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4 Jun 2017

Serguei ‎ “Psicodélico 1966-1975″ 2013 Brazil Garage Psych Rock

Serguei & Janis Joplin

Serguei ‎ “Psicodélico 1966-1975″  2013 Brazil Garage Psych Rock
Sérgio Augusto Bustamante was a flight attendant. He flew by the Southern Cross, Panair and Varig. In the sky, above the clouds, he used to daydream about Elvis. One day, he came down from the heights and he added a "u" to the Russian name Sergei, which he took out from a friend. He put on his boots and with them he embarked in an exciting trail of Rock’n’ Roll. Like a dreamer, he let emerge in all its fullness the figure of a rebellious, argumentative, naive and, above all, authentic character. His true self, Serguei.

With his colorful clothes, long hair, red contact lenses, and in his hands, the hippies’ flag of peace & love, the anti-commercial Serguei, through several decades, carried on his back the weight of a public image much bigger than the work he was able to produce. Marginalized by option, Serguei tried psychedelia, tropicalism, and even Brazilian folk music without, however, settling down in any musical style.

Between 1966 and 1975, which correspond to his musically bolder period of time, his work materialized erratically through records released sporadically, which succumbed in the presence of the singer’s strong image. Archetype of Keith Richards rocker’s style but without the drugs (for many!), Serguei was just a caricature, whose work was just a prop. "I've never been recognized, few people give me value," he told to the magazine Pop in April 1978.

Despite his short adventure with singer Janis Joplin (in the summer of 1970 in Rio) has always been the most prominent reason in articles about him, were the records he released between the years 60 and 70 that attracted the attention of collectors and of people who have special appreciation for rock produced at that time .. Serguei self titled “psychedelic” long before everyone. He sang his hallucinations, found someone from alpha centaur and went in search of peace, from sunrise to sunset.

You can find he's work in compilations as GUITAR FUZZ BANANAS. He's songs goes from psychedelic to garage psych with some folk psych tunes. Fueled in fuzz and arragments that are typical of genious.
This man, SERGUEI is maybe Brazil's best keeped secret in music from the 60's/70's... ....................

With rocker-hippie visual / posture and a discography scattered in rare compact, Serguei is a psychedelic being by nature. In 67, I recorded Psychedelic I Am, The Hallucinations of Serguei and the mix of rock-Young Guard-protest called Maria Antonieta Without Cookies. In 69, with the band The Cougars, recorded Alfa Centauro, a flirt with the tropicalismo, without losing the 'acidity'. Hedgehog and Burro-Pink are also classics of his discography and national psychedelia..............

