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28 May 2017

Sound Factory “ Sound Factory” 1970 Brazil Hard Psych monster..!

Sound Factory “ Sound Factory” 1970  monster..! Brazil Hard Psych recommended…!
Sound Factory "Sound Factory" LP. 1970 brought mixed feelings for Brazilians. Victory at the World Cup was an all-too-brief distraction from the dictatorial regime that was ruling the country. At that time, doing 'art', whatever it was -- music, painting, literature -- was a way of acheiving some kind of freedom. And soon Sound Factory started to rehearse. Their first gig was at the Vale do lp? Country Club in a working-class suburb of Rio. Of the 10 tracks on the album, there were only three originals: 'Restless Time', 'Let's Go', and 'Midnight Inspiration'. The others were covers from Traffic, Blind Faith, Johnny Winter, It's A Beautiful Day, Jefferson Airplane and Cream. Amazing Hard Psych. A real beauty. The guitar sound screams like hell. Very few known original copies. One of these albums that's so rare it doesn't even seem real. Underground 60s psych rock with raw unpolished fuzz lashes, homemade production values, raunchy wasted garage style attitude and plenty of great cover tunes! .....

Reissue of ultra rare (few copies known to exist) LP from Brazil 1970. Amazing hard psych with screaming guitars, lots of very very good covers. Rarer then SPECTRUM. Beside MODULO & SPECTRUM the hottest Brazilian item.............

“Amazing Hard Psych. Rarer than Spectrum. A real beauty. Lots of covers but soo good. Beside Modulo & Spectrum the hottest item from Brazil. The guitar sound screams like hell.

Very few known original copies. If you want to hear a real acid Psych version of “Crossroads”, “Can´t Find My Way Home” or “Whithering Tree”, this one is for you. We love those versions better than the original because they just sound more stoned.”.............

The sole album by this Brazilian psychedelic rock group (with an American guitarist in Kevin Brennan) is the kind of item collectors seek only for its rarity (300 copies of the original LP released in 1970). The CD reissue by Shadoks in 2003 exposed that there is hardly a "musical" reason to own it. Sound Factory's take on psychedelic rock is generic, the musicianship very average (with downright shaky bits, in "Restless Time" in particular), and the sound quality -- what you can expect from a 1970 Brazilian low-budget recording studio. All that being said, psychedelic rock historians and curious minds can still enjoy this eponymous album as a timepiece. The group's repertoire consists mostly of covers selected from the British and American blues rock corpus. Traffic, Blind Faith, Johnny Winter, Cream, and It's a Beautiful Day are among the honored bands, Sound Factory's renditions sticking as close as possible to the originals. Jefferson Airplane's "Lather" is the most psychedelic song of the set -- and hearing it sung by a man strips some of its charm away. The album also presents three original songs. Guitarist Kevin Brennan's "Restless Time" is a rather poor attempt at a psychedelic singalong, while "Let's Go" buries a great bass riff under some horrible falsetto vocals -- on a side note, bassist Antonio Ricardo Sampaio is the most inventive musician of the group, his basslines consistently bringing more to the music than what you expect. Nevertheless, this one is for completists and collectors only....... by François Couture....allmusic...........

Among the curiosities and rarities of 'rock in' Brazil, Sound Factory is a band that could not miss. Group a single disc, which turned object of greed and desire of collectors. Worth a black note this original lp. Information about the band is also rare and I do not know anything besides the album. But worth a look because the guys are above average. The repertoire, all in English, beyond covers of bands like Traffic, Jefferson Airplane, Robert Johnson, among others; Own songs. One of its members was an American musician. Maybe that's where the influences come and the difference that sets them apart. Good record, this ring is worth more.................

