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27 May 2017

Hollywood Rock: “Raul Seixas, Rita Lee, Erasmo Carlos, O Peso” 1975 Brazil Rock

Hollywood Rock: “Raul Seixas, Rita Lee, Erasmo Carlos, O Peso” 1975 Brazil Rock
Hollywood Rock 1975 videp documentary
Hollywood Rock - Idealized and organized by Nelson Motta in 1975. The first edition of Hollywood Rock (although not official), took place in the Botafogo field, Rio de Janeiro. The HR was the first major commercial festival in Brazil. The festival ran for four Saturdays, and featured only national artists. Among the attractions were Celly Campelo, Erasmo Carlos, Raul Seixas and the groups O Peso and Vímana, who did not play the entire repertoire due to problems in the equipment. Highlight for the shows of Rita Lee and Tutti-Frutti, Os Mutantes, Veludo and Raul Seixas (which may have been the most remembered show of the event). According to Nelson Motta, the event received about 10,000 people each day. An album was produced and the documentary of the festival, released that same year with the title Ritmo Alucinante
It would happen again in 1988, it was the event that began a bit modest, traveling through several beaches of the country, but over the years acquired an international recognition. The festival did not take place in 1989 and 1991 (the latter due to Rock in Rio 2, which happens simultaneously in Rio de Janeiro), returned in 1990, then returned in 1992, 1993, 1994, 1995 and 1996. Rita Lee ( 75) and Duran Duran (88) are among the shows that marked their history, but the year most remembered is 93. It was when they played Nirvana, L7, Red Hot Chili Peppers and Alice In Chains, bands that at the time were at their peak .........

A1 –Rita Lee Mamãe Natureza
Written-By – Rita Lee
A2 –Rita Lee Minha Fama De Mau
Written-By – Erasmo Carlos, Roberto Carlos
A3-a –Rita Lee E Você Ainda Duvida?
Written-By – Rita Lee
A3-b –Rita Lee Tutti-Frutti
Written-By – Bostrie*, Lubin*, Penniman*
A4 –Erasmo Carlos 1990 - Projeto Salvaterra
Written-By – Erasmo Carlos, Roberto Carlos
A5 –Erasmo Carlos Negro Gato
Written-By – Getúlio Côrtes
A6 –Erasmo Carlos Bolas Azuis
B1 –Raul Seixas Não Pare Na Pista
Written-By – Paulo Coelho (2), Raul Seixas
B2 –Raul Seixas Como Vovó Já Dizia
Written-By – Paulo Coelho (2), Raul Seixas
B3 –Raul Seixas Al Capone
Written-By – Paulo Coelho (2), Raul Seixas
B4 –Peso (3) Só Agora (Estou Amando Você)
Written-By – Gabriel O'meara, Luiz Pôrto*
B5 –Peso (3) Cabeça Feita
Written-By – Guilherme Lamounier, Tibério Gaspar*

Silüetler “Silüetler” 1967 Turkey Garage Beat

Silüetler “Silüetler” 1967 Turkey Garage Beat

Their story began in Istanbul, in 1964, when twenty year old guitarist, Mesut Aytunca and Erol Bilem formed Silüetler. In the early days of Silüetler, they were inspired by one of the popular British group, The Shadows. Soon, Silüetler were popular draw within the local music scene. This gave them the confidence to enter various Turkish music competition.

By 1965, Silüetler were faring well in the competitions they entered. Although they hadn’t won, they were always challenging for the top spot. One of the most prestigious competitions was the Altin Mikrofon. Entrants were encouraged to combine Turkish lyrics with Western instrumentation. When Silüetler entered the Altin Mikrofon competition in 1965, they were third. It was a case of so near, yet so far.

A year later, and Silüetler were better prepared for the Altin Mikrofon competition. They had spent much of 1966 recording and touring. The extensive touring allowed Silüetler to hone the Anatolian rock sound that they had pioneered. This fusion of Turkish folk and rock music proved popular wherever Silüetler played. It also proved popular when Silüetler took to the stage at the 1966 Altin Mikrofon. When the winner was announced, it was no surprise when Silüetler won the first prize. Their star was in the ascendancy.

The only problem was that Mesut Aytunca had a tendency to change Silüetler’s lineup to ensure the music stayed relevant. Musicians seemed to come and go. In 1967, two new arrivals were rhythm guitarist and vocalist Aziz Azmet and organist Murat Ses. They were both talented musicians, and were welcome additions to Silüetler.

Within a matter of months, the two new arrivals were plotting the musical equivalent of a coup d’état. Aziz Azmet and organist Murat Ses had been planning to form a new band, Moğollar. Before the end of 1967, Aziz Azmet and Murat Ses had recruited nearly ever member of Silüetler. The only man that remainder was one of the two, founder members Mesut Aytunca. His constant changing of Silüetler’s lineup had backfired spectacularly.................

