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31 May 2017

Paulo Bagunça E A Tropa Maldita ‎"Paulo Bagunça E A Tropa Maldita"1973 Brazil Psych Latin Soul Funk

Paulo Bagunça E A Tropa Maldita ‎"Paulo Bagunça E A Tropa Maldita"1973 excelent Brazil   Psych Latin Soul Funk….recommended…! 

Long awaited reissue from Somatória do Barulho. Rare obscure LP from the Brasilian discography, Paulo Bagunça´s first and ever record, was produced by Maestro Laércio de Freitas for Continental Records in 1973. Never reissued on Vinyl before, this limited edition comes out on 180g Pure Virgin Vinyl all tracks remastered from the original messier tapes from the Continental Vaults................

RIO - Carmelite musician Paulo Soares Filho died at his house in Barra de Guaratiba on Saturday night during his sleep. Known as Paulo Messunz, he recorded in 1973 the LP "Paulo Messi and the Tropa Maldita", an album that was not successful in his time, but which over the years has garnered followers in Brazil and abroad for its original mix of samba , Soul, folk, psychedelia and Latin rhythms.

The group was formed in the São Sebastião Crusade (a housing complex created in the Garden of Allah to house residents removed from the neighboring favela of Pinto Beach) in the late 1960s by Paulo and Osvaldo Rui da Costa, Macau (which years later would be successful With the song "Colored Eyes", recorded by Sandra de Sá). After running the underground rock circuit of Rio, Paulo Messi and Tropa Maldita eventually attracted the attention of the Continental label, which invested in the recording of an LP with production of Carlos Alberto Sion.

"I met Paulo Bagunça  when he played a luau on Leblon beach. He made a pop taken Afro-Brazilian, squeezed, half Jorge Ben - says Sion. - It was a new thing, the Brazilian pop of the time was very white. I remember calling Laércio de Freitas to do some string arrangements for the record.

Presented as "o som negro do Harlem carioca",, Paulo Bagunça and the Maldita Tropa could not go much further after recording the LP, which only had a track played on radio, samba "Madalena" - still because according to Macau, The radio broadcaster Adelson Alves decided to support the group.

- We hit the beam. The visual black and the political lyrics scared and then had the lack of money and businessman - regrets Macau, who now hopes to record in his next solo album an old partnership with Paulo Bagunça , "Carioca." "It's a song that talks about him, that he was a lifeguard and that he loved the sea.
Recently, Paulo Messun was interviewed for "Brazilian Guitar Fuzz," a documentary about Brazilian psychedelic pop of the 1960s and 1970s, directed by Artur Ratton and supported by American actor Elijah Wood. The filmmaker recorded the meeting of the musician with the Brazilian resident of the USA Joel Stones, who is in charge of the New York record store Tropicalia in Furs. Arthur had plans to take Paulo (who in recent years made sporadic presentations) to Los Angeles, so that he would record again, with producer Mario Caldato Jr ..
Paulo Bagunça was buried Saturday in the Murundu cemetery in Realengo. His death is added this year to other names of great importance for Brazilian rock of the 1970s: Daniel Cardona Romani (vocalist and guitarist of the group from Rio de Janeiro), Ivinho (guitarist from Ave Sangria from Recife), Percy Weiss (Singer from Made in Brazil) and Renato Ladeira (lead singer and keyboardist from A La Rioja) ESSINGER..............

The album that debuts the column Disco is Cultura is Paulo Bagunça and the Tropa Maldita, band of the same name, led by the recently deceased Paulo Soares Filho. So, the posting is a tribute not only to the original album, which makes a unique mix of samba, Jorge Ben, soul, folk, African music, psychedelia, among other influences, but also to the irreverent Paulo Messun, who died on Saturday 22 / 08/2015, a victim of a heart attack, at his home in Barra de Guaratiba, Rio de Janeiro, at the age of 72.

Tropa Maldita was formed in the late 1960s in the São Sebastião Crusade, a low-income housing complex in Rio de Janeiro that used to be called "Harlem Carioca" in reference to the New York neighborhood, a large black cultural center. In 1972, the band won a community-organized music festival, which promised a scholarship to Instituto Villa Lobos and the recording of a compact by Odeon. The prizes remained in the world of the promises, but Paul and the Troop continued playing independently.

