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27 May 2017

Rogerio Duprat (Os Mutantes) “A Banda Tropicalista do Duprat” 1968 Brazil Folk Rock,Tropicalia







Rogerio Duprat (Os Mutantes) “A Banda Tropicalista do Duprat” 1968 Brazil Folk Rock,Tropicalia
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First CD issue of 1968 album by the producer and arranger behind Brazil's legendary Os Mutantes, who together with Gilberto Gil and Gal Costa were one of the bands to revolutionize Brazilian music and create Tropicalia - a genre in it's own right. Drawing from the Beatles ('Flying', 'Lady Madonna') and other popular hits of yore ('Honey', 'Judy in Disguise') as well as his own compositions, Duprat seamlessly blends pop, easy listening and smooth bossa with spectacular orchestral arrangements and far-out freakouts of the decidedly acid variety, creating one of the most individual sounds of the late Sixties. Mutantes themselves appear on four tracks. El. 2005.....................

Rogerio Duprat is most known as an arranger of Brazilian tropicalia music, but did also release music under his own name. This 1968 album will undoubtedly be of interest to collectors of '60s tropicalia and/or Brazilian psychedelia, if only because three of the 12 tracks are actually vocal numbers performed by Os Mutantes (though two of those are merely covers of the Cowsills' "The Rain, the Park, and Other Things" and the Beatles' "Lady Madonna"). Overall, it's a bit of an odd endeavor, falling somewhere between easy listening music and the kind of madcap experimentation more typical of his most celebrated clients. It's of a higher class than most easy listening albums, from Brazil or otherwise, however. For even if the predominantly instrumental material is sometimes cheesy (and sometimes covers not-so-classic American and British hits of the era such as "Summer Rain," "Honey," and "Cinderella Rockafella"), the arrangements are often infused with off-the-wall zany imagination and wit. Nowhere is this more apparent than the interpretation of "Judy in Disguise," which has to be the most vibrant and playful cover of that classic 1968 hit ever waxed, complete with infectious jazzy Latin rhythms, birdcalls, and honking horns. The fusion of foreign pop/rock, sexy soundtrack music, and relatively indigenous Brazilian popular forms is apparent to some degree on many of the other cuts, though some of the orchestration is fatuous. Songs by Caetano Veloso and Gilberto Gil are also given the Duprat treatment here, the soppy strings in Veloso's "Baby" nicely counterpointed by a (deliberately?) out of tune strummed guitar. It's doubtful many listeners will totally like or totally hate this, such is its uneven mix of elements. But most lovers of pop that doesn't take itself too seriously will get some fun out of it.....by Richie Unterberger ........

The first solo album of the tropicalista maestro Rogério Duprat condenses in 12 tracks the pamphlet spirit of the tropicalist movement and a good dose of galhofa. The material brings readings (say, carnival) of famous compositions ranging from Tom and Vinícius to Lennon and McCartney, mixing international songs that have made success in this decade with Brazilian songs of the most varied styles. The anthropophagic notion preached by members of tropicalismo is certainly well taken advantage of in this album that not only abrasileira songs of other nations as they do sound like original compositions of the own Duprat, songs that were written by other Tupiniquins idols.

Rogério Duprat, or the intellectual boy who holds the potty on the cover of Tropicália or Panis et Circenses, has already arranged songs by Gilberto Gil, Caetano Veloso, Os Mutantes, Gal Costa, Nara Leão and Alceu Valença, among others. The orchestration in classics of the genre as Chico Buarque's "Construction" and "God's Pay", and Gilberto Gil's "Domingo no Parque", presented at the MPB Festival of TV Record in 1967, bear the signature of the maestro. Duprat also embarked on the soundtrack universe of Walter Hugo Khouri's films "The Island" (1962) and "Vazia Vazia" (1964), and it is precisely this melting pot of influences found on the album "Duprat's Tropicalist Band. "

Coming from erudite formation, the teacher's foray for the tropicalist sonority is a kind of liberation. Tired of composing works that would be aimed at a small consumer elite, Duprat invests here in a fusion of styles that permeate, with good humor, throughout his musical trajectory. "The Tropicalist Duprat Band" is an album that does not hesitate to radically change genre from track 3 to 4, for example, from the carnival march to the Beatles' almost progressive rock in the song "Flying", from the psychedelic album of 67 , "Magical Mystery Tour".

The mastery assumed by Duprat, including in the very title of the album, is apparent along the tracks. Duprat commands the troupe of Mutants, who make special appearances on tracks such as the Lamartine Babo ("Song for English View / Chiquita Bacana") and the humorous song "Cinderella Rockefella", released by the Israeli duo Esther And Abi Ofarim. Arnaldo Baptista, Sérgio Dias and Rita Lee also contribute to "Lady Madonna", plus one of the Beatles, but the album's album point goes to the bucolic remake of "The rain, the park and other things", one-hit-wonder (Or a hit single band) The Cowsills.

There is certainly in this album a movement towards the joke. The re-reading of the more than classic "Chega de Saudade" is not disinterested. The arrangement sounds almost ironic and one of bossa nova's hymns gets a half-baião, half rock, surrounded by funny sound effects. Still, "Quem Será", bolero by Jair Amorim and Evaldo Gouveia, goes from a reflexive and gloomy start to a true carnival with the right audience sound. The very same song "Song for English to See", originally a criticism of the foreignisms brought by the spoken cinema, serves as a glove on this record rather than debauchery.

There is no doubt that "Duprat's tropicalist band" is an album dedicated to hits. Bad words say that the conductor, dissatisfied with some impositions of the record company, decided to kick the bucket and record, yes, all the successes "suggested" by the clothes, but in his way. The result is well in keeping with the figure of Duprat himself: inserted, but never resigned.......................

