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24 May 2017

Sergio Sampaio "Eu Quero É Botar Meu Bloco Na Rua…“ 1973 Brazil Samba Psych Pop,Folk Pop










Sergio Sampaio  "Eu Quero É Botar Meu Bloco Na Rua…“ 1973 Brazil Samba Psych Pop,Folk Pop
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The same city of Roberto Carlos, Sérgio Sampaio had recorded together with Raul Seixas, Edy Star and Miriam Batucada, the disc The Society of the Great Order Kavernista presents Session of the Ten in 1971 and leveraged, the following year, a A great success with the song "I want to put my block on the street", finalist at the International Song Festival - a courageous protest against the military dictatorship, which sold 500 thousand simple compacts. Roberto Menescal, who was artistic director of Philips at that time, hired Sergio, as well as Raul, to join the cast of the label and launch their first solo.

With the production of Raul Seixas and a lot of versatility, Sampaio mixes in this album genres such as blues, samba, choro, bolero, ballad, rock and the ranch of the title track. "Shut up, Zebedee" is his father's samba, the conductor Raul Sampaio and is followed by a song-blast "Poor my father." The final track, a vignette, honors the friend and producer Raulzito.

Although the composer was considered the great revelation of that year, having even received the Trophy Press of Silvio Santos, his disc did not have the expected success. The label "cursed" began there for the now-worshiped poet and composer, reference to countless artists and passionate fans.

For the singer and composer Zeca Baleiro, I Want to Blow My Block on the Street is a great album. Made forty years, but still young and modern ".....................

RIO DE JANEIRO - Cachoeiro de Itapemirim, a city in the state of Espírito Santo, located 139 km from the capital Vitória, is known nationally for being the land of Roberto Carlos. But it is necessary to do justice to another very talented composer who was born by those plagues, in 1947: Sérgio Sampaio .

Son of maestro Raul Sampaio and primary teacher Maria de Lourdes Moraes, he was related to another composer, Raul Sampaio Cocco, his cousin and author of "My little Cachoeiro", a success in the voice of Roberto Carlos. Fan of Orlando Silva, Silvio Caldas and Nelson Gonçalves, Sergio started working on the radio. He had an experience in a prefix of Cachoeiro and even in Federal Clock Radio, there in 1964. But he stayed only four months in Rio de Janeiro.

Determined, he would return to the Marvelous City in 1967, to work on Continental Radio. He resigned to invest in the artistic career and thanks to a force of Raul Seixas, who is presented, he gets a chance on CBS to show his compositions to some artists. He would have songs recorded by Trio Tenderness, "Sun 40 degrees" and "See if you can fix it." But Raulzito, who was a producer on the US record label at the time, convinced Sérgio to record a compact: "Green Coconut", which would later be sung by Dóris Monteiro, was well received on the radio.

In 1970, Sérgio and Raul, with the help of the performative Edy Star and the controversy Miriam Batucada, "commit" the album Society of the Great Order Kavernista Presents Session of the 10 . There is a lot of legend around this record and the main one is that Raul Seixas was sent away from CBS because the work was done without the authorization of the severe director Evandro Ribeiro. It was better this way: Brazil began to know Raulzito better as a singer and composer and Sérgio Sampaio, who shared tracks with the Bahian, also had his chance to affirm himself in the music market.

The way was to look for another record company and in 1972, came the big chance for both. Raul and Sérgio knocked on Philips' door, proposing to register their own compositions with the help of the label at the International Song Festival (FIC). Roberto Menescal made a long talk with Sérgio Sampaio and in the conversation, the composer showed a song that would become a classic. "I want to put my block in the street" was entered, classified and reached the final. But he took nothing. The 1972 FIC champion was "Fio Maravilha", by Jorge Ben (Jor).

Although the song did not take any prize, it was released in compact and rumbled. Sérgio Sampaio's ranch was courageous, a cry amid the dictatorship in which Brazil was buried up to the neck. It was hard times and singing was as dangerous as a simple crowding of people on the street. Any misinterpretation by generals, colonels and censors could mean the death of a song. And maybe even the artist's arrest for inquiries.

Some people say that I slept in a cap
That I lost my mouth, that I ran away from the fight
That I fell from the branch and did not see exit
That I died of fear when the stick broke

There are those who say that I do not know anything
That I am of nothing and do not apologize
That I am not guilty, but that I gave silly
And that Durango Kid almost got me

I want to put my block in the street To
play, to groan
I want to put my block in the street
Gingar, to give and to sell

I, for myself, wanted this and that
One kilo more of that, a cricket less of it.
That's what I need or is not any of this.
I want it's everybody in this carnival ...