A1 Dede Efendi 67
A2 Im Looking For A Saxaphonist
A3 The Na Na Song
A4 The Beat Goes On
A5 Theme Without Name
A6 Im A Believer
B1 Summer Time
B2 Spring Is Nearly
B3 Black Is Black
B4 Lorke Lorke
B5 Rhytim And Gress
B6 Roly Poly

A Band Called Doris “Gypsy Lady” UK 1982 Private Hard Psych only 200 copies pressed

A Band Called Doris “Gypsy Lady” UK 1982 Private Hard Psych only 200 copies pressed

Rare early 80’s UK prog rock obscurity
Gypsy Lady is a solid private press progressive rock obscurity from a UK band who cranked out this lone full length effort. The band rolls through 10 mostly upbeat songs that are full of creativity, melancholic arrangments and progressive harmonies. The production is pretty good for a private press. Highly Recommended……by……recorddigger ………

“I can not find absolutely any information about this album except that it was released on ABCD (A Band Called Doris?) In 1982. This seems to be a private press, since the only other release I can find , Was the single "Sitting Here Waiting / Living Danger” from the same group (or rather, it was then simply called Doris.) A recent web search found a copy of this album on E-bay, sold for a princely sum of $ 180 … I’m not Very well versed in the music of the release, but because I just say that I like this album, it’s kind of something m average Ezhdu work of the early Marillion and Budgie, between the program and NWOBHM, but most importantly - he absolutely does not mean anything! His wife picked it up on our local trash when throwing out some unnecessary things … In the thrown out bag someone was about Twelve albums and half a dozen singles, all in excellent condition, including a rare copy of the double 12-inch single Kiss (still amazing that people are throwing it away). Ah, well, something like: someone’s loss, but my profit !!! “…………….

A1 Gypsy Lady
A2 Friend Of Mine
A3 Street Love
A4 Singer In The Band
A5 Cold And Lonely Town
B1 Travelling Train
B2 Hard Times (Hard Minds)
B3 She’ll Always Be
B4 Living Danger
B5 Superstars ‘n’ Rock'n'Roll 

Lula Côrtes & Laílson "Satwa" 1973 Brazil Acid Folk

Lula Côrtes & Laílson  "Satwa" 1973 very rare Brazil Acid Folk

Written, recorded and released just as Brazil’s military dictatorship reached the climax of its long black arc, the one and only album by Satwa is a divinely subtle protest, often cited as Brazil’s first independent record.

Formed after the return of Lula Côrtes and Lailson from their respective foreign excursions – the ‘Satwa’ project lasted only a year, perhaps due to their differing stripes.

Lailson was from the verdant former Dutch colony of Pernambuco, while Côrtes hailed from the wild badlands of Paraiba. But for 11 days in January 1973 the pair jammed cross-legged and produced the folk trance gems that adorn this self-titled debut.

The music is a succession of ragas and mantras, powered by incense, magic mushrooms and other "mental muscle expanders," recorded live at the Rozenblit Studios, Recife, between 20 and 31 January 1973.

With a limited edition and distribution mainly regional, the disc disappeared almost as soon emerged, making it another Holy Grail record alongside Paebiru.......

Brazilian 70's dreamlike, acid-folk guitar project. It's largely an acoustic guitar orientated "trip". Their eponymous album (a private press LP originally released in 1973) provides emotional, luminous Latin psych vibes with omnipresent "raga" harmonies. The duet is composed by Lula Cortez (on guitar and popular Morocco sitar) and Lailson de Holanda Cavalcanti (12 strings guitar, voice). One composition feature Robertinho Do Recife on electric guitar (see picture on the right). Constantly imaginative with dense buzzing ragas, this one is definitely essential for fans of progressive folk, eastern sonorites and peaceful ambiences. An other highway to Heaven!

"Written, recorded and released just as Brazil's military dictatorship reached the climax of its long black arc, the one and only album by Satwa is a divinely subtle protest. Now issued for the first time in America through the venerable Time-Lag Records in Maine and the stewardship of freeform fixture Erika Elder, Satwa, often cited as Brazil's first independent record, is a mellow starburst of acoustic jangle."................

 A little but brilliant Brazilian 70's acid folk formation. Almost exclusively acoustic and dominated by bucolic guitar parts, the music is an intricate manifestation of stylistic, floating "eastern" exercises, largely structured, simplistic and efficient. All tracks develop colourful, dreamy-like raga guitar interludes. The beautiful psych-pastoral base line is comparable to musical motifs ever developed by Teutonic bands (notably Witthuser & Westrupp and Holderlin at their most evanescent moments). With a positive, gentle energy, "Satwa" & "Can I Be Satwa" definitely show the "raga" side of the band. "Alegro Piradíssimo" is a poetical, sad ballad. "Lia a Rainha da Noite " carries on a delicious, fragile pastoral composition. "Apacidonata" sounds as an other desperate ballad in a semi-classical guitar style. A beautiful, sad, grave and almost "cosmic" voyage. "Amigo" is a sunny, luminous pastoral guitar composition. "Blue do Cachorro Muito Louco" contains some nice technical & melodic guitar lines punctuated by discreet linear voices, with its always recognizable folk accompaniment. An impressive, meditative folk base "work" made of short instrumental songs. From Latin prog folk, (in some points) it tends to be better than the classic Arco Iris first philippe ...........

Line-up / Musicians
- Lula Cortez / Morocco Sitar
- Lailson / Twelve-String Guitar, Voice
- Robertinho De Recife / Guitar

1 Satwa 7:15
2 Can I Be A Satwa 2:58
3 Allegro Piradissimo 2:58
4 Lia A Rainha Da Noite 3:48
5 Apacidonata 4:11
6 Amigo 3:30
7 Atom 3:48
8 Blue Do Cachorro Muito Louco
Guitar [Lead] – Robertinho Do Recife*
9 Valsa Dos Cogumelos 5:10
10 Alegria Do Povo 3:36 

Jarbas Mariz "Transas Do Futuro" EP 1977 Brazil Psych Folk Rock, ERLA label reissued in 2011 by Vale Verde Records