   In the view of the illiterate rockers, he was only the "boyfriend" of Janis Joplin. For those who studied the least history knows that Serguei is more than a legendary character of Brazilian rock. From the mid-1960s, he was the first hippie visual performer to perform in public, recording with bands that often followed the opposite direction of the young guard. His photo was always stamped on major behavioral magazines of the day, such as Manchete and Interval. Serguei also recorded the best compact of Brazilian psychedelic rock (the best part was produced by an unbelievable Nelson Motta). Among its main admirers are the no less illustrious Edu K. (DeFalla), Luiz Calanca (owner of the label Affinas Afins, the most respected of the country), Plato Divorak (the genius of the Brazilian underground, also released in disc by Afters Afins) and, finally, Carlos Loffler, actor and singer, grandson of Oscarito, who after working in movies and TV series, claims a place in the sun in the Genealogy of Brazilian rock. Not only that. Loffler, who still sounds like Marcelo Nova de Serguei, (someone remembers when Raul Seixas, almost forgotten by the media, needed a new gas to come to the stage in the 1980s) is constantly concerned about inviting the dean to appearances at his shows, Part of the package originated from the theater musical, "This Is Rock'n Roll." In this show, Carlos Loffler lives CQ Lee, who very much resembles Serguei himself, in a trajectory that borders between the quixotic and the sublime, no doubt of a musical career without equal. He himself has declared through the social network facebook his condition of heir to the "damn angel" (subtitle of the autobiographical book of Serguei). If that's good the audience will say.
To complete 80 years of life in a risk group called "rock", where 5 out of 10 remaining artists go into depression and take their lives with the help of alcoholic beverages and harmful chemical drugs, is, in fact, a true miracle. Many do not reach 30 (Janis Joplin, Jim Morrison, Brian Jones), others do not reach 40 (Cazuza, Renato Russo, Júlio Barroso and Cássia Eller) and others pass from this age group, but "hang" due to obvious depression, Or even are devoured by their infinite dreams (Raul Seixas, Chorão, Cornélius). Serguei turning 80 is an exception and living proof that our heroes do not need to die of overdose to become legend, they only need the attention of an intelligent media and supra faithful audience. It may someday be a viable reality in a third world country. Where does anyone, when interviewed on the street, respond when the young guard or 1980s rock started? Our problem is cultural, but that is for later.
Born on November 8, 1933, Sergio Augusto Bustamante, the Serguei, is older than Elvis Presley, Jerry Lee Lewis and Tony Campello, but manages to be younger than Chuck Berry and Carlos Gonzaga (this would be the older rock singer, If he was still on the road, but he still does "free" presentations, without, of course, dismissing his support for the Protestant Church). Taking stock of the whole history, one soon discovers that Serguei did not belong to the team of rock pioneers in Brazil (Betinho and his Ensemble, Celly Campello, Sérgio Murilo, George Freedman, Ronnie Cord and Carlos Gonzaga himself). The development of the 1950s in the Rio-SP axis. These names Serguei only knew about listening to radio and others that came before him like Eduardo Araújo, Ed Wilson, Sonia Delfino, Celia Vilela, Cleide Alves and Meire Peacock and bands like Renato and his Blue Caps, The Jordans, The Clevers, Luizinho and his Dynamites, among others. At that time, Serguei was a timid and dreamy young man, who had been in love with rock and roll since its inception, and had gangs of young people who had been transposed into the Rio de Janeiro youth circuit, dancing rockabilly, but still an illustrious unknown to the artists of " But each year it acquired an identity of its own (even incorporating even the brash romantic pop). The young guard had Roberto Carlos, Wanderlea, Erasmo Carlos, Martinha, Wanderlei Cardoso, Jerry Adriani and the aforementioned Renato and their Blue Caps. Still stood out Golden Boys, The Fevers and The Incredibles. Ronnie Von, according to himself and contrary to what many think, never belonged to the young guard's class. However it was sold in this package. Serguei was a response to Brazilian rock that the most radical freaks were waiting for. Aesthetically it was a more daring version of Roberto Carlos and Ronnie Von, a spicy hybrid of the two. But it was not always so. First of all, Serguei was a "mod", that young man in suit and gravy, but with the look always reinforced with wigs to the Beatles, Which were sold in London stores. Yes, the Beatles wigs were fashionable. Sergei was not bald, but his hair was too short and if he went to work completely hairy would obviously be in the eye of the street. In the 1960s, anyone who was "crazy beauty" did not stop at any job. Soon after being commissioner of PanAir, Sergei went to work at Varig. "At that time, he wore short hair. On land, he would wear jeans with a Lee jacket or leather, depending on local temperature, and a dark Beatles wig with fringe, shoulder length hair with blue lenses and a To enjoy the night in the nightclubs, wherever he was (...) ", recalls Serguei in his autobiographical book" Serguei - The Damned Angel ". But anyway ... Facing the moralism of Brazilian youth, until the mid-1960s, where wearing long hair was an affront, or worse, "deer thing." Since he was never ashamed to be what he was at the time, he never had trouble assuming his authentic sexual identity. He said: "I do not think homosexuality is a wrong thing, there is homosexuality and also misrepresentation of homosexuality. (Commentary on the book "Serguei - The Damned Angel"). Little by little, Serguei made friends with musicians and producers who were introduced to him in the south of Rio. Now really determined to become a rock star, he gained the support of Ed Lincoln who saw him singing and took him to a musical laboratory in A studio never