I want to put my block in the street To
play, to groan
I want to put my block in the street
Gingar, to give and to sell

In the face of the success of the compact, which sold 500,000 units and made Sérgio Sampaio the MPB revelation, winning the Silvio Santos Press Trophy, in addition to making the song one of the hits of the 1973 carnival, Philips called Sérgio Sampaio to record an LP only his. With production of Raul Seixas, of course. He was a studio musician, composed of, among others, Alexandre Malheiros, Ivan "Mamão" Conti and José Roberto Bertrami, who would form the Azymuth group shortly afterwards.

I want to put my block on the street is a very well recorded album. The instrumental "bed" is not at all due to any production of the time and, versatile, Sérgio bet on a mixture of samba, blues, chorinho, rock and roll and boleros. Not by chance, the album opens with "Leros, leros and boleros" ( Leros, boleros, music in your life ... the dissonant chords are at the root ... ) and soon after "Terror movie", lyrics and music that go back to the time By Sérgio Sampaio as Kavernista.

Today is passing a horror film
In the session of ten, a horror film

I have very attentive eyes
And ears wide open
Who leave the house now
Leave the children with the neighbors

Inside the revelry, a horror film
Lasts a full year, the horror film
And on the street, a sacrifice
In the neck a crucifix
Who dared to leave the house
Pass the latch and close the latch

On the floor of the cinema Empire of Tijuca
The cemetery of Caju
Cemetery of Caju
In the cinema Empire of Tijuca

My blood wells up and blurs with terror.
With whom do you dance and love my love now?

Witches, fears and sighs
Teeth, hair and vampires
Who dare to leave aside
Open your eyes with neighbors

On the floor of the Tijuca Empire cinema ...

Sérgio did not forget a composition by his father Raul Sampaio that he had heard in his teens and brought it to the album, the fun samba "Cala a boca Zebedeu" ( ... I'm going to Rio to watch the Brazilian play ). And shortly after, there came a song in the form of an outburst, "Poor my father."

The rocker "Black Labyrinths" (Exploded the shadow and the party broke ... strange cave ... ) and the beautiful "I am the one who said" ( Sing, talk to me ... before I grow up and show up ... even if I'm not in danger ... I I want you to warm me up this winter ... in this hell ) show that Sérgio did indeed have songs that went beyond his success at FIC.

All its versatility is shown on the B side of the disc, with "Viajei de Trem", which features Raul Seixas; In the great "Do not be afraid not!" ( Soak your feet in the mud and come talk with me ... with me ... cry, forget the drama and come and relieve the friend ... the friend ... ); The beautiful homage to the mother in "Dona Maria de Lourdes"; The samba-choro debauchery "Odete", the title track, hidden there at the end, as the penultimate of the album and a vinhetinha-homage to its 'discoverer' Raul Seixas.

My name is Raulzito Seixas
I came from Bahia
I came to change it here
Toco samba and rock brunette
Ballad and baioque

Despite the eclecticism of the album, the good execution of "Cala a boca Zebedeu" on radio and the repercussion of "I want to put my block on the street", which earned the artist the participation in the Philips Phono 73 festival, the record did not take off . The singer became a "damn" artist, which today is synonymous with cult . With only two other recorded albums besides this one reviewed here in the blog, Sérgio Sampaio disappeared from the media in the end of the 80s, but his successes would return in the voice of other artists in the following decade. When he was ready to return and release a fourth album by Luiz Calanca's label Afnes Afins, he died at age 47 due to pancreatitis.

The Maranhense Zeca Baleiro, who has Sérgio Sampaio as one of his musical references, tried to rescue what would be the 1994 record. Cruel is one of several souvenirs of the artist, who won a biography and musical piece. And that does not deserve to be forgotten..............................

From the biography of Sérgio Sampaio, entitled I Want to Botar Meu Bloco Na Rua, by Rodrigo Moreira Gomes, published in the year 2000, I intend to comment on the first album by this capixaba composer who knew success in the early 1970s and the isolation in the decades of 1980s and early 1990s.

