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22 May 2017

Teo Azevedo "Grito Selvagem"1974 Brazil Soul Funk Groove Samba Psych ,Samba Funk

Teo Azevedo  "Grito Selvagem" 1974 rare  Brazil Soul Funk Groove Samba Psych ,Samba Funk

Mineiro, son of Seu Thiófo, known as the "legendary guitar player with one arm", which was eternalized in the poem by Carlos Drummond de Andrade (Pocket Viola). Téo is the legacy of his father, and more so. A work built with a rich life story. He was a singer, composer, violist, musician, writer, poet, folklorist, radio broadcaster.

Divided between the origins and the new life in the urban centers RIO-SP, Téo constructs this that is a thematic LP, of an enchanted caboclo with the big city. This is his first work, a rarity in which alone in him you see this flirt with rock guitars, young guard, and his style and black power hair.
Of the 10 incredible tracks, only "Mané João" is not of authorship. It is a re-reading of the music of Roberto and Erasmo Carlos, who was angry.

The album begins with "Eu tentei"" a rock-samba about unrequited love. It follows with "Cego Aderaldo", which brings more striking guitars, also has a regional sound (accordion?) That does not let less and makes a solo to complete the groove. Assacumpero is a groove-calango that focuses on the sonority of words. "The new one is old now" looks like a galloping hammer, as he quotes himself in the lyrics, with a more calm and measured gait. He applies the same influences in re-reading "Mané João", taking advantage of the humorous leaves that music and rhythm allow. "The echo of the cry" is precisely the transformed idea of ​​this wild cry, the conception under the most recent influence of Téo in Rio de Janeiro.
"Vá pentear macaco", which I do not like jerks! This track brings a groove with certain vocals, and a guitar that pains and accompanies to create a mood of bump and relaxation. "Calangueando *" brings some rhythms and instruments of samba. It's a told me that Téo uses beliefs to lie or disprove some sayings, also bringing a humorous atmosphere that transports his conscience to a typical town dance, at the best of the party, when everyone sings.............

"Grito Selvagem": debut album by Téo Azevedo, which has the signature of the enigmatic conductor in all arrangements and ... rapists! ... What a bitch! Samba-Rock first !!! In fact samba-rockafoxéfunkbaião everything very well mixed, the parade is full of sacundin!

There are 10 tracks, one better than the other and among them only a re-reading: "Mané João" by Roberto and Erasmo Carlos, who was very blessed, the remaining 9 are all of Teo and his partners. The curious side of this story is that this is an odd record in Téo Azevedo's career, because anyone who knows only his later albums would not even say that this album was made by him, has little to do with what came next. I sincerely regret it, the footprint you have on this record is great! Maybe this is due to the fact that we have Salinas on the job. Salinas besides signing the arrangements also participates as a musician. Another special participation is that of Evandro and his Regional. In the technical file we see some names that also appear in the Salinas album.

I was going to highlight one or another track but, besides the laziness (rsrs), it would be unfair the disc is really fucking good, it's worth it from the top to the bottom. So that's it, enough of cursing! Save Téo and save Salinas !!!! Uhullll !!!!.....

The debut album of the miner Teo Azevedo, makes the term masterpiece seem outdated. It's really a lot of inspiration in just 10 tracks!
Who is more connected in the career of Teo knows that his work is almost exclusively sertaneja, that is, has an immense inclination for the rural song, popular, cabocla, repentista, etc. But here, Teo exposes a facet at least, with a groovy groove and several other styles (samba, rock, soul), added to the beauty of the poetry of the essentially rural song.
Obviously, this sonority is due to the unparalleled conductor Daniel Salinas, who set up a tithe (Willy Verdager on bass, Norival on drums, Edson on guitar, Antenor on guitars, Salinas on piano himself, Acauã group on rhythm, Mares do Sul group , Charles & Ralf in the backing vocals) and went to the regency, arrangements and the own design of the disc, always supported by the great sensibility and talent of the singer Teo Azevedo. Oh, as a curiosity, the base of the band that played in Grito Selvagem also appears, brilliantly, in several other (special) discs of our music, like Silvio Brito's Selling Grilo, the first one by Fábio Jr (1976) and even Even the second from Secos & Molhados, just to name a few.
By analyzing the songs individually, we have identified an unparalleled versatility and perhaps that is what makes the album so remarkable.
Already in the first song, "I Tried," the listener may already have the notion of what follows: magic in the form of a song! It's an engaging, hugely danceable samba-rock, something very similar to what Jorge Ben was doing at the time.
"Blind Aderaldo" is Rock'n Roll in the nth power, with solos of strident guitars, heavy metals and an "aggressive" bass line. Maybe the most imposing song on the record.
"Farewell Ceará" is also special, with beautiful vocals, unique lyrics and why not say, exciting. Already "Assacumpero", in a way, has elements of regional music (calango, for the miners), but at the same time, it shows a different suingue, something related to the lightness of soul. Of course, this contrast gives a very singular tone.
"The New Today is Old Here" is extremely critical and in some ways, very subversive, even in the year it was launched. In short, it comes with the intention of showing that everything changes in the course of time (art, the relationship between men, the political situation of a country, etc.) and that the "March Waters" are not always so clear. Simply great !!
The classic "Mané João", by the duo Erasmo and Roberto Carlos (which originally came out on the album Dreams and Memories), receives here a great re-reading. For many, this is even better than the original. The only one on the record that does not have Teo's signature.
"Echo do Grito" also has a golden rocker and is perhaps the synthesis of this so-called "Wild Scream". It is practically a narrative about the stay of the illustrious singer in the Marvelous City. Strong song!
"Go to Pentear Macaco" has a very unusual title and lyrics, which sometimes passes almost unnoticed, such the excellence in performance of the support band. Soul Music in the vein!
To conclude, "Calangueando" and "Cantador", these a little more directed to regional music. Pretty much a preview of what Teo would do on his later albums.
Wild Scream is very special not only because it is a thematic work and because it contains great songs, other essential values ​​are also added to the work. Black power hair, for example, reminds us of the rebellion and the milestone of an era. Not to mention that the disc was designed in the 70's, probably the best phase of world music.
Teo (Azevedo) and his Wild Scream ... just listening to them to fully understand how beautiful art can so deeply touch our souls and hearts!.................

A1 Eu Tentei 2:43
A2 Cego Aderaldo 2:23
A3 Mané João 2:43
A4 Assacumpero 2:23
A5 Adeus Ceará 2:42
B1 O Novo De Hoje Já É Velho Aqui 3:24
B2 Vá Pentear Macaco 2:37
B3 Calangueando 2:40
B4 O Eco Do Grito 2:45
B5 O Cantador 1:41 

johnkatsmc5, welcome music..