mentioned. Although he had no great voice, In the view of many DJs of the time, Serguei had the necessary performance that Brazilian rock was lacking. "Everybody always sang hard, without moving the body," he shot years later. Visually, Sergei was a Tupinikim version of Mick Jagger. The difference is that he did not like to record much (this he always made clear in many radio interviews) and the fact that he did not have a band of his own prejudiced his discography to such a degree that decades later he would be forgotten by the great rock public . It was only after a new generation of initiates that Serguei's discography began to be rescued. Young men in their early twenties, who were not even born in the golden age of rock, came to reverence him. Well. For the rock illiterates, Sergei remains, as I said before, "the boyfriend" of Janis Joplin. Yes, this story happened after its first compact was released. If Ed Lincoln had not been interested in Serguei's rockstar look, there still remained the King of Rock Sérgio Murilo (singer who received that title in 1962 through a historic vote among readers of Rock Magazine). Serguei eventually found space on Team Records in 1966. The track that drew his first CD was called "The Hallucinations of Serguei," the Portuguese version of a French rock classic, which featured the band The Youngsters. The fact that another singer named Serguei (Sérgio Barbosa's nickname) first appeared in 1960 with "Make Believe", never got in the way. Barbosa was a cover singer, little rocker, situation opposite to our Serguei of the late 1960s, Who frequented many shows on Brazilian TV, from the young guard to Chacrinha's program, who regularly had his face printed in the magazines and even a collector's poster in the weekly Intervalo. However, a curious moment would enter one of the chapters of Brazilian rock history. In 1967, Sergei occupied two pages of Brazil's first television magazine, Intervalo. It was because of a protest he staged at Avenida Rio Branco, in Rio de Janeiro, on top of the statue of the Little Jornaleiro, against the conventionalism and giving live to freedom of expression. Shortly after, Serguei recorded "I am Psychedelic". The lyrics left DOPS officials confused about the message: "Down with the warlike coloring, I'm psychedelic." What citizen within the organs of repression knew the term " He introduced me to the gypsy, who was not a gypsy, was Janis Joplin. There, it was that catch and such ... She watched my band show and in the end said to me: You have a lot of feeling. I want you to go to California. I'm going to help you! "And that's how, according to the live rock legend, the involvement with the longing blues singer began.No courtship.In reality, it was a hippie friendship.From those that always happened in a casual way, reports of Brazilian artists who have had their stories with international artists, like "Me and Mick Jagger," "Me and BB King", "Me and Kurt Cobain," "Me and Justin Bieber," and so on. The reunion in Rio Of January in 1970, during the carnival, occurred months before the death of Janis Joplin. This meeting is always recapitulated by Sergei as it was in 1971 and in the first decade of the twenty-first century was always corrected by me when I came in contact with journalists who were interested in writing a story about him. Faced with the cultural ignorance of a country steeped in the alienation of football and samba, Joplin passed by a poor mortal, to the point of being barred at the carnival ball. Only the cult journalist Nelson Motta was aware of what they were doing with that hippie from the United States. He knew that she was a great singer with discs released, but for the others it was but a badly dressed and ugly young woman. Janis was staying at the home of a photographer, Ricky Ferreira, later director and film producer. This by the way would sell the photos that it took of her to the magazine Trip. In one of her brief escapes at night, Janis met Serguei on Copacabana Beach, by the promenade on Avenida Atlântica. In other reports, the photographer would have taken Janis to the nightclub in Leme, where Serguei and other artists like Darlene Gloria and Tony Tornado performed as free-lancers. When the Portuguese, owner of the establishment agreed that the "hippie" gave a canja on the stage and saw its brightness and powerful voice, could barely forgive himself for his previous veto, forbidding her to sing. He learned that she was an American rockstar, actually an electric blues singer. Only the voice of Janis Joplin won all night. The chatting of the customers of the nightclub guaranteed the drink paid by the house. According to Serguei's account, The night ended veridically with an erotic luau of which Janis and a Dutchman belonged, of which neither he remembers the name anymore. And this was the most striking moment for Serguei, as far as is known ... From the turn of the 1960s to the 1970s, Serguei recorded the precious compacts produced by Nelson Motta and another half dozen not always valued by the critics (still little) Of the time. Highlights: "Hedgehog" and "Pink Burro", where really psychedelia ran in the veins of Serguei. These songs really had a sonority and well-written lyrics, belonged to composers who functioned as anonymous heroes. In 1975, "From Sun to Sun" was another great rock, very characteristic of the counterculture that dragged until that period. Eat discotheque arrival, Commercially speaking besides Rita Lee the only solo artists who survived the wave of discotheque were Raul Seixas and Silvio Brito (not so much rock as well). Erasmo Carlos, retired of the young guard and black soul of the 70s, only did revivals and special shows of end and year as special guest of Roberto Carlos. A hit song by Rita Lee, "Breaking the Party II," condemned the systematic accommodation of MPB artists: "(...) And Sidney Magal slings more than the Matogrosso ... Crank-made armpit gypsy. .. ". Despite the criticism, Sidney Magal was not fabricated, just not recognized by the critics of the time. Other bands then emerged, while Made in Brazil was resisting all