In a long interview with Rolling Stone magazine, published in May 1972, before recording his first and only album, Paulo says: "After we won the festival, it was difficult for us to find a place to play and we were there to touch. Then we started rehearsing, under the blocks, in the small square. Everybody started to tie up and we kept going to the street and to the square. Then he gathered a lot of people together, from there we went to the beach, we went into another one. But there was no intention ... We were a little lost because we won the festival prize and the guy, I do not know, he gave us the trampique, he did not give the prizes, so we set out to get things without needing them. "
Paulo Bagunça and A Tropa Maldita ended up attracting the attention of the Continental record company and in 1973 they recorded the LP of the same name with production of Carlos Alberto Sion and beautiful arrangements of the master Laércio de Freitas. The LP ended up selling very little and having little repercussion. Paulo left the music as a profession and returned to devote himself to his lifeguard work on the beaches of Rio.

After the commercial failure of the album, the band was doomed to the end. "We stopped naturally, the band was breaking up. You know: black, poor, without social status, you have to find work to support yourself and your family, "says Osvaldo Rui da Costa, Macau guitarist for the Tropa, in a recent interview with the newspaper O Estado de São Paulo. Curiously, the music of Macao won Brazil in 1982, composing the great success "Colored Eyes" played by Sandra de Sá.
In the middle of the 2000s, the album finally gained repercussion after attracting the attention of musical researchers and lovers of Brazilian music, especially abroad, being today worshiped among these due to its quality and original footprint.

With the "discovery", the album was reissued on CD by the Argentine label Discos Mariposa in 2006 and on vinyl by the Brazilian label Somatória do Barulho in 2014.

Recently, Paulo Bagunça  participated in recordings of the production documentary "Brazilian Guitar Fuzz Bananas", by the Brazilian filmmaker Artur Ratton, who is exploring the unknown Brazilian psychedelic music with the researcher and producer, also Brazilian based in New York, Joel Stones. In the scene disclosed, Paulo talks to Joel and says that "The past is a clothing that does not dress anymore."
Ratton recently stated in an interview this June for Folha de São Paulo that the next step of the project was to take Paulo to record in Los Angelos under the production of Mario Caldato Jr., an experienced Brazilian producer who has worked with bands such as Beastie Boys , Beck, Zumbi Nation and Planet Hemp.........................

In 1974, the Continental label released a strange album, with the name of the very big band on the cover: Paulo Messi and A Tropa Maldita, who especially made the head of the rock band. The expression "Messun" was already a bit of a provocation, Malice Troop was not even talked about, but the most intriguing was the sound of the guys, which the media at the time called "electronic pop."
Although homogeneous, the disc allows to highlight some songs, for its advanced design, especially 'Grinfa Louca' (with an African beat) and 'Madalena' (a samba carnavelesco a la Jorge Ben, with the presence of something like a moog, Which gives an electronic touch to the song). With a bold conception of percussion, which also reminded Santana, at certain moments, some songs, such as 'Apelo' still brought orchestral climates, result of the participation of the conductor Laércio de Freitas, responsible for the arrangements of the disc.
The album could not be more emblematic and futuristic, merging the strangest influences, going from Jorge Ben to the English Traffic, passing through Afro percussion, taken of jazz and other black sounds of the time. In 72, in an interview with the Rolling Stone newspaper, Messun himself defined his music as something "that comes from within, from the heart, from the cave, from the dreams and nightmares." At the same time, Nelson Motta emphasized the humor of the band, and other critics identified influences of Bob Dylan, John Mayall and other exponents of the time (and always).
Born in São Sebastião Crusade, in the city of Rio de Janeiro, the group appeared in 1972 in a music festival organized by the community itself. In addition to Messun, singer and main composer, the band counted on Guerra (atabaque), Oswaldo (guitar), Gelson (bongo) and Flávia (bass). Until the recording of the only disc, the band stood out in the underground scene of Rio de Janeiro, performing shows in the Pocket Theater and other places.
... Macao, one of the three black boys who created in 1969 one of the great musical experiences lost of MPB, the band Paulo Messunga and the Maldita Tropa. "It's Latin soul, the black sound of Rio's Harlem," wrote Nelson Motta at the time. "It's Santana's merger with samba," a newspaper reported.