In December 1968, Institutional Act No. 5, AI-5, was enacted, giving full power to General Artur da Costa e Silva to arrest, torture and kill workers, left-wing militants, LGBT and artists. The AI-5 meant an intensification of the Military-Burden Dictatorship instituted in 1964 in Brazil to defeat the workers' movement and guarantee the capitalist interests in the country and in Latin America. From 1968 onwards, it was repression and censorship on an industrial scale for the breakfast of Brazilian families. It's the years of lead in the cellars of police stations. Art must pass through the censor's room if you want to go to the street. Police are specialized critics and artists considered dangerous to the dictatorial regime are arrested, tortured and exiled. The AI-5 disrupted the Tropicalismo, the New Cinema, the Arena Theater, the Oficina Theater, The poetry and the songs of protest. All the radical experimentation that emerged in the 1960s was annihilated or had to adapt to the authoritarian winds of the generals.

With this deep attack, Brazilian artistic production attempted to rebuild itself in the early 1970s under the government of General Emilio Garrastazu Medici, one of the periods of greatest repression and censorship in the country's history. In this absolutely gray and intolerable scenario emerges a new generation of musicians and composers like Jards Macalé, Luis Melodia and Sergio Sampaio. Quite influenced by Tropicalism and counterculture, they are called post-tropicalists.

Sérgio Sampaio was a drop-off, a dissatisfied young man who at the end of 1967 left his family, his job and the Holy Spirit and went to try life in Rio de Janeiro. Like thousands of young people at the time, he wanted to get out of the system, pick up that old ship and roll around in the sand dunes. In the capital of Rio de Janeiro, the poor young composer lived in precarious pensions and student republics where he met leftist militants, hippies and thieves. He witnessed the student movement fight and be repressed by the police in the center of the Marvelous City. By day radio broadcaster and poet night, Sampaio would climb the Morro da Mangueira or play his guitar in the taverns. Sampaio begged and slept on the sidewalk.

With the help of Bahia singer-songwriter Raul Seixas, then a music producer, Sérgio Sampaio was hired as a musician by CBS in 1971. Raul encouraged his production and presented him to the artistic universe of a major label. In 1972 he inscribed the song I Want To Put My Block On The Street At The International Song Festival. The song was applauded by the Maracanãzinho bleachers, but since the Festival was strangled by the repression organs, the songs with political content were eliminated, and the Sampaio Block, although not a typical protest song, Air that he wanted to explode in the streets. The song was not successful but it turned out to be a hit with 500,000 copies sold and huge execution on the radios.

Sérgio Sampaio is now being sought by directors and producers. Overnight he started making lots of money. From the sidewalk to the Program of the Chacrinha and this made him goofy. What do these culture entrepreneurs want with a young, popular composer? Why so many compliments and pat on the back? How much do TV labels get on these plays? Sérgio Sampaio did not want to be used by the music market. Distrust, success, money, a lot of drugs and despair, Sérgio Sampaio was not able to manage his career according to the commercial etiquette.

Success brings expectations and charges. The Philips label was expecting another success such as Block and proposed the recording of an LP. With the production of Raul Seixas and support from the band Azymuth, Sérgio Sampaio recorded his first album titled Eu Quero Botar Meu Bloco Na Rua in 1973. The album brings the young composer with an intense and visceral poetry in a climate of State Terror, an economic miracle for The rich and suicidal exasperation.

In the first track, Leros, Leros and Boleros, the music, the dissonant chords, tangos and other delights are in the root of hair, in hell, in your farewell smile. Why are so many people laughing at a time of missing people and murders? Brazil won the 1970 World Cup in Mexico and served as a backyard for the auto industry. Happy the country of the tortures.

Movie of Terror, second track of the album, a metaphor of the Medici government where the blood flows and one must have very attentive eyes and open ears. Whoever leaves the house leaves the children with the neighbors, passes the lock and closes the latch. Inside the revelry has a horror film, ended the tropicalist party illuminated by the sun. Now it's cine and cemetery.

Shut up, Zebedeu, by Raul G Sampaio, the third song on the album, presents a determined woman who does not accept her husband's demands and decides to go to Rio de Janeiro.

Poor My Father, the fourth song of the LP, speaks of childhood and youth that does not accept the suffocation of the Home Sweet repressive Home of the traditional Brazilian family. It portrays the paternal figure who watches dinner and breaks the young glass hearts. Patriarchalism, fear, fear, fear.

