Saturday, 12 August 2017

Recordando O Vale Das Maçãs "As Crianças da Nova Floresta" 1977 Brazil Prog Rock

Recordando O Vale Das Maçãs  "As Crianças da Nova Floresta" 1977 Brazil Prog Rock

 It is the Brazilian reply to the Argentinian band PABLO EL ENTERRADOR or to the Italian ensemble LOCANDA DELLE FATE, but they are much more in the vein of such light music from Canterbury than these latter... This album is not a masterpiece and is inferior than the best works by SAGRADO CORACAO DA TERRA, another important Brazilian band; but naturally it can complete your collection regarding the light symphonic scene of late seventies in South America, as it represents a sensible Latin rock, with progressive and symphonic elements (listen to the guitarist by R.V.M. and you can note a certain resemblance to SANTANA!!)
Recommended, even though it is not essential!! lor68.............

Very chill, relaxing music. It is all instrumental and will put you at ease with no harsh sounds or rude awakenings. Pick up this rare Brazilian gem and it will remind you of a cross between Focus, Yes and Hendrix. Granted that may not be a great explanation but it is really tough to describe these guys as they are unique, but very easy going in their sound. Hurry and find the cd or at least download it if all else fails! Carl floyd fan .......

After all, South American bands are not too many to have break the lines of good criticism on PA. And this one surely deserves all of your attention. A one shot band perhaps, but lots of great Italian bands also played in this division of one chord wonders. 
The music you will discover here is absolutely delightful. Superb violins, instrumental harmonies, subtle and great fluting, great guitar: you name it! 

Each piece of music is admirable. The longest one "The Children Of the New World" almost holds everything you could expect from the symphonic genre (my fave one I guess while I look at my stats on PA). 

There are hardly any loose moment available on this offering. All instrumental, but this really doesn't matter while the musical level reaches such high proportions. Maybe one of the best Brazilian prog album ever (together with the sublime "Depois Do Fim" from "Bacamarte"). 

Such albums on a prog site surely deserves more than three reviews with comments (four with this one). I can only invite you to listen to this work, to enjoy it as I did, to review it so that this lost gem of the seventies gets the reward it deserves. 

The very much "Santana" like "Water" is also a very pleasant piece of music of which the great guitar work says it all. Emotion at its peak. And you might know, emotion is a key factor in my musical passion. Fantastic and bombastic final part: another highlight for sure. 

But when you listen to the sublime "Hermit" and its fantastic guitar, what can you say? Magical I guess! What a great piece of music. Even if the great Carlos has been borrowed, I can only succumb to such a great track (at least during the initial and closing parts). 

The same feeling prevails during the excellent "Seeds Of Light": a gorgeous Andean fluting and some extraordinary guitar lines again. This album offers really some great symphonic prog moments. It is all enchantment and the only reason why I don't rate it with five stars is probably the lack of some great vocal parts. 

Nonetheless, this remarkable work should attract your ears, heart and writing skills. This is an excellent album. Symph prog at its best.... by ZowieZiggy 

The RVM is a Brazilian group formed in the city of Santos in 1973. The intent of the group was to show the sound of nature through their music. The Children of Nova Floresta, his first album, is a very subtle record that contains the mixture of several different musical elements such as: symphonic passages, Brazilian folk music and among others. In spite of this synthesis of different influences the group does not do an excess of technique and virtuosity, but presents beautiful and well arranged compositions. The strong presence of keyboards, and other unusual instruments such as the flute and the violin give all this impression of "sound of nature" on this album, justifying the band's proposal......

RECORDANDO O VALE DAS MAÇÃS (translated: Remembering The Valley Of Apples - RVM for short) is a very good example of mellow Brazilian instrumental symphonic prog-rock. Besides the standard guitar / dual keyboards / bass / drums lineup, the sound includes violin, flute and digital horn. Their music mixes in very good proportions the calm symphonic passages of a South American flavored CAMEL with Brazilian Folk (MPB), some North American Country reminiscences, a lot of good taste textures and even some baroque and renaissance sparkles.

With only one exceptional album recorded in 1977: "As crianças da nova floresta" is a very nice South American heavy, melodic classical progressive album from the 70's. This is very well balanced between great, GILMOUR-like guitar, flute everywhere, double keyboards, and classical guitar. Here the influence of CAMEL and generally of light symphonic/light Canterbury is evident. The arrangements are always very tastefully done, musically involved, and consistently interesting. "1977-1982" is the re-issue of this album with two bonus tracks. Recommended if you appreciate bands such as the South American "O TERÇO", "OS MUTANTES", "SAGRADO CORAÇÃO DA TERRA, PABLO EL ENTERRADOR and the classic CAMEL.

