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26 May 2017

Sá, Rodrix & Guarabyra “Terra” 1973 Brazil Psych Folk Rock,Country Rock












Sá, Rodrix & Guarabyra “Terra” 1973 Brazil Psych Folk Rock,Country Rock
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Luiz Carlos Sá, Zé Rodrix and Guttemberg Guarabyra joined these three strands in their compositions, electrifying violas on one side by country rock and on the other by baião, xotes and xaxados as well as by the country music of the interior of Minas and São Paulo. Caipiras, sophisticating harmonies northeastern and inserting in the letters the renewed vision of a Brazil still half-hidden from the great metropolis. Thus, joining the best of the pop world to the exciting and rich simplicity of the Brazilian interior, the work of Sá, Rodrix & Guarabyra ended up inaugurating a real movement that was called "Rural Rock".
After the departure of Rodrix in 1974, Sá & Guarabyra continued to raise the banner of Rural Rock with the release and booming success of "Sobradinho", in 1977, brought to the fore the ecological issue in Brazilian popular music, which would eventually infect the MPB of the following decade.

Today, the Sá & Guarabyra duo already have more than thirty albums, thousands of shows, dozens of soap operas, master theses, monographs and documentaries on social networks, more than four hundred songs (recorded by them and singers of the new generation of Brazilian music).
I leave here the download links of the albums Sá, Rodrix & Guarabyra - Otra Vez Na Estrada (2001), O Melhor de Sá & Guarabira (1994), Sá & Guarabyra - Série Aplauso (1996)......................

In 1971, a trio appeared in Brazil, which in their own way marked the lives of everyone they met, listened to their songs and lived their moments: it was called Sá, Rodrix & Guarabyra, one (as it was called at the time ) Super group, formed by three artists (Luiz Carlos SÁ, Zé RODRIX & Guttemberg GUARABYRA), who had been developing their solo careers, but moved by the friendship that united them, by the identity of their styles of composition and by their way of life , Decided on an album that at the time was an unexpected surprise, thanks to the verve, the brilliance and the unexpected and extremely artistic result of this union.
 
They were, after all, not one but two albums (Past, Present, Future and Earth) released by EMI-Odeon, in addition to some special guest appearances in some compilations, among them the Juiz de Fora Festival of 1972. In fact, Festivals they always had a lot to tell: Luiz Carlos Sá was the most active participant of them, always having one or two songs classified; It was in a FIC that GUARABYRA took the maximum prize with MARGUERITE and, a few years later, it was the same Festival of Juiz de Fora that Zé Rodrix (in partnership with Tavito) emulated under a boom the song Casa No Campo, later recorded by Elis Regina , And of which a part of the Carioca music critics pinned the expression 'Rural Rock' to classify the music that Sá, Rodrix, Guarabyra did.
 
It was an intense career. From their first show at the Teatro Opinión, with houses full every night, the three went to the circuit of the time: televisions, universities, clubs, traveling all over Brazil the way, as it did when nothing was mega, not Be the problems. But the songs were exceptionally good: Ama Teu Neighbor, First Song Of The Road, Cumpadre Meu, Today Is Still Rock Day. At the end of their first year together, they moved to São Paulo, following an invitation from their friend Rogério Duprat, who needed the three in his commercials production. And on the second LP appeared the Sixties, Master Jonas, Pindurado No Vapor and Blue Riviera. In São Paulo, due to ideological differences (Zé RODRIX began to detest roads, hotels, hotel showers, hotel beds, etc.), and after almost two full years of living in common, the three A pursuit of his solo career. While Zé Rodrix faced the vicissitudes of popular success (in the same hotels that he detested) with several first places in the charts, produced by the hands of bandits who were then amateurs and today are professionals, SÁ and Guarabyra walked each one trying to take his career Just the way they could and, one fine day, at a show, they decided to sing again together.
 
It was a very wise decision: in the years that followed, the two became the parameters of a song with roots in the interior and in the city, the development of that same rural rock they had created as a trio. But with much more proficiency: these years marked Brazil with a true flood of successes, such as Sobradinho, Spanish and the songs made for the novel Roque Santeiro (Abc De Roque Santeiro, Dona E Verdades e Mentiras). This besides songs that composed for other interpreters, like Hunter of Me and others.
While Sá and Guarabyra traveled in the backcountry roads, Zé Rodrix made his contribution to Brazilian publicity in a constant way, crossing a road that the three had started together and that both Sá and Guarabyra also traveled in a more alternative way. The day Sá and Guarabyra turned ten, Zé RODRIX appeared on the show in a circus near Anhembi. When twenty-five years of rural rock were completed, Sá and Guarabyra invited Ze Rodrix to make an arrangement on the album. He did and ended up singing some three songs together on that same album. But it was only now, when their initial meeting turned thirty, that they decided to set foot on the road. More experienced, more experienced and rigorously willing to resume with the same impetus as before the trio's life, they chose Rock in Rio for the national debut of their tour Sá, Rodrix, Guarabyra - Reencontro: 30 Anos De Rock Rural, in which accompanied by A band not only relive the great successes together and separate, but also show first hand to the public the new crop of songs that have produced and that are in the CD that they launch simultaneously with the tour.
 