Jarbas Mariz  "Transas Do Futuro"  EP 1977 Brazil Psych Folk Rock, ERLA label reissued in 2011 by Vale Verde Records 
The singer and composer Jarbas Mariz began his career in Paraíba and has been developing his art since 1968, first playing in the "Rolling Stones" and "Selenitas" dance ensembles and then defending songs from other composers at festivals until he takes on his own work. Jarbas recorded his first solo album, "Transas do Futuro", in 1977, by Erla / Rauland. In 1990 he recorded, with Lula Côrtes, the Instrumental Album "Bom Shankar Bolenath" (Let us agree Gods and Goddesses to our own Divinity). He began his studio work on the recordings of other composers and, as early as 1974, he participated in the LP "Paêbiru" by Zé Ramalho and Lula Côrtes. In 1980, in addition to the instrumental recording, he made all 12-string viola base arrangements of Catia de France's second LP - And I went to show the producers José Ferreira (Director of the label) and Guilherme Coutinho. He argued about the quality of the work and the importance of having an artist with a different style of music in the record company where the biggest investment was in appreciating the Paraenses rhythms, and suggested that they bet on the project, musicians from Belém and recorded the Dico. And so it was done! The songs from this Double Compact were taken from my first set of compositions. The lyrics portray what I read, saw, or lived in those moments, with references that I had at the time. They may be naive, but they are very true, because they bring simplicity and the will to reflect on a better world and the importance of nature in our lives. The cover of the disc is the own portrait of the years 70. It was made by Baby, a Paraiba musician who played with me for many years. And with thought in better days, the disc was baptized of ... "TRANSAS OF THE FUTURE"....................

The singer and composer Jarbas Mariz began his career in Paraíba and has been developing his art since 1968, first playing in the "Rolling Stones" and "Selenitas" dance ensembles and then defending songs from other composers at festivals until he takes on his own work.

Jarbas recorded his first solo album, "Transas do Futuro", in 1977, by Erla / Rauland. In 1990 he recorded with Lula Côrtes, the Instrumental Album "Bom Shankar Bolenath" (produced by the Continental Recorder, "Gods and Goddesses of our own Divinity"); Today reissued on CD. In 1995, Jarbas released his CD "Vamos lá pra Casa" by the Camerati Recorder; In 2000 he recorded the CD "Forró do Gogó ao Mocotó", in honor of Jackson do Pandeiro, for the "Phonographic Attraction" and in 2006 he released the CD "Do Cariri pro Japón" by the Recorder Soundtrack / Attraction.

He began his studio work on the recordings of other composers and, as early as 1974, he participated in the LP "Paêbiru" by Zé Ramalho and Lula Côrtes. In 1980, in addition to the instrumental recording, he made all 12-string viola base arrangements of Ctia's second LP - "Shards" - CBS. He also participated in the collective album "Música da Paraíba Hoje - Vol. 1" (1982) with the song "A certain personal".

Jarbas has important work as a composer and his songs have already been recorded by artists like Eliane, Marinês, Gilberto Gil, Marco Mendes, Gereba (Germany Group), Lula Côrtes, Fúba, M4J, Sabah Moraes, Paulo Vinícius, Eliane Camargo, Chico César , among others. Throughout his career, Jarbas has already shared the stage with such big names as Zé Ramalho, João do Vale, Lula Côrtes, Marines, Elba Ramalho, Alceu Valença, Pedro Osmar, Lenine, Vânia Bastos, Vange Milliet, Shanghai, Lourival Tavares , Demônio das Garoa, Mestre Ambrósio, Tom Jobim and Dominguinhos Youth Orchestra, Lenine, Chico César and Osvaldinho do Acordeon, among others.

Jarbas worked with Cátia de França on important projects such as "Pixinguinha" / 80, first with Jackson do Pandeiro and Anastácia and then with Grupo Quinteto Violado and Paulo Diniz. From there it began its affinity with Jackson of the Pandeiro.

In 1995, he joined the trombone player Bocato and formed the "Forrock and Roll" Orchestra playing rhythms such as xote, maracatu, coconut, etc., in several nightclubs in São Paulo.
In 1999 he had the participation of Elba Ramalho in his show at the "Aldeia Brasilis" Project (SESC / Santo Amaro / SP).
With Grupo M4J he was in "Free Jazz" / 2000, interpreting his own songs, and participated with Tom Zé of "Rock in Rio" / 2001 and of the "Affinities" Project (SESC Santana / SP) in 2008.

Jarbas, in parallel with his solo work since 1990, is a member of the band of composer Tom Zé, performing shows in the United States, Canada and several European countries such as England, France, Switzerland, Italy, Holland, Austria and Germany, where he has had Singing and playing in the shows.
Among the highlights are the shows at MOMA and Central Park in New York, the Montreal Jazz Festival and the show at the Barbican Center in London with the participation of the Tortoise Band from Chicago.

In 2005, in addition to his own shows, Jarbas participated, with Tom Zé, on a tour of Europe, where they played at the 39th "Montreux Jazz Festival" in Switzerland; In the "Eurockness Festival" in France; And the "Fandango Festival" in Rome, among others.
This tour resulted in the film "Fabricando Tom Zé", by Décio Matos Jr., released on national circuit in 2007 and awarded at the Film Festivals of Rio de Janeiro and São Paulo, now found on DVD. In 2009, Jarbas participated in another film, the also awarded, "Tom Zé, Astronaut Liberated" by Spanish Igor Iglesias.

