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21 May 2017

Zé Ramalho "A Peleja Do Diabo Com O Dono Do Céu" 1979 Brazil Latin Funk ,Acid Psych Folk, Tropicalia


















Zé Ramalho  "A Peleja Do Diabo Com O Dono Do Céu" 1979 excellent  Brazil Latin Funk ,Acid Psych Folk, Tropicalia….recommended…!

https://www.dailymotion.com/video/x5nlmid_ze-ramalho-jardim-das-acacias-1979-brazil-funk-acid-psych-folk-tropicalia_music
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Zé Ramalho …full discography…..


The second album by the composer, singer and guitarist Zé Ramalho (1949) ,"A Peleja Do Diabo Com O Dono Do Céu  is recorded in June 1979 and released in September of the same year. After the success of the debut album, the composer stoned his second work, whose title refers to the universe of cordel literature, also alluded to by the film Glauber Rocha (1939-1981), The Dragon of Evil Against the Holy Warrior (1969 ) , One of his references. Recorded on eight channels in the Epic / CBS studio, the LP features ten tracks, all of which he wrote, and earns him the first gold record of his career. It has the production of Carlos Alberto Sion, who signs the musical direction alongside Paulo Machado, responsible for regency and string and metal arrangements, 
The unusual composition translates into images the sonority of the album. Although it maintains the psicodelia of the previous work, the Fight closely bonds with the musical culture Northeastern. Two tracks stand out from the set of the play: "Rent Boy (Táxi Boy)" , that receives instrumentation only of strings, reinforcing the drama of the letter, almost autobiographical; And the rock- ballad "Jardim das Acácias" , in which the distorted electric guitar of Pepeu Gomes (1952) reaches the apex.

The musician consolidates, in this disc, his style, that resorts more to the declamation. Extensive lyrics, sung in a prophetic tone, refer to Bob Dylan's folk (1941), Otacílio Batista's revolts (1923) and to the surrealism of singer Zé Limeira (1886-1954). This is noticeable in the recording of "Frevo Mulher", composed initially for the repertoire of the singer Amelinha (1950), which, in the version of Zé Ramalho, becomes more serious and enigmatic. The counterpoint between the two ways of singing is evident in the cry-song "For Wine and For Bread", with the participation of the singer, his wife at the time.

Although in the work of the composer the songs of mystical content prevail, The Peleja brings some of political content and social criticism, although full of allegories and symbolism. Transiting through different musical genres, the album sums up the worldview of the singer, in a kind of electrification of the repentes. The title track opens the disc in forró rhythm:
"Admirable New Cattle," a song that has the baião as a rhythmic and instrumental basis, reflects on the contradictions of a mass capitalist society under an authoritarian regime. Included in their shows since 1978, the song becomes known and acclaimed by the public before the album release. The title refers to the universe created by Aldous Huxley (1894-1963), in Brave New World (1932). The chorus, in the form of aboio "Êh, ô, lives of livestock", already used in other popular songs [as in "Toada de Gado" by Vavá Machado (1946? -2012) and Arlindo Marcolino, musicada by the Violated Quintet, In 1976], is re-signified by the composer. In Ramalho's version it becomes a metaphor for the people's fate that "flees from ignorance, despite living so close to it." In addition to the striking lyrics, The song fixes on popular memory for the arrangement of strings and instrumentation, which leave in the background the combination between Zé Ramalho's rasping guitar and Geraldo Azevedo's twelve-stringed arpeggio guitar. Later, the song would be used as a theme for the landless in TV Globo's The King of the Cattle ( 1996 ), selling 2 million copies of the track.

The third track, "Falas do Povo", dialogues with another important composer in the formation of Zé Ramalho, Geraldo Vandré (1935) , to whom he dedicates the song. More poetic than pamphletary, it approaches the grave tone of songs of incelency, punctuated by the violin of Jorge Mautner (1941) and the zabumba of Borel. The similarity in the tuning of the strings and in the rhythmic between the Northeastern and Iberian-Moorish music, reappears in the instrumental track "Agônico" , in which Zé Ramalho performs all the instruments (violas, bass, percussion, drum, piano, tambourine and vocal effects ). This song, whose title was given by Jorge Mautner, only receives lyrics on the album Eu Sou Todos Nós (1998), in the track "Agônico - O Canto".

Recalling one of the modalities of the sudden, the gallop "Beira-Mar", is the most intimate tracks of the album. It is anticipated by the booklet Apocalypse (1975), written by Ramalho, divided in two parts: the first one in the form of hammer-agalopado, the second, in gallop by the sea. "Beira-Mar" is the first of a sequence of three compositions, followed by "Beira-Mar - Chapter II" (released on disk Green Force , 1982), and "Beira-Mar - Final Chapter" (from I Am All We ). With a shape derived from the hammer-agalypse, this genre follows the symmetrical rhyme structure of the tenth spinel [1], accentuating the second, fifth, eighth and eleventh syllables, ending the stanza with the word "sea".