Black Labirintos, fifth track, a dreamlike landscape with modern city buildings that hide labyrinths that imprison those who wait for the driving. Something strange hides the shadow under bare feet. On the asphalt on the broad avenue the labyrinths spread gray clouds of hopelessness.

I am the one who said, sixth track, with the days counted and hands on the head. The young composer wants the beasts loose in front of the table and the dogs loose in the parks. Even though he is not in danger the poet asks for shelter in this hell of disappeared and commercial successes.

Traveled from Trem, seventh song from the album is a bad trip lyrical by Brazil of nationalist slogans and songs. An atmosphere of danger and unknown ways.

In the eighth track, Do not be afraid, no! (Rua Moreira, 65), the singer asks if it is possible to forget the drama. The bar is heavy and can relieve, or not. The poet lives far away and may not arrive, not return.

Dona Maria de Lourdes, ninth track, in full economic miracle for the automakers, Sergio Sampaio sings the cars that invade the simple city while the people drag. Hidden flowers, the audience applauded but beware of the front door. The audience applauds but in the streets if you run the handle and if you stay the animal eats.

In Odete, the tenth song of the disc, the poet gets mad and hoarse from gnawing at neck meat from an old time. How wonderful! Banking and automobiles.

The eleventh track I Want To Break My Block On The Street is the hit that filled an entire generation suffocated by AI-5 and the Medici government. The desire to explode in the streets, to scream.

Raulzito Seixas, the last song of the album is a tribute to the friend and singer who came from Bahia to modify the musical scene with their rock, ballad and baião.

The result did not please Philips. There were some serious problems surrounding this work and this young singer. The album did not reach sales expectations, did not bring another millionaire hit as I Want to Put My Block On the Street and Sérgio Sampaio did not adapt to the promotional tactics for the promotion and promotion of LP. For some, Sérgio Sampaio played a successful career in the drain, for others, was another artist who did not accept the fool of the Cultural Industry and paid an expensive price for it.

Called damn by the record companies and TV stations, it has entered the list of the disaffected ones. In the leaps, bar and ravines recorded three simple compacts between the years 1974 and 1975. For the record company Continental launches in 1976 its second LP titled It has to happen, critical success but another sale fiasco. Sampaio does shows in small theaters and bars. In 1977 it launches another simple compact by Continental and in 1982 it releases the album Sinceramente, with independent production.

The music market wanted something cheerful and easy. Sergio Sampaio, who was crooked, very crazy, but not stupid, was devoured by the entertainment wolves, set aside in a jungle without a dog because he did not want to become another Dr Paxeco of the reformed and starched MPB in the Hebe or Faustão Program. He did not have the dollar sign in his eyes, and the market is cruel.

In the early 1990s, the period of great defeats of the working class and a huge advance of neoliberalism, Sérgio Sampaio tried to escape from his musical exile with some shows and possible releases, but his health was greatly weakened by the excesses of alcohol. On May 15, 1994, his body was buried in the São João Batista Cemetery, in Botafogo, Rio de Janeiro. ..................

Credits
Acoustic Guitar – Piau, Sérgio Sampaio
Arranged By – Zé Roberto*, Raul Seixas, Sérgio Sampaio
Bass – Alex Malheiros
Drums – Ivan Conti Maranhão*, Wilson Das Neves*
Guitar – Piau
Keyboards – Zé Roberto*
Producer – Raul Seixas
Vocals – Sérgio Sampaio
Vocals [Uncredited] – Raul Seixas (tracks: B5)
Written-By – Maestro Raul G. Sampaio* (tracks: A3), Sérgio Sampaio

Tracklist
Lado A
1. Leros e lero e boleros (Sérgio Sampaio)
2. Filme de terror (Sérgio Sampaio)
3. Cala a boca Zebedeu (Raul Sampaio)
4. Pobre meu pai (Sérgio Sampaio)
5. Labirintos negros (Sérgio Sampaio)
6. Eu sou aquele que disse (Sérgio Sampaio)

Lado B
7. Viajei de trem (Sérgio Sampaio)
8. Não tenha medo não (Rua Moreira 65) (Sérgio Sampaio)
9. Dona Maria de Lourdes (Sérgio Sampaio)
10. Odete (Sérgio Sampaio)
11. Eu quero é botar meu bloco na rua (Sérgio Sampaio)
12. Raulzito Seixas (Sérgio Sampaio)

johnkatsmc5, welcome music..