Developing extensive work as an instrumentalist, Jarbas participated, among others, in the recording of Tom Zé's albums, where he sings, plays percussion and mandolin.
"The Hips of Tradition" and "Defective Manufacturing" CDs were produced by "Luaka Bop" (Warner Bross), label of composer David Byrne, former member of the group "Talking Heads" and CDs and DVDs " Amar "," Studying the Pagode "and" Danç-Eh-Sa ", by Trama Records. In 2008 he participated in the recording of the CD "Estudando a Bossa" and in 2009, "Lollipop of Science", both produced by Biscoito Fino.
Still with Tom Zé, Jarbas recorded the CDs of two shows of the Grupo Corpo de Dança / MG: "Parabelo" (Tom Zé and Zé Miguel Wisnik) and "Santagustin" (Tom Zé and Gilberto Assis). He also participated in the recordings of the songs:

Jarbas shows his talent as a composer of tracks for plays, signing the musical direction of the shows "Num lugar de La Mancha", by Mário Garcia-Guillen (which originated a CD of the same title, recorded by Jarbas and his band and guests ) And "The more or less holy war" by Mário Brasini, both directed by Valéria di Pietro.
Still in relation to tracks, the song "Winter I and II", by Jarbas Mariz and Lula Côrtes, integrates in 2008 the track of the film "The Rock and the Star", by Kátia Mesel.

In 2008, Zé Ramalho released the CD "Zé Ramalho da Paraíba", which rescues the shows recorded live, from 1973 to 1976, still in Paraíba, and brings the participation of Jarbas in several songs. In the cinema, besides the films of Tom Zé, Jarbas participated in 2009 in the award-winning film "Zé Ramalho, the Heir of Avôhai", by Elinaldo Rodrigues / PB.

In the same year, his song "São Paulo Esquina do Mundo", in partnership with Assis Ângelo, was recorded on the CD that accompanies the book "Sã", in honor of the city of São Paulo. Jarbas and Assis also composed the song "Brasil, País do Futebol", recorded on the CD that integrates the book "The Presence of Football in Popular Brazilian Music", released at the Museu do Futebol / SP in 2010.

Jarbas Mariz is currently working on the release of his latest album, a collection of his 5 CDs......................


Jarbas - Voz Craviola e Violão 
Bob - Guitarra
Odorico - Guitarra
G. Coutinho - Piano Elétrico
Bosco - Orgão
Maizena - Baixo
Borracha - Bateria
João Moleque - Bateria
Zé macedo - Percussão
Lika - Flauta Transversal

1. Transas do Futuro (J. M. Martins)
2. Quero Jogar Cartas Com A Humanidade (J. M. Martins)
3. Paragominas (J. M. Martins)
4. Merece Ser (J. M. Martins)

Zé Ramalho “ Zé Ramalho” 1978 Brazil Psych Folk Rock ,MPB

Zé Ramalho “ Zé Ramalho” 1978  Brazil Psych Folk Rock ,MPB…highly recommended..!

First album by Zé Ramalho from Paraíba, released in 1978. The album features keyboardist Patrick Moraz from the English band Yes, on the track "Avôhai".
Also of Ivinho in the viola in Avohai and Sergio Dias in the psychedelic guitar of the dance of the butterflies.........................

Brejo do Cruz, Paraibano, musician, composer and instrumentalist, better known as Zé Ramalho, almost four decades ago, released his first album.
An album that entered the history of national music consolidated a very solid and very successful career. Bringing all the mysticism of his thinking head, combined with the purest northeastern roots and his unmistakable voice, Zé Ramalho released one of the best MPB albums.

A well-crafted album, with clever lyrics, well-composed and innovative arrangements for the time. Tracks such as Avohai, Vila do Sossego, Chão de Giz, Dance of the Butterflies are present in all collections and shows throughout his career.
Avohai means Grandfather and Father. He makes an analogy to his grandfather who replaced the role of Zé's father, both being Grandfather and Father. But the word Avohai came to Ze after an experiment with hallucinogenic mushrooms on the farm. some friends. He looked up at the sky and saw the "shadow of a gigantic spaceship," and a voice said "Grandpa" in his ear.

Another curiosity of this track is the participation of the tecladista Patrick Moraz, of the English band Yes in the track "Avôhai"...................

This is my first record. The debut album. It came full of mysticism and ideas. I brought a different language than usual. Through the message of "Avôhai", music that opens the disc, with the participation of Patrick Moraz, keyboardist of the English group YES! In addition to "Avôhai", brings "Vila do Sossego" and "Chão de Giz", songs that became classics of M.P.B. With several re-recordings of other artists. It is the album of arrival, transposing the threshold of musical reach. It's a record that never went out of print. I'm proud of him and his time. It was the beginning of everything. It all starts with "Avôhai".

Born in Brejo do Cruz (PB) on 10/03/49, José Ramalho Neto spent his childhood with his grandfather in Campina Grande and discovered rock'n'roll and iê-lê-iê living adolescence in João Pessoa, listening Both the Young Guard and the Beatles and their contemporaries. In the turn of the 70's, Zé Ramalho was a member of the group The Gentlemen, who recorded an album by Rozenblit, the same record company from Pernambuco where the legendary double album "Paêbirú" was recorded, in partnership with Lula Côrtes at the end of 1974, with Alceu Valença, Ze da Flauta and others.