The first of these songs, not by chance, is called Another Time On The Road and lists, with great poetry, the reasons and motives that gather after 30 years these long-time friends. And there arose in the sequence Here Is Done, Here If It Pays, a humorous survey of the vicissitudes of contemporary man; Jesus Numa Moto, a tense and emotional rock-ballad, that speaks of the hidden desires in all of us; And In The Time Of Our Dreams (New Age), a lively rock about the loves of the past that insist on knocking at our door.
 
It is as if time had stopped and the past at the same time: and the children of his followers will, finally, be able to know live what is what his parents from time to time put to play on his old vinyl record player................

In a spoken and homonymous album released in 1966, psychoanalyst Timothy Leary coined the phrase "turn on, tune in & drop out". The following year, the sentence reverberated again, broadly, in a speech given by Leary at the opening of the Human Be-In , a gathering that brought together more than 30,000 hippies at Golden Gate Park in San Francisco. The provocative staff was then adopted by young people around the world to summarize the libertarian ideals of the counterculture and the transcendental experience provided by the use of the substance scientifically known as Lysergic Acid Diethylamide, the infamous LSD.

Until 1966, with the scientific endorsement of researchers such as Leary, who first made closed experiments on some of his patients, LSD was sold to US pharmacies with the simple requirement of a prescription. The substance was distributed throughout the country by the Sandoz laboratories (a release that, incidentally, inspired The Girl Named Sandoz , psychedelic composition of the band The Animals, listen ). But came the so-called Summer of Love, in the transition from 1967 to 1968, and the use of LSD ran out of control. Thousands of hippies, from coast to coast of the United States, began to act as multiplying agents of the lysergic culture spread by Leary. A situation that haunted the American authorities of the urgency of an end to the journey of the class. Or not, as Caetano Veloso would say.

A collective experiment, a divider for the migratory movement made by LSD, which left the scientific environment to become the generalized trance fuel of the Flower Power generation, was the subject of the book The Acid Test of Electric Refreshment, a classic of New Journalism published by Tom Wolfe in 1968. In the catatau, the reporter, notorious for his white outfits, narrates the succession of three-faced adventures lived on the road by the group called Merry Prankters (Festivos Gozadores). Led by writer Ken Kesey, author of the classic A Stranger in the Nest , the Pranksters convened in 1962 to begin embryonic collective and recreational use of LSD in an alternative community headquartered in La Honda, California. Two years later, The Pranksters embarked on a literal, unprecedented journey. Kesey decided to buy an old school bus, made in 1939, made in it a series of psychedelic paintings and adaptations, such as including an audio system so that the musicians of the troupe could "fuck" a sound. Having the furthur neologism as its itinerary (a pun in between the words beyond and future), loaded with too much LSD, diluted in orange juice, Kesey fell on the road with the Pranksters. On the wheel, writer Neal Cassady, author of The First Third and inspirational character Dean Moriarty, of On The Road , Jack Kerouac's masterpiece. The drop out of Kesey and his Lysergic disciples had a well-defined purpose:

But, after all, what the hell, all this has to do with the album that will be covered today in Quintessence ? Everything and little more. Past, Present and Future , the debut LP of the trio Sá, Rodrix and Guarabyra is a yellow-green portrait, with some historical delay, of the outburst driven by Leary's recommendation for youth to "fall out" of the worn-out conventions of their parents' generation And create statutes of their own world. The parallel universe defended by Sá, Rodrix and Guarabyra, as in Casa no Campo , the Rodrix song eternalized by Elis, was composed of love, dissociated values ​​of possession, contemplative life, rural rocks, a lot of brotherhood, peace of mind, furtive passions And the expectation of bequeathing to children children of "legal cuca". Launched in 1972 by Odeon,
Luiz Carlos Sá, from Rio de Janeiro as Zé Rodrix, was the first of the trio to venture professionally with music. The song Baleiro recorded in compact of the singer Luli, in 1965. In the same year, other three accomplishments paved way for the debutante composer: Pery Ribeiro interpreted Giramundo , first radio success of Sá; Nara Lion recorded Hiroshima Girl ; And he formed the group Message, with Sonia Ferreira, Marco Antonio Menezes, Paulo Tiago and Sidney Miller (the latter also became a renowned singer and songwriter, but his enormous talent succumbed to a depression that led him to commit suicide at age 35, In 1980 - listen to the album Línguas de Fogo , from 1974).