Speaking of Sound Factory is easy, after all, it's an incredible band, to some extent revolutionary and why not say, genuinely Brazilian. The difficult thing is to find the material of the band (LP and / or CD). At the time of the release, there was a very small print run (in LP), more precisely of 300 copies and almost no disclosure. Unfortunately, this work really went unnoticed. The due reissues in LP (released in Europe) and CDs were also very limited, so much that you do not see this material out there. A real rarity!
In any case, the fact that the work was not divulged in the correct way does not make it obsolete, quite the contrary. It's definitely a must-have for lovers of good music!
In 1970, youngsters Kevin Brennan (guitar, guitar and vocals), Antonio Ricardo Sampaio (bass, piano, percussion and vocals), Izidro Martins (organ and vocal) and Trajano Lemos (drums and vocals) sought a different sound In vogue here in Brazil (soul music, samba, funk) and this was evident already in the assembly of the repertoire, with covers of some of the main American and British artists, essentially linked to ROCK. And of course, the group had daring pretensions, to launch itself on the world stage, since even the own compositions were registered in English and with themes similar to those proposed by Pink Floyd, Cream, Small Faces, The Who, Led Zeppelin etc. . In a way, they were successful after all.
It is necessary to highlight the recording / production quality performed by Raimundo Bittencourt and band. Even with the very small money and limited support offered by the record company Castelinho, what you hear is a powerful, creative and very hard sound, with beautiful arrangements. Nothing is owed to the gringos groups of the time.
Already in the first track, "Restless Time", a fury of shivering, with a gloomy mood created by the organ, percussion and angry vocals of Kevin and Trajano. Great start to a great record!
The worldwide acclaimed "Crossroads", eternalized by Robert Johnson, follows a line very similar to the version of Cream and later, Lynyrd Skynyrd. Ungrateful mission to choose the best version of the three, since they all have the same essence, the good old Rock N Roll and the Blues.
Blind Faith's "Cant'Find My Way Home" retelling is charming and subtle, with overdubs and careful vocals and serenes. As good as the version of the good Bahia Gilberto Gil, released on his spectacular album of 1971 (see text published by Rock National on 03/30/15).
The Sound Factory tribute to blues master Johnny Winter (who even died recently) is also praiseworthy. Here, the biggest highlight is the highly distorted and visceral guitar and the precise drum turns. A real beating!
Traffic's "Whithering Tree" and "Shanghai Noodle Factory," sound very privately, with a hypnotizing bass line and aggressive guitar solos. Perhaps they are the two songs that more represent the "soul" of the group.
Continuing the theme "musical training", two more covers, this time from "Wasted Union Blues" from It's a Beautiful Day and "Lather" from Jefferson Airplane. More than sensational!
Finally, two more songs by the band, the psychedelic "Let's Go" and the magnificent instrumental theme "Midnight Inspiration". This last song, in addition to having a beautiful melody, was the one that most approached a commercial success, to be included in the programming of Radio Eldorado of RJ and have been performed a few times. Surely it must have thrilled many people at the time, including the musicians themselves.
After the release of this masterpiece, the Sound Factory was not able to take off, unfortunately. He performed important shows, such as his participation in The American Night (at Orfeão Portugal, in Tijuca) and at Curtisom's Second Night (at Cimento Armado Theater in Copacabana), but the lack of perspective of the group and the parallel projects of its members made With which his music became secondary. Certainly an early end, with a taste of want more.
Sound Factory ... one of the hidden pearls of our music, which is worth revisiting !! ................By Fabiano Oliveira .................

Interesting psychedelic band from … Brazil. Their record contains good covers (mostly from TRAFFIC…) performed by talented musicians : the lead guitar sounds peculiarly great, but unfortunately the vocal parts sound a bit too amateurish or out of tune. One real flaw that lessens my whole appreciation with the awful closing instrumental which is probably one of the worst fillers I ever ........