Zé Ramalho da Paraíba, as he arrived in Rio in many comings and goings, accompanied Alceu Valença and drew attention. He decided to establish himself definitively in the city after the carnival of 1976, prepared never to return to the Northeast. At that time, he had already composed Avôhai, Vila do Sossego, Chão de Giz and Dança das Borboletas, and after meeting with producer Carlos Alberto Sion on the pier of Ipanema, he entered the Phonogram studio to record a demo. It was not accepted, but he spent the year visiting RCA, EMI-Odeon and Som Livre, who were not interested either. The TV director Augusto César Vanucci became a fan and showed Avôhai to the then wife Vanusa, who decided to record the song in São Paulo, with Zé to the guitar.

Already close to that year of 1976, Raimundo Fagner gave his endorsement to the CBS board of directors - calling attention to the work of his friend, which made the artistic director Jairo Pires like to hear Avôhai. Immediately hired in early 1977, Zé Ramalho breathed a sigh of relief and spent the year doing gigs in Rio. A version of Avôhai was even recorded in a radio studio, so that he would immediately enter the program. This first solo album by Zé Ramalho was recorded on 8 channels at the CBS studio in November 1977.

All the musicians played for free, animated by the opportunity reached by the singer and composer from Paraguay, including the English keyboardist Patrick Moraz, who was recording a solo album in Rio de Janeiro.

The bases were recorded with few musicians, Zé even, only used percussion and not drums in this semi-acoustic work of incredible sound quality. Also in the electrified part, former Mutantes Sérgio Dias sensitized so much by his participation that he won three of the eight channels for his apotheotic guitar solo in The Dance of the Butterflies. No one realized at the time that the tape was coming to an end, which is why this track closes the first side of the record that way.

As the artist continued to live in a room rented in Glória, CBS decided to host him at the Hotel Plaza de Copacabana to do the job of disclosure with more comfort. The record had great repercussion and the artist took the opportunity to distribute his booklet of string Apocalypse at the entrance of his shows. Zé Ramalho felt that the "thing was beginning to happen" in the middle of 1978, when he received the first money from the public execution of his Fróes.............

1 - Avôhai
2 - Vila do Sossego
3 - Chão de Giz
4 - A Noite Preta
5 - A Dança das Borboletas
6 - Bicho de 7 Cabeças
7 - Adeus Segunda-Feira Cinzenta
8 - Meninas de Albarã
9 - Voa, Voa

Zé Ramalho on the tour of his first album.Geraldo Azevedo, Elba Ramalho, Valdemar Falcão, Lizzie Bravo, Cátia de França e Bezerra da Silva

Robertinho de Recife "Robertinho no Passo” (Com Hermeto Pascoal) 1978 Brazil Prog Jazz Rock MPB

Robertinho de Recife  "Robertinho no Passo” (Com Hermeto Pascoal) 1978 Brazil Jazz Rock Prog, MPB 
He began his career early as a prodigy and virtuoso guitarist. By the age of 12 he had played with his feet. In his professional life he has done a bit of everything: he played in pop bands in the United States; Studied sacred music at the seminary; Accompanied some of the idols of the Young Guard, such as Jerry Adriani and Rosemary; Played blues, jazz and country on transatlantic cruising the Brazilian coast; Was a studio musician, playing radically different styles in albums by Hermeto Pascoal, Cauby Peixoto, Jane Duboc and The Fevers; Played children's music and heavy metal; Released the album "Rapsódia Rock", with concerts that included an orchestra and in which Mozart dress was presented. Currently he also works as a producer ("Flor da Paraíba" by Elba Ramalho).......................

Nice album in a cheerful mood, that sometimes can have a tendency to easy listening but saved by the more complex arrangements or fun it never falls in meaningless entertainment. Though under the name of the then 13 years old guitarist Robertinho, it mostly sounds like a hidden joyfull Hermeto Pascoal album, who is involved with half of the compositions and plays piano, synths and sax. After the joyous ride it ends with the only exception in that mood, in a nine minutes long sensual sonic bath by Hermeto's piano explorations accompanied by .............

Robertinho de Recife, (Recife, 1965), is a guitarist, music producer, composer, instrumentalist and natural arranger from Recife.
Considered by many as one of the great guitarists of Brazil, his trajectory in the universe of the popular music consecrates it like professional of multiple talents and initiatives.
In the late 1960s, he accompanied some idols to Young Guard, such as Rosemary and Jerry Adriani. Touched on pop bands in the United States and also on transatlantic cruises along the Brazilian coast, being asked for such modalities as blues, jazz and country.
In the period when he was a studio musician, he played radically different styles when accompanying artists such as Jane Duboc, Cauby Peixoto, Os Fevers and Hermeto Pascoal. Another modality that also touched was the heavy metal and the infantile music. On the occasion of the release of his disc "Rhapsody Rock", was presented Mozart dress.
He had the pinnacle of his career in the 70s and 80s and then dedicated himself to accompanying artists such as Xuxa, Geraldo Azevedo, Zé Ramalho and Fagner.
Nowadays, he also works as a music producer in his studio, the Special Discos, in Rio de Janeiro (currently the most recent work is "Flor da Paraíba" by Elba Ramalho)....................

