, totally unnecessary, they should have completed the album with "Moment B / 8". Taking this detail, I think a hard fuck as well, I have enjoyed every heard more. ............................

 Tropicália is a genre that has been begging me to explore it further for years. For whatever reason I've mostly stuck to the amazing Os Mutantes and Caetano Veloso, but there is of course much more to be had. Os Brazoes is one of the rank of tropicália bands that emerged in the late 60s in Brazil, which in a simplistic sense is a mixture of North American psychedelic rock with native Brazilian styles. Their career would have been notable if only has the popular Brazilian singer Gal Costa's backing band, but they also produced this self-titled album. Os Brazoes do sound like Os Munantes, especially their early albums, but don't seem as eccentric and sensational, more smooth for the most part. In addition, it is worth noting that there are covers of each Gilberto Gil and Jorge Ben to be found on this album. Hope you like this one because it has inspired me to listen to more artists in the genre from that era and some will more than likely end up on here as well........................

Brilliant fuzz rock with Gilberto Gil, Ben Jorge and Tom Ze covers, more ragged like a garage band than any of their Brazilian contemporaries. This is the band that Gal Costa picked up to back her up during her classic period and their solo album is cut from the same cloth as her stuff. The only thing iffy about the album is some questionable backing vocals that attempt harmonies that are too close for comfort! I'm thinking of the second track which might make the listener reach for whatever makes the sound stop. Also the sound quality at times is so thin and scratchy that it makes you wonder if it was all by design or if someone actually ran the drums through a fuzz pedal. Surely the guitarist never deactivated his fuzz throughout the course of the album but this is the way it should be in Tropicalialand. The result is a very capable album that is generally consistent and exciting. The track called Gotham City on the second side is my favorite, but the album also boasts a solid version of Volkswagen Blue as one of its highlights........by..........lanky_caravan ...........

Miguel de Deus (vocals, rhythm guitar & arrangements)
Roberto (vocals, lead guitar & arrangements)
Taco (vocals, bass & arrangements)
Eduardo (drums & arrangements)
Mandrake (percussion)

Tracklist
A1 Pega A Voga Cabeludo
A2 Canastra Real
A3 Modula Lunar
A4 Volksvolkswagen Blue
A5 Tao Longe De Mim
A6 Carolina, Carol Bela
B1 Feitico
B2 Planador
B3 Espiral
B4 Gotham City
B5 Momento B/8
B6 Que Maravilha

johnkatsmc5, welcome music..