In the same scenario that emerged groups such as O Terço and Secos e Molhados, the Maldita Tropa represented the genesis of the Black Power movement in Brazil. Macau, or Osvaldo Rui da Costa, is now 60 years old. After 42 years of his career, only tonight he released his debut album, Macao do Jeito Que Sua Alma Entende, at Sesc Pinheiros. When he was 20, Macao had talent, luck, boldness, fearlessness at his side. When arriving from Los Angeles in the early 1970s, Tim Maia had heard of his band and called them close to him. Tim's concerts were opened, they lived with Hyldon, Cassiano, Oberdan, Dom Salvador, Fábio.

But, as in that aphorism, horse-headed horses do not pass twice. Radios did not want to play the group's disc because they found the band's name scary. "We hit the crossbar," says Macau, who went from heaven to the hell of MPB in a few months. "You know, black, poor, with no social status, you have to find work to support yourself and your family," he says.

That is where the second part of Macau's not-so-glamorous life begins. One day, almost forgotten, he was accompanying a school exhibition at the Estádio do Remo in Flamengo, when he was invited by the Military Police to go to a quiet place. "I will come suspicious, my hair is rastafari, my clothes are unusual, there was a sergeant watching me, I wanted to see my document, I'm not doing anything, I said.

In the mouth with the sergeant, Macau let leak its nonconformity with the situation. "What's wrong with my hair?" "What's the problem with my clothes?" "If you take off that uniform, it's a healer, like me!" The sergeant, also black, did not like it. He sent him away.

"They treated me like human trash, I was in a cage, like a can of biscuits, in the 14th DP, with so many people inside that my legs could not move. I was saved by a priest of the pastoral, Bruno Trombeta, and by my Friend Paulinho Messunca, who was a lifeguard on the beach. They thought I was already dead when they found me. "

Macau came out in disgust. They wanted to take him home, he was not. He walked to Leblon beach. "It was a minefield inside me, I was staring at the sea, crying, thinking about how to fight back, and that's when I wrote that letter, Colored Eyes."

He did not make the music to record, it was a way to extravasate. Macao only played it (with other unpublished ones of its repertoire) in a sarau at home, in which met friends. He spent almost 10 years in the drawer. But then one day, in need of money, he tried to show a tape with his compositions for Durval Ferreira, in Som Livre.

He took a chair tea for over 6 hours, until Durval appeared to tell him that the year was over, new songs only the following year. "When he heard Colored Eyes, his blue eyes flashed." He had called Sandra de Sa immediately, she was in the studio finishing, and when she appeared, it seemed that I knew her from another dimension, she was not a stranger to me. Formed a trio. "

In 1982, the year that Kenya was born, Macao's daughter, Colored Eyes, won Brazil. "I was living in Rocinha, there was no TV, I went to see an uncle's house, it seemed like I was a millionaire."

Then begins the third life of Macau, which ends on Thursday, 26, at Sesc Pinheiros. Colored Eyes was recorded by the British Jim Capaldi in England and the group Les Étoiles in France. His compositions were recorded by Eliana Pitman, Rosana, Seu Jorge, Dom Mita, Adelmo Casé, Preta Gil, Eletrosamba. He made partnerships with Luiz Melodia (his compadre, godfather of his daughter), Durval Ferreira, Marisa Grecco, Raul Menezes, among others.

"So when you ask me, 'Why did it take 42 years to get here?' I respond: because I was still organizing, "he replies.

A1 Apêlo 4:10
A2 Grinfa Louca 2:55
A3 Olhos Risonhos 4:45
A4 Microfones Metálicos 3:00
A5 Tramba 2:58
B1 A Mente 2:25
B2 Olhar Animal 5:00
B3 Madalena 2:45
B4 Mensageiro 3:00
B5 Cristina 2:37 

johnkatsmc5, welcome music..





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