Considered a Guitar Hero and one of the best guitarists in Brazil, his trajectory in the universe of popular music enshrines him as a professional of multiple talents and initiatives.
He began to play still a boy, being soon appointed as prodigy guitarist. At age 12, already considered a virtuoso, he played with his feet. Still as a seminary student, he studied sacred music.
In the late 1960s, he accompanied some Young Guard idols such as Rosemary and Jerry Adriani. He played in pop bands in the United States and also in the transatlantic Rosa da Fonsêca in cruises along the Brazilian coast, being requested in modalities such as blues, jazz and country.
During his time as a studio musician, he played radically different styles when accompanying artists such as Jane Duboc, Agnaldo Timóteo, Cauby Peixoto, The Fevers and Hermeto Pascoal. Other arrangements he has also played include heavy metal and children's music. On the occasion of the release of his disc "Rapsódia Rock", in 1990, was presented dressed of Mozart playing classics.
On April 26, 1985, Robertinho, along with his band, MetalMania, opened a show for the American band Quiet Riot in São Paulo. The same happened in Rio de Janeiro and Porto Alegre and also with the English of Deep Purple.
In 1988, Robertinho de Recife recorded an album with the band Yahoo, of which he was the guitarist. Successes like "Love Bite" (version of the song Love Bites, of the British band Def Leppard).
Robertinho de Recife had the culmination of his career in the 70's and 80's and later devoted himself to producing artistically, Having produced more than 300 albums by many independent record labels and artists, such as Nelson Gonçalves, Angelica, Elba Ramalho, Xuxa, Geraldo Azevedo, Zé Ramalho and Raimundo Fagner, among others.
As a guitarist, Robertinho de Recife has participated in concerts or recorded with several international artists such as: George Martin Producer of the Beatles, Watchpocket, Stanley Clarke, Andy Summers (The Police), Deep Purple (when he was in Brazil), Stewart Copeland (The Police), Quiet Riot, Steve Cropper, Miami Sound Machine, John Lee Hooker, Cassandra Wilson, Simon Kirke (Free), Bonnie Ratt, Arto Lindsay, Taj Mahal, Gilles Martin, Dr. John And the Night Tripper and Candy Shoes String.
Among the national artists with whom he recorded, the following stand out: Xuxa, Geraldo Azevedo, Zé Ramalho, Raimundo Fagner, Hermeto Pascoal, Sivuca, Elba Ramalho, Amelinha, Lenine, Luis Melodia, Dominguinhos, Zeca Baleiro, Luis Caldas, Frank Solari, Moraes Moreira, Orlando Morais, Lulu Santos, Martinho da Vila, Marisa Monte, Gal Costa, Tânia Alves, Pepeu Gomes, Wagner Tiso, José Augusto, Agnaldo Timóteo, Elymar Santos, Rosanna, among others.
In addition to the episode of the Chicago band's invitation to play with them, he played in several international bands such as Watch Pocket, with his band METALMANIA, divided the stage with several international attractions like: Quiet Riot, Deep Purple, and in 2015 returned to Stages with the new Metamania and opened the show Judas Priest, Accept, and also made a special participation in the presentation of the band MANOWAR, NO MONSTER'S OF ROCK 2015, in São Paulo. ....................

What an interesting LP! Robertinho do Recife and Hermeto Pascoal, Robertinho no Passo (1978). Two different artists together making a wonderful LP making an tribute to Frevo, which is a musical style originally from Recife (a Northeast Brazilian state) with an unique dancing played on fast tempo with tuba, trombone, trumpets and sax.

Robertinho do Recife is an authentic Brazilian guitar hero that has – as AMG says bellow – an adventurous career, playing several different genres with his one of a king guitar playing syle.

A great team was assembled to this set, which had Hermeto Pascoal as arranger and composer of most tracks on this LP. Personnel and track list follows with AMG Robertinho do Recife bio, as well.........................

The first guitarist from Recife PE to achieve national success, Robertinho do Recife had quite an adventurous career (having played with Watch Pocket) before settling down as a renowned and successful producer in his own studio in Rio de Janeiro, where he produced performers such as Elba Ramalho, Geraldo Azevedo, and Zé Ramalho. As a session musician he worked with different movements represented by performers such as Jerry Adriani, Cauby Peixoto, Jane Duboc, Os Fevers, Rosemary, Hermeto Pascoal, and Fagner, among many others. He recorded eight solo albums from 1977 to 1990. After having been run over at age ten, do Recife had his femur fractured and had to stay at home, where he saw the Beatles and the Rolling Stones on TV. Impressed by the music and especially by the guitars, he insisted that his father buy one. The first group he joined was Os Príncipes, and the first band he formed (at age 12) was Os Ermitões, while he also performed in the Éforos. At 15, he was hired as guitarist for a cruise ship traveling to Rio. From there he went to São Paulo, looking for his uncle who played at the Stardust, the nightclub of Lanny Gordin’s father. After that season he returned to Recife, where he played in several bands that were into Tropicália, Os Mutantes, and the Beatles, like Bambinos and Os Moderatos, which had its own show at the local TV station, Jornal do Commércio. When he was playing in the LSE, Arto Lindsay and Carl Kolb were in the audience. After that, do Recife played in the Contribution. In the early ’70s, when do Recife was 16, he was invited by Carl Kolb to join the country music band, Candy Show String, from Mississipi. Soon after that he joined Memphis’ Watch Pocket, who had had the international hit “Mammy Blue.” He stayed with the band for nearly two years, until his visa expired. In 1973 do Recife returned to Recife, and in the next year, became Fagner’s musician, recording Raimundo Fagner (1976), soon followed by his own first solo album, Jardim de Infância (1977). Depressed by the death of his second son and determined to abandon music, do Recife refused an invitation to join Chicago after its Brazilian percussionist Laudir de Oliveira suggested his name. At Fagner’s insistence, he participated in his Quem Viver Chorará (1978), on the track “Revelação.” The song became a hit and he started to get invitations. Soon he had his own national hit with “O Elefante.” After severalcommercial works like the pop band Yahoo, do Recife built his own studio in Rio de Janeiro RJ, where he produced all kinds of works, including his fellow citizens Elba Ramalho (“Flor da Paraíba”) and friends Geraldo Azevedo and Zé Ramalho, keeping a low profile. ~ Alvaro Neder, All Music Guide.........