Appropriating the variations of the sudden, Zé Ramalho composes the "Mote das Amplidões". Sustained in the scheme of the tenth (stanzas of ten het-syllable verses), the composer glosses the motto
Interspersed by the arrangement of flutes and arp-string by Paulo Machado. Revisiting the popular sources, the composer confers a modern and transgressive tone to traditional structures................................

Zé Ramalho is involved in the design of the cover and finances its production. In it, the composer appears wielding the guitar, in the paper of "Owner of the Sky", resisting the temptation of a woman vampire, interpreted by the actress Xuxa Lopes (1953), and its rival, carried out by the diabolical figure of the filmmaker Jose Mojica Marins (1936 ) , The Ze of the Coffin. Based on an abandoned mansion in Santa Teresa, in Rio de Janeiro, the photograph is directed by the filmmaker Ivan Cardoso (1952), and also includes Satã (producer and bodyguard of Zé do Caixão), Mônica Schmidt and the artist Hélio Oiticica (1937-1980) , wearing one of his parangolés. Illustrations by the cartoonist Seth [Álvaro Marins (1891-1949)], and symbols created by the artist Raul Córdula (1943) complete the look of the booklet.

Zé Ramalho entered the studio to record  ("A Peleja Do Diabo Com O Dono Do Céu 1979). However, the traveling songs from the first album ("Zé Ramalho" - 1978) gave way to something more politicized. As a result, this new album, which featured a photo on the cover of the composer alongside the filmmaker Zé do Casco and the actress Xuxa Lopes, in a string image, brought songs that even bothered the military government a bit, such as "Brave New Cattle" and the title track itself.
Extremely well produced (once again, Carlos Alberto Sion was responsible), the album yielded Zé Ramalho his first gold record. At that time, the Paraibano was already composing songs for the albums of colleagues like Elba Ramalho, Fagner and Geraldo Azevedo....................

The second album by the composer, singer and guitarist Zé Ramalho (1949"A Peleja Do Diabo Com O Dono Do Céu ),  is recorded in June 1979 and released in September of the same year. After the success of the debut album, the composer finished his second work, whose title refers to the universe of cordel literature, also alluded to by the film Glauber Rocha (1939-1981), The Dragon of Evil Against the Holy Warrior (1969) , One of his references. Recorded on eight channels in the Epic / CBS studio, the LP features ten tracks, all of which he wrote, and earns him the first gold record of his career. It has the production of Carlos Alberto Sion, who signs the musical direction alongside Paulo Machado, responsible for conducting and arranging strings and metals, and Zé Ramalho, who is in charge of the basic arrangements.

Zé Ramalho is involved in the design of the cover and finances its production. In it, the composer appears wielding the guitar, in the paper of "Owner of the Sky", resisting the temptation of a woman vampire, interpreted by the actress Xuxa Lopes (1953), and its rival, carried out by the diabolical figure of the filmmaker Jose Mojica Marins (1936 ), The Ze of the Coffin. Based on an abandoned mansion in Santa Teresa, Rio de Janeiro, the film is directed by the filmmaker Ivan Cardoso (1952), and also includes Satan (producer and bodyguard of Zé do Caixão), Monica Schmidt and the artist Hélio Oiticica (1937-1980), wearing one of his parangolés. Illustrations by the cartoonist Seth [Álvaro Marins (1891-1949)], and symbols created by the artist Raul Córdula (1943) complete the look of the booklet.
The unusual composition translates into images the sonority of the album. Although it maintains the psicodelia of the previous work, the Fight closely bonds with the musical culture northeastern. Two tracks stand out from the set of the work: "Rent Boy (Táxi Boy)", that receives instrumentation only of strings, reinforcing the drama of the letter, almost autobiographical; And the rock-ballad "Jardim das Acácias", in which the distorted electric guitar of Pepeu Gomes (1952) reaches the apex.

The musician consolidates, in this disc, his style, that resorts more to the declamation. Extensive lyrics, sung in a prophetic tone, refer to Bob Dylan's folk (1941), Otacílio Batista's revolts (1923) and to the surrealism of singer Zé Limeira (1886-1954). This is noticeable in the recording of "Frevo Mulher", composed initially for the repertoire of the singer Amelinha (1950), which, in the version of Zé Ramalho, becomes more serious and enigmatic. The counterpoint between the two ways of singing is evident in the cry-song "For Wine and For Bread", with the participation of the singer, his wife at the time.