fads. Also emerged Vímana, Space Patrol, The Color of Sound and 14 BIS. In case, The Knee of Pigs already existed a period before, in the beginning of the 1970s. In this niche, there was no longer any mention of Serguei. Without a physical band he was very pained, counting only with the support of free musicians. The way out was to act as a decorative rock figure in various auditorium programs. In one of them, that of Flávio Cavalcanti, Serguei ended up receiving the Policarpo Trophy for "the worst singer of the year", alongside Gal Costa. Not that it was that much ... But the adults of the time were somewhat conservative and only gave importance to their generation (at the time, were nostalgic of the 1930s and 1940) where voices of MPB like Orlando Silva dictated habits and customs. How could they understand a rock singer? Worse still: this rock singer was hairy and made the hippie type. Even with the 1980s rock explosion, Sergei spent only performing in smaller houses, bars and motorcycle parties. Yes, he was elected the godfather of the Hells Angels. He was pened for a lot, but was chosen to step on the stage of Rock in Rio II in 1990. After that, he recorded an album of rock classics (amazingly the best moment is just when the dean does an ethereal rereading of "Summertime" Janis Joplin's entire ballad in a full-page report by Folha de São Paulo Serguei was called "Grandpa of the Rock." They published up to a time line delivering the age of some Brazilian rockers: Erasmo Carlos, Rita Lee, etc. He won a lot of manga for the rock universe, because Serguei was called to interview on MTV and even Jô Soares Eleven and Meia (the time the presenter was on SBT). The comedian has identified so much with the atypical trajectory of the rock legend that he became a kind of godfather calling him almost annually to give an interview on his TV show. After the ephemeral success of the media going on a ride with Rock in Rio, Serguei would be escudado by a good band of Limeira, of the interior of São Paulo, called Boca Roxa Blues Band. The band released a CD accompanied by a magazine-poster and attended some TV shows where the flame of rock had not yet faded. The vocalist of the Boca Roxa Blues Band, known as Paulão Levy, and a few other supporters, even brought Peter Fonda from the movie "Easy Rider" to a meeting of Hells Angels in São Paulo. Unfortunately the Boca Roxa Blues Band would be extinguished, due to personal issues of its founder. In the first decade of 2000, The rock legend rocked a nude essay for TRIP magazine and recorded his testament album. This time, with the Pandemonium, a band that wisely managed Serguei like no other one managed to administer. The old problem of getting into the studio and overcoming the attention deficit was solved.
   During this year of 2013, through internet social networks, especially facebook, actor Carlos Loffler (from the films "Happy Old Year", "Tropclip" and "Dona da História") and also the well-known grandson of comedian Oscarito, emerged As a rock singer, eventually inviting Sergei to take the stage with him, usually for a canja. The duo happened to be noticed frequently in several events of the underground circuit carioca. This was Rock'n Roll, Loffler had already performed in other theater musicals (the most famous of which was "Blue Jeans", directed by Wolf Maia) and for the cinema would give a good Serguei. This is what the author thinks of this subject that is finalizing the script of the fiction feature "BIBLE OF THE ROCK".
The possibility of Carlos Loffler being recognized as the heir of Serguei can generate controversy in several tables of bar of rockers, but he himself defends the idea of ​​being the son of Serguei and already to have obtained the approval of the remainder. Personal marketing or not, this is a great balcony, at a time when rock, already in its second decade of the 21st century, agonizes and is lacking by an authentic representation. No Restart, Fresno or derivatives with the support of major labels. Loffler is among those who believe that rock can regain the character of rebellion in front of robotic youth. "No more rockers like they used to be," said a veteran of record tallow, outraged by the lack of creativity of today's bands and rockers. The lack of an ideology (as Cazuza would say) and the overvaluation of futile goods offered by the mainstream media would be destroying the "rock" philosophy. Nothing new on the air, except the death of Brazilian MTV, since 1990, the only great stronghold of rock bands, after all, the rock nation is shitting for Altas Horas, Rede Globo. Of course shitting in terms, because after all, any little invitation that comes up the bands always run off to get a showcase, its 15 minutes of fame. Somehow, unfortunately artisanal, rock survives in the TV and radio programs of the WEB. It is a vein that the great broadcasters have not yet gotten right and so are losing the target audience juvenile. Other than that, nothing new in the air. Of unpublished, What we really have is the living presence of a rock legend who finally reached longevity and who continues to be the host of the Rock Museum in Saquarema. On the coast of Rio de Janeiro. Sergei is the oldest rocker in Brazil, yes, until someone proves otherwise, combined? It's time to celebrate. Being alive these days is already a great victory, even more so for an 80 year old rocker who wisely knows how to dodge both criticism and praise. May God have pity on the illiterate rockers. Happy birthday, Serguei !!!! Even more so for an 80-year-old rocker who wisely knows how to circumvent both criticism and praise. May God have pity on the illiterate rockers. Happy birthday, Serguei !!!! Even more so for an 80-year-old rocker who wisely knows how to circumvent both criticism and praise. May God have pity on the illiterate rockers. Happy birthday, Serguei !!!!.........................

A1 Burro Cor De Rosa
A2 Eu Não Volto Mais
A3 De Sol A Sol
A4 Eu Sou Psicodélico
A5 Aventura
B1 Alfa Centauro
B2 Ouriço
B3 As Alucinações de Serguei
B4 Maria Antonieta Sem Bolinhas
B5 Pegue Zé

johnkatsmc5, welcome music..