Hermeto Pascoal
Piano Fender 88, Poly Moog, Oberheim, Sax Soprano
Herman Torres
Bass, Badstone, Mutron II
Israel Semente
Bateria, Caixa, Tímpanos
Itiberê Zwarg
Bass (tracks 1 and 8)
Sergio Boré
Robertinho de Recife
Guitarras, Ecoplex, Mutron III, Octavider, Talk Box, Big Muff, Mutron II

01 Robertinho no passo (Hermeto Pascoal)
02 Nem um talvez (Hermeto Pascoal)
03 Vassourinha (Mathias da Rocha – Joana Batista Rocha)
04 Fogão (Sergio Lisboa)
05 Caboclinho (Hermeto Pascoal)
06 Frevo dos palhaços (Robertinho de Recife)
07 Arrecife (Robertinho de Recife)
08 Come e dorme (Nelson Ferreira)
09 Mundo novo (Hermeto Pascoal)
10 Abel (Hermeto Pascoal)


As leader or member
1961: Conjunto Som 4 (with Conjunto Som 4)
1966: Em Som Maior (with Sambrasa Trio)
1967: Quarteto Novo (with Quarteto Novo)
1969: Brazilian Octopus (with Brazilian Octopus)
1970: Hermeto Pascoal (solo debut, reissued on CD as Brazilian Adventure)(featuring Googie Coppola)
1973: A música livre de Hermeto Pascoal
1977: Slaves Mass
1979: Zabumbê-bum-á
1979: Ao vivo Montreux Jazz Festival
1979: Nova história da Música Popular Brasileira (compilation)
1980: Cérebro magnético
1982: Hermeto Pascoal & Grupo (reissued by Westwind Germany on CD as The Legendary Improviser. The reissue appears to be a copy from vinyl.)
1984: Lagoa da Canoa, Município de Arapiraca
1986: Brasil Universo
1987: Só não toca quem não quer
1988: Hermeto solo: por diferentes caminhos
1992: Festa dos deuses
1993: Instrumental no CCBB (with Renato Borghetti)
1998: Música!: o melhor da música de Hermeto Pascoal (compilation)
1999: Eu e eles
2002: Mundo verde esperança
2006: Chimarrão com rapadura (with Aline Morena)
2010: Bodas de Latão (with Aline Morena)
2013: Hermeto Pascoal: The Monash Sessions

As contributor
1956: Ritmos Alucinantes, by Clovis Pereira
1959: Batucando no Morro, by Pernambuco do Pandeiro e seu regional
1970: Natural Feelings, by Airto Moreira
1970: Electric Byrd, by Donald Byrd
1970: It Could Only Happen with You, by Duke Pearson
1970: Live-Evil, by Miles Davis
1971: Cantiga de Longe, by Edu Lobo
1971: Seeds on the Ground, by Airto Moreira
1975: Di Melo, by Di Melo
1976: Open Your Eyes, You Can Fly, by Flora Purim
1976 Goldenwings, by Opa
1977: Orós, by Raimundo Fagner
1978: Robertinho no passo, by Robertinho de Recife
1979: Sivuca, by Sivuca
1979: Live in Montreux, by Elis Regina
1980: Stone Alliance, by Márcio Montarroyos
1983: Cordas vivas, by Heraldo do Monte
1984: Ponto do músicos, by Nenê
1986: Balãozinho, by Eduardo Gudin
1986: Cordas mágicas, by Heraldo do Monte
1986: Pindorama, by Pau Brasil
1987: Flávio Pantoja, by Flavio Pantoja
1987: Dharana, by Dharana
1996: Brasil Musical - Série Música Viva - Pau Brasil E Hermeto Pascoal|Brasil Musical - Série Música Viva (with Pau Brasil)
1998: Maritmo, by Adriana Calcanhotto (on track "Canção por Acaso")
2000: Oferenda, by Aleuda
2000: Nação Nordestina, by Zé Ramalho (on track "Violando com Hermeto")
2003: Serenata: The Music of Hermeto Pascoal, by Mike Marshall and Jovino Santos Neto
2006: Roda Carioca, by Jovino Santos Neto
2013: Hermeto Pascoal: The Monash Sessions

Marconi Notaro "No Sub Reino dos Metazoários Rozenblit"1973 featuring Lula Côrtes & Co Brazil Private Psych Acid Folk Experimental,Underground Freak

Marconi Notaro "No Sub Reino dos Metazoários Rozenblit"1973  featuring Lula Côrtes & Co- mega rare Brazil Private Psych Acid Folk Experimental,Underground Freak
With all of those who started shouting “private press only” after Shadow named an album after those American self-starters who took their recorded destiny into their own hands, consider this: as hard as it might have been to record, press and distribute your very own wax capsule in America in the early ’70s (and as rare, and good, many of them are), doing the same under Brasil’s military dictatorship was markedly more difficult. And releasing a psychedelic, fuzz and effects drenched opus with revolutionary musings disguised within double entendres? Next to impossible.