Duprat has always been a member of the tropicalist movement that caught my attention for some reason that I do not seem to know. I had some respect for him, probably because I did not know about his work with maestro and arranger until then. Or maybe it was just because he was the oldest of the offspring of tropicalism. By the way, I was only to find out that he had his own tropicalista record about three or four months ago, shortly before he thought of doing a review of Caetano's album. Until then, Duprat was only the intellectual boy who held the pot, simulating a cup of tea of ​​five, on the cover of Tropicália or Panis et Circenses. And after a while, I'm already here, writing a pseudo-review on. Such a pretense, my God. Anyway, I tried to establish an almost solid theoretical and historical basis, through a quick search, which occupied me for a few days. It is worth noting how little is written about certain figures of Brazilian music. And I say not only the Duprat, but even sets that I considered somewhat "known" (and even revered) as the "Ave Sangria." My mother, for example, had never heard of them, even though she was just starting her adult life when the band released her album in 1974. She'll know what she was doing that year. I hope this has nothing to do with the fact that my sister was born in 75. Anyway, after sifting information and information I became pseudo-apt to talk about Duprat, being able to give a critical opinion without sounding so hypocritical, being able to eventually speak ill And satisfy myself without great weight in consciousness. And it goes without saying that to study the past is invariably to study history from someone's point of view. It's dangerous and unfortunately people like me have no choice. It was not long before I discovered some very important things (and I do not know if they were so interesting).
To summarize: Duprat has a scholarly education, which from the second half of the 60s approached popular music, creating a hybrid product. The conductor was tired of composing works that ended up destined to a small elite and began to practice thoroughly all his musical knowledge, which resulted in the fusion of diverse styles, often, in a single arrangement. That's what they say out there, at least. Duprat was the arranger of several tropicalist songs, of whole discs, and he also signed the movement's flagship cars: "Domingo no Parque" and "Alegria, Alegria" by Gilberto Gil and Caetano Veloso respectively. In addition, the arranger worked on many of the Mutantes' albums and was instrumental in the trials used by the band. He became known as George Martin of Tropicália (I do not know whether during Tropicália itself, since these definitions-comparisons only appear later). In the decade of the 70 recorded with Walter Franco and Chico Buarque, but with the gradual loss of his hearing, moved away of the musical means. It is an immense sadness, but the image of a conductor and arranger gradually losing his hearing can also be extremely poetic. Melancholic, but poetic. In the 90's, he made an exception to make some arrangements for Rita Lee and Lulu Santos. And I really could have died without that one (no, he still has not died; this was just one more of my sarcastic and bland jokes). According to Tom Ze, who lived closely with the conductor, an arrangement of Duprat was something like listening to "Jackson of the Pandeiro conducting an orchestra of Beethoven". At least suggestive, but somewhat exaggerated. However, it may not matter at all, and the sum of it has been extended too much.
To tell you the truth, I have a funny opinion about "Duprat's Tropicalist Band". First of all, it is good to make it clear that I can not unlink this music production from the Yellow Submarine, of the Beatles released the same year of 1968. It seems nonsense, there is no denying. The almost totally experimentalist work of the Liverpool Quartet (and call them the Liverpool Quartet is the super cliche I know), has on Side B only instrumental songs composed and arranged by George Martin. Great shit the end result. But the question here is another: George Martin has arranged a number of Beatles songs and made them genius, from the most classic of yeh yeh yeh (not so cool, bora combine) to experimental arrangements from Revolver, but in one Own work ended up producing a work well below expectations. For me, so does Duprat. After all the Brazilian conductor is responsible for the arrangement of several genius songs, from various artists involved in tropicalism. And others besides that. But in his own disc there is nothing very genius, there is a lot of cliché to speak the truth, although it has its moments of quality undeniable. I imagine that this record was not received with good eyes at the time in which it was released, by the experimental / instrumental tone of his / her and by being linked to a countercultural process. It was certainly a commercial failure. Even in counterculture (ha-ha-ha). "Duprat's Tropicalist Band" is one of those discs very commented in the pseudo-cult-musical medium, but little heard of truth. And back to my funny opinion, the Mutants participate in four songs and even if they produce some good moments, they can not make them great. Duprat later stated that he does not like this album very much, that the graphic formatting process of the cover was cretinous (although I find this cover very well composed) and that he suffered pressures when composing the repertoire. You know how true this is. He may simply be absent from guilt. Does not matter. For me the record came out next to what he said. It is a work that shouts in the cover "I AM TROPICALISTA" and that in the end neither is so much so. It's not a bad record, it just has a clear repertoire problem that distances the result of the motion a bit. Unintentionally, Duprat ended up sounding half grimacing, finished without undressing and throwing shit on the fan.................

Better late than never! Completing the homage to Duprat, who left this for a better, we made available his solo album recorded in 1968, with his tropical orchestra and the participation of the Mutants in several tracks. As everyone knows, this vinyl was played at the tapas in the sebum and it was quoted for more than $ 3 thousand among the collectors. Fortunately, by re-releasing the Mutantes discs on CD in 2005, they decided to include this album, to the delight of the fans. In addition to the original cover and back cover, the edition also brings a beautiful text by the journalist Marcelo Fróes................

01. Judy In Disguise
02. Honey / Summer Rain
03. Canção Para Inglês Ver / Chiquita Bacana (Com Os Mutantes)
04. Flying
05. The Rain, The Park And Other Things (Com Os Mutantes)
06. Canto Chorado / Bom Tempo / Lapinha
07. Chega De Saudade
08. Baby
09. Cinderella-Rockefella (Com Clélia Simone e Kier)
10. Ele Falava Nisso Todo Dia / Bat Macumba / Frevo Rasgado (Com Os Mutantes)
11. Lady Madona
12. Quem Será?

johnkatsmc5, welcome music..