Of all the tracks included on the Brazilian volume of the excellent Love, Peace, & Poetry psych comp series, Sound Factory's "Let's Go" is by far the strangest. The song tries at a fairly generic, surf-influenced groove, but comes off sounding more like a cautionary tale against heavy acid use, a hideously top-heavy mix capped off by singer Kevin Brennan's falsetto, so bad it's honestly not even funny. The song is a sad but perfect introduction to the band's single, thoroughly obscure album, reissued last year by Shadoks. Sound Factory cannot be explained away as an amateur psych record or even as a novelty for the collectors market alone. Something about the group protects them from seeming either too incompetent or too generic for the adventurous listener. Seven of the songs are covers (Cream, Traffic, Jefferson Airplane, and Blind Faith among others), lending the automatic charm that comes with foreigners borrowing so directly (and almost exclusively) from the British/American rock canon. Portuguese accents get bent awkwardly around Robert Johnson's wail, and a Tropicalian lilt is brought to the stodgiest of thick, white rock, shoddily-played and cheaply-recorded; while it might be easy to call this music unoriginal, it's impossible to say it's no fun. Missteps like "Let's Go" transcend camp value because they are almost too obtrusive or annoying for even a committed novelty enthusiast to stomach. Novelty gets left behind for a stranger, more rarified appeal, as if the group's unintentionally off-kilter approach prevents them from being so quickly placed or dated. A few moments of truly exceptional musicianship further complicate things. The guitar and bass players are undoubtedly skilled, their inventive parts frequently coming into odd juxtaposition with clumsier sections. Brennan's solos are at times masterful Hendrix-isms, made more enticing by their frequent burial deep in the mix, and drummer Trajano's shaky croon gives two Steve Winwood classics a fragility that, professional or not, lends a new beauty to the tired songs. The result is a record charming for its amateur-ish exuberance but also thrilling in the way the band conquers its limitations, managing an addictive, if idiosyncratic sound. - Andrew Culle......................
Celebrating the victory at the World Cup in Mexico was a welcome but all-too-brief distraction from the dictatorial regime that was ruling the country. At that time, artists like Caetano Veloso, Chico Buarque and Gilberto Gil were forced to live abroad. But even with severe censorship, music never stopped flourishing in every corner of every big city of the country. Doing “art”, whatever it was - music, painting, literature - was a way of achieving some kind of freedom.
Politics aside, to the bass player Antônio Ricardo Canizio Sampaio, organist Izidro Martins Neto and American guitar player Kevin Valentine Peter Brennan, what really mattered was finding a drummer in order to make their group to take off. They’d heard about Trajano who, at the same time, was also searching for a band he could land his drumkit on. Contacts were made fast and soon Sound Factory, as they were called, started to function (or to rehearse, if you like). It was January 13, 1970.
Trajano Luís Lemos Junior already had some experience as a musician. He started playing bossa nova around 1966. In 1968, bored of playing Brazilian rhythms, he decided to venture into the rock world. With fellow architecture students, he formed a rock trio. However, he quit the band in mid-1969 when it became a sextet and started to get too avant-garde and experimental for his tastes. All Trajano wanted was to play a straight kind of rock and more down-to-earth, if that’s possible, psychedelic tunes. And Sound Factory sounded just like that.
Their first gig, on February 14, was at the Vale do Ipê Country Club in a working-class suburb of Rio. A week later, on February 20, a more fine-tuned Sound Factory performed at the American School where they pleased the audience with covers of Traffic, Butterfield Blues Band, Jefferson Airplane and old blues classics mixed with some original songs.
Feeling tight and confident after their first two concerts, the band went on to play at a hot-spot called Clube Monte Líbano. The place was famous for its rock shows and dancing that took place every weekend, always attracting loads of rock fans eager to see their favourite bands in action or just to dance to their music. Analfabitles, The Bubbles, Os Mutantes, Soma and singer Gal Costa were among the fine rock bands/artists who pe formed there. Some, regularly like the first two. On March 8, Sound Factory took the stage as the opening act for headliners The Bubbles.”.................

Kevin Valentine Peter Brennan (vocals, all guitars, dulcimer, percussion)
Trajano Luis Lemos (vocals, drums, percussion)
Izidro Martins Neto (keyboards, percussion, background vocals)
Antônio Ricardo Canizio Sampaio (vocals, bass, piano, percussion)

A1 Restless Time 4:50
A2 Crossroads 3:40
A3 Can't Find My Way Home 3:17
A4 I'm Yours And I'm Hers 3:15
A5 Whithering Tree 3:01
B1 Shangai Noodle Factory 4:35
B2 Wasted Union Blues 3:04
B3 Lather 2:43
B4 Let's Go 2:31
B5 Midnight Inspiration 4:06

johnkatsmc5, welcome music..





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