You’d want this one in your collection if it contained just one good track within its beautifully packaged gatefold cover. That this album screams perfection from start to finish just adds to its legendary status. The brainchild of poet Márconi Notaro, alongside his friends and compatriots Lula Cortes and Ze Ramalho (the men behind perhaps the most legendary of Brasil’s private-pressed albums, 1975’s awesome Paebiru), this album contains what can only be described as Brasilian ragas played with the Portuguese guitar and Lula’s own invention, the Tricordio; improvised passages so fluid you’d swear they were scored; psychedelic-funk jams about staying true to one’s origins; and, throughout, Notaro’s complex yet approachable poetry, sung by the poet himself.

The highlight of the album, if there is just one: Notaro’s improvised “Nao Tenho Imaginacao Pra Mudar De Mulher (I Don’t Have The Imagination to Change Wives),” a gorgeously melancholic piece that, when one sees it transcribed (gotta thank my lovely girlfriend for that), is nearly impossible to imagine as having flowed directly from the mind of one of the most underrated Brasilian poet/composers..................

To speak of Marconi Notaro is to relive the story of one of the greatest exponents of Brazilian Psychoanalysis.
The poet, musician, writer was undoubtedly a misunderstood genius at the time, but left his mark to posterity and despite having died in the 90s, have been getting more and more admirers of his work.
Fully involved with the good guys, that is, Ave Sangria, Zé Ramalho, Silvio Hansen, Robertinho from Recife and, especially, Lula Côrtes, Marconi always wanted to create something new for music, with totally anticomercial concepts. In fact, I believe that it was this essence that made him try harder and composed the pearls that would enter the classic work Marconi Notaro - In the Metazoan Sub Kingdom, released almost independently in 1973. Little is known about this album , Even because it is considered very rare for collectors. As a hidden gem of our music, In the Metazoan Sub Kingdom has its "cult" side and is idolized by those who know it or even by those who have had the privilege of hearing it at least once.
Even with Lula Côrtes' illustrious participation (starting with the cover, which is his art) and Zé Ramalho, this record and the music of Marconi Notaro have the same aesthetic as the classic Paêbiru. Just to get an idea of ​​the level we're talking about. There are sounds of natural elements (like flowing water and the wind beating), flutes, viola, bass, distorted guitars (played by Robertinho from Recife) all mixed up and evidenced at the right time. Without exaggeration, it is almost an opera Rock of Northeastern music. Great really !!
There is no way to hear the songs "Desmantelado" (the samba that opens the album), "Ah Vida Ávida" (beautiful instrumental song), "Fidelidade" (frevo Rock, in the best New Bahian style), "Maracatu" Anthropological ("Anthropological I and II") and "Made in PB" (visceral Rock) and not feel a sense of peace, comfort and extreme pleasure. In fact, unique sensation.
Of course, in the Metazoan Sub Kingdom it is not a disk to be heard and "digested" quickly. At first, there may even be a certain strangeness due to its high complexity. But as well as Paêbiru and Rosa de Sangue do Lula Côrtes, Wet of Suor do Alceu Valença or Mote and Glosa do Belchior, for example, it is a beautiful album, that can come to have the status of "the bible of Northeastern Psychedelism ".
Already Marconi Notaro ... simply a master !! With its sophisticated and setentistic poetry, it generated yet another of the pearls of Brazilian music, which is very rich by the way.
Listen to Marconi Notaro - In the Metazoan Sub Kingdom, satisfaction more than guaranteed......................

The LP "No Sub Reino dos Metazoários Rozenblit"   by Marconi Notaro, is one of the exponents of the psychedelic northeastern scene. Launched in 1973, it fits in the line of works such as the Lula Côrtes & Lailson albums - 'Paebirú' and 'Satwa', classics of national psychedelia. 

Ultra-psychedelic in some moments, the album opens with the samba "Desmantelado" (composed by Notari in 1968, "in the days of the Popular Theater of the Northeast), with the regional formed by Notari, Robertinho of Recife, Zé Ramalho and Lula, among others. The second track, 'Ah Vida Ávida', with 'Notaro throwing water in the Itamaracá cacimba', plus Lula in the popular 'zither' and Zé Ramalho in the viola indicate what is next, a mix of psychedelia with hallucinations of the simplest Popular music, such as the 'Fidelidade' frevo (... "I remain faithful to my origins, son of God, nephew of Satan" ...). 

The most radical album album moment is the fifth track, 'Made in PB', partnership of Notaro with Zé Ramalho, a classic rockacre, highlighting Robertinho's distorted guitar from Recife and echo effects. The songs 'Anthropological 1' and 'Anthropological 2', like most other songs, are studio improvisations, bringing together the musicians already mentioned, with great sound and poetic result. 
With the production of the personnel of the multimedia group of Lula Côrtes and his wife Kátia Mesel, the disc was recorded in the studio of the TV University of Recife and the record label Rozenblit, also in the capital of Pernambuco. The cover is a design by Lula Côrtes, as aesthetically stained as the sound that the rough cardboard packaged, with a photo of Marconi Notaro in the center, with his face torn between the front cover and the back cover. 

The album, unfortunately, as most of Rozenblit's catalog remains unpublished, awaiting a careful reprint official. The original LP is virtually impossible to find, but a great CDR copy is already circulating in the universe of collectors.................

A1 Desmantelado 1:40
A2 Ah Vida Avida 3:50
A3 Fidelidade 3:15
A4 Maracatú 0:50
A5 Made In PB 2:33
A6 Antropologica N°1 2:40
B1 Antropologica N°2 4:45
B2 Sinfonia Em Ré 5:40
B3 Nâo Tenho Imaginaçao Pra Mudar De Mulher 2:35
B4 Ode A Satwa 4:55 

johnkatsmc5, welcome music..







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