Still in 1965, integrating the Message, which later would count on the presence of Luli, Sá participated in the musical show Samba Pede Passagem , of the Opinion Group. Directed by the playwright Vianinha, the show featured other noble guests: Baden Powell, MPB-4, Araci de Almeida, Ismael Silva and the Conjunto Época de Ouro. In 1966, Sá participated in the First International Festival of Song with the composition Inaiá, released, later, in compact. Alongside debutant Gutemberg Guarabyra and Miller, he participated, in 1967, in the opening performance of the Casa Grande Theater in Rio de Janeiro. Shortly before forming the trio with Guarabyra and Zé Rodrix, invited by Nelson Motta, joined the team of creation of jingles Aquarius producer alongside two stars,

Soon after Guarabyra began his artistic career with the opening show of Casa Grande, he decided to embark on a series of shows in the interior of Bahia, his native state. On his return to Rio, at the end of 1967, accompanied by the Manifesto group, the Bahian won the II International Song Festival, with the composition Margarida . The impact of his talent soon led him to sign the musical production of two cariocas programs TV Tupi, the Bibi Live and Blota Jr . In 1969, Guarabyra won the Juiz de Fora Festival (MG) with the composition brown coat , written for four hands by Renato Correa and Danilo Caymmi, and performed by Evinha . In 1971, at the invitation of Augusto Marzagão,

Zé Rodrix, the most experienced of the three, began his musical career in 1966 by training with Ricardo Sá, David Tygel and Maurício Mendonça group Moment Four who came to record the following year, a simple compact with the song Glory, his Authorship Also in 1967, Momento Quatro was an ancillary to a historical event, the presentation of the champion Ponteio , at the III Brazilian Music Festival of TV Record, alongside the author, Edu Lobo, the New Quartet and Marília Medalha. In 1968, it was the turn of the group to release their first and only album, namesake (listen to the tracks Festa and the re-reading of He Falava Nisso Todo Dia by Gilberto Gil). Despite the quality of his LP, Zé Rodrix left for Porto Alegre (RS) in 1969, with the repercussion of Moment Four, Following the theatrical company GRAL and its musical group First Manifestation of the Plague. In the Gaucho capital, Rodrix fattened his income by acting as music teacher and reporter for the newspaper Zero Hora . 
 When he returned to Rio de Janeiro, Rodrix formed the supergroup Som Imaginário. In addition to it, the combo was joined by Wagner Tiso, Robertinho Silva, Tavito, Luiz Alves, Fredera and Laudir de Oliveira. Among the most accomplished artists of that turn of the decade, precisely because of his mastery of modern musical languages ​​- they knew everything from Brazilian rhythms, but also from jazz, psychedelic rock, soul, folk-rock - Som Imaginário was a joker of artists Such as Gal Costa, Milton Nascimento and Marcos Valle, who, working with the group on their 1970 album, came to compose a theme in honor of him, called Imaginary Suite . In 1971, the band recorded the first of three great LP's. But Rodrix's foray into "imaginary sounds" was short-lived. Soon after the release of the first album, 

Launched by Odeon in 1972, Past, Present and Future finds a meeting of the happiest of three young modern composers, unsuspecting and fraternal in their artistic and existential convictions. Reiterating my arguments about the dimension of disbanding and drop out represented by the trio Sá, Rodrix and Guarabyra, a doctoral thesis defended by the historian Victor Henrique Resende, at the Federal University of São João Del Rey (MG), entitled O Rock Rual de Sá, Rodrix & Guarabyra: countercultural romanticism in Brazil in the 1970s, presents a curious infographic, which cuts the themes of the 12 compositions of Past, Present and Future into three categories. According to Resende's academic analysis, Two of them deal with "criticism of the way of life in modernity and / or dictatorship"; Eight deal with "transit elements" (between) "field and city; And / or valorization of the field "; And the final two deal with "bucolic, romantic, and other sounds." 

Listening to the album from track to track, identifying the compositions cataloged by Resende, from the analysis of the lyrics, is not a job that requires much effort. Academic interpretations aside, what really counts is to revel in the psychedelic of pearls like Juriti Butterfly (written by the three), with the urgent rock of riponga Ama Teu Vizinho (de Sá and Rodrix), with the stoneana construction of Today Still Is Rock Day (Rodrix), with the harsh melancholy of Cumpadre Meu (Guarabyra), or with the lyricism beat of First Song of the Road (also of the three). 

Before reaching an early end in 1974, the trio released a second album . As inspired as its predecessor Land brings classics like Master Jonas , Blue Riviera , Ahead and Pindurado na Vapor . As we well know, after the break, Sá and Guarabyra went ahead and made success as a pair. Rodrix preferred to start solo career, also of great success, and later joined the group Joelho de Porco, in addition to composing dozens of jingles, with the unmistakable mark of his talent, for the advertising market. 

Today exactly five years ago, Zé left, at age 61, the victim of a heart attack. Our bows to this great Brazilian composer.......................

Credits
Written-By, Guitar, Vocals – Gutemberg Guarabyra*, Sá*
Written-By, Keyboards, Vocals – Ze Rodrix*

01. Os Anos 60
02. Desenhos no Jornal
03. Meste Jonas
04. Blue Riviera
05. Adiante
06. Pindurado no Vapor
07. O Pó da Estrada
08. O Brilho das Pedras
09. Até Mais Ver


Da esquerda para a direita, Gutemberg Guarabyra, Luiz Carlos Sá e Zé Rodrix (foto Reprodução  Odeon)

johnkatsmc5, welcome music..

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