Although in the work of the composer the songs of mystical content prevail, The Peleja brings some of political content and social criticism, although full of allegories and symbolisms. Transiting through different musical genres, the album sums up the worldview of the singer, in a kind of electrification of the repentes. The title track opens the disc in forró rhythm:
"Admirable New Cattle," a song that has the baião as a rhythmic and instrumental basis, reflects on the contradictions of a mass capitalist society under an authoritarian regime. Included in their shows since 1978, the song becomes known and acclaimed by the public before the album release. The title refers to the universe created by Aldous Huxley (1894-1963), in Brave New World (1932). The chorus, in the form of aboio "Êh, ô, lives of livestock", already used in other popular songs [as in "Toada de Gado" by Vavá Machado (1946? -2012) and Arlindo Marcolino, musicada by the Violated Quintet, In 1976], is re-signified by the composer. In Ramalho's version it becomes a metaphor for the people's fate that "flees from ignorance, despite living so close to it." In addition to the striking lyrics, the song is set in the popular memory by the arrangement of strings and instrumentation, which leave in the background the combination between Zé Ramalho's rasping guitar and Geraldo Azevedo's twelve-stringed arpeggio guitar. Later, the song would be used as a theme for the landless in TV Globo's The King of the Cattle (1996), selling 2 million copies of the track.

The third track, "Falas do Povo", dialogues with another important composer in the formation of Zé Ramalho, Geraldo Vandré (1935), to whom he dedicates the song. More poetic than pamphletary, it approaches the grave tone of songs of incelency, punctuated by the violin of Jorge Mautner (1941) and the zabumba of Borel. The similarity in the tuning of the strings and in the rhythmic between the Northeastern and Iberian-Moorish music, reappears in the instrumental track "Agônico", in which Zé Ramalho performs all the instruments (violas, bass, percussion, drum, piano, tambourine and vocal effects ). This song, whose title was given by Jorge Mautner, only receives lyrics on the album Eu Sou Todos Nós (1998), in the track "Agônico - O Canto"
Appropriating the variations of the sudden, Zé Ramalho composes the "Mote das Amplidões". Sustained in the scheme of the tenth (stanzas of ten het-syllable verses), the composer glosses the motto
Interspersed by the arrangement of flutes and arp-string by Paulo Machado. Revisiting the popular sources, the composer confers a modern and transgressive tone to traditional structures.......................

Personels

 Zé Ramalho (violão, viola, baixo, piano, percussão e vocal), Geraldo Azevedo (violão de 12 cordas), Pepeu Gomes (guitarra), Horondino da Silva (violão de 7 cordas), Waldir Silva (cavaquinho), Chico Julien (baixo e côro), Novelli (baixo), Chacal (congas, maracás, agogô, bongô e efeitos), Borel (zabumba e ganzá), Gilson (surdo), Jorge Gomes (surdo), Zé Gomes (pandeiro), Risadinha (pandeiro), Jorge Batista (pratos), Carlos Sampaio (percussão), Zé Leal (triângulo e reco-reco), Plínio (bateria), Elber Bedaque (bateria), Paulo Machado (piano, sintetizador e órgão), Jorge Mautner (violino), Edmundo Maciel (trombone), Sylvio Barbosa (trombone), Manoel Araújo (trombone), Jessé Sadoc (trombone), Zênio (tuba), Márcio Montarroyos (trompete), Evaldo (trompete), Hamilton Pereira Cruz (trompete), Formiga (trompete), Nivaldo Ornellas (sax tenor), Zé Bodega (sax tenor), Hélio Marinho (sax tenor), Jorginho (sax alto), Alberto (sax alto), Aurino Ferreira (sax barítono), Zdenek Svab (trompa), Waldemar Falcão (flauta), Ricardo Mattos (flauta), Oswaldo Garcia (flauta), Abel Ferreira (clarinete), Giancarlo Pareschi (violino), Alfredo Vidal (violino), José Dias de Lana (violino), Adolpho Pissarenko (violino), André Charles Guetta (violino), Carlos Hack (violino), Walter Hack (violino), Virgílio Arraes Filho (violino), Arthur Dove (violino), Marcello Pompeu (violino), Álvaro Vetero (violino), Frederick Stephany (viola), Arlindo Penteado (viola), Nathercia Teixeira da Silva (viola), Nelson de Macedo (viola), Márcio Eymard (violoncelo), Alceu de Almeida Reis (violoncelo), Luiz Fernando Zamith (violoncelo), Iberê Gomes Grosso (violoncelo), Severo (sanfona), Waldemar Falcão (côro), Huguinho (órgão e côro), Amelinha (vocal), Cátia de França (triângulo, ganzá e côro) e Mônica Schmidt (côro)....

Tracklist
1 A Peleja Do Diabo Com O Dono Do Céu 4:31
2 Admirável Gado Novo 4:55
3 Falas Do Povo 4:14
4 Beira-Mar 3:58
5 Garoto de Aluguel (Taxi Boy) 3:05
6 Pelo Vinho E Pelo Pão 3:21
7 Mote Das Amplidões 3:59
8 Jardim Das Acácias 5:12
9 Agônico 1:45
10 Frevo Mulher 4:36

johnkatsmc5, welcome music..

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