Latin America in general, and Brazil in particular, sported its own back to the earth young folks back in the early 1970s. The vicissitudes of communal life and the music industry being what they were and are, their ideas often were not committed to vinyl until later in the decade or beyond, at which point their sunny optimism was swallowed whole by the prevalent cynicism of the time. One must be careful to judge the whole of the effort independent of its time while still acknowledging the conditions that inspired the artists on their quest. RECORDANDO O VALE DAS MACAS (Memory of Apple Valley) only produced one album in their day, to which several later tracks were added on the CD reissue currently under discussion. It's assuredly a trip back to an era long past, but with timeless virtues to be appreciated in any era - acoustic instrumentation and occasional flourishes, sprightly melodies, and gentle harmonies.
The centerpiece here is "As Crianças da Nova Floresta" which closed the original album, and might be of greatest interest to readers here. However, while it is often brilliant, it is also a bit too much of a collage rather than a suite or an epic, and accentuates how the group was first and foremost a more simple folk/country act with progressive touches. The flutes of guest Domingos Mariotti are worth highlighting, as are the jointly shared vocals, which are lovely in both genders. While linguistically apart, this work recalls the Argentinian 1970s group MAGMA in its deceptive gentility.

The band's strength lay in the less brocaded material, especially the stunning "Besteira", apparently rescued from a trash bin after a moment of frustration. Its twists and turns, flutes, fiddles, and arresting chorus come closest to capturing the coda to a generation. I even hear some Eastern European rhythms. It is the only cut that fully works for me, although everything but the rather disinterested "Olhar De Um Louco" is worth hearing, and the flourishes of a Brazilian country music style in the album opener and the closing bonus track work well. Keyboards generally represent background accompaniment but are clearly informed by the progressive rock of the day.

Recommended for prog folk fans and gentle Latin tinged world music fans, Recordando is a thankfully resurrected memory worth retaining, even if it might not be as essential as your daily apple...

Line-up / Musicians
- Fernando Pacheco / electric & acoustic guitars
- Miltom Bernardes / drums, percussion
- Eliseu Filho (Lee) / keyboards, violin
- Ronaldo Mesquita (Gui) / bass

- Fernando Motta / acoustic guitar on 5, 6
- Domingos Mariotti / flute, digital horn
- Fernando Ramos / keyboards

A1 Ranchos, Filhos E Mulher
A2 Besteira
A3 Olhar De Um Louco
A4 Raio De Sol
B1 As Crianças Da Nova Floresta
B2 Sorriso De Verão
B3 Flores Na Estrada

Terreno Baldio "Terreno Baldio" 1976 Brazil Prog

Terreno Baldio  "Terreno Baldio" 1976 Brazil Prog

Terrento Baldio well known as "the Brazilian gentle Giant" is one of the most important progressive rock bands in Brazil. They debut in 76 with the release of their first album, coming out in 3000 copies by the pirate label, now considered rarity among collectors, and reissued in 80. The band brings 2 recorded studio albums + an edition of their first album in an English version , For the Progressive Rock Worldwine project. 
They impress by the complexity in the instrumental part..

Regarded by many as the Brazilian Gentle Giant, the Bald Ground is one of the most important national groups in style. Formed in the early '70s, the group debuted in 1975 with "Terra Baldio", which leaves the Pirata label in a print run of 3000 copies. The master tapes of the album would disappear in this same time preventing new pressings. The group would release yet another album, "Beyond the Legends ..." before debuting in 1978. Interestingly the fact that the LP theme was an imposition of the record company to close the contract. The formation was slightly different, with Ayres Braga (ex-Knee of Pork) in the place of Ascension. 
The Ground would reunite in 1993 to re-record the first LP, this time in English, for a (re) release by Progressive Rock Worldwide (with bonus tracks). That is, it is actually a third party member of the group. The formation of the Land "version 93" is Kurk, Mello and Lazzarini. "(ERP) 

RPB: After almost two decades of its original release in 1976, and after a production process of almost two years (between research, inlet design and mastering), the record company Rock Symphony and the group from São Paulo Terra Baldio re-launch the first Disc, which was still unreleased on CD. The sound was remastered in Italy by the original producer of the two LPs of the band (Cesare Benvenuti), has a 16-page color chart with extensive biography of the band, exclusive interviews, unpublished photos and even an extra insert in English for the foreign market. The band would perform at RARF 2003, but unexpectedly canceled their performance..

Terreno Baldio's eponymous debut album is one of the absolute highlights of vintage Brazilian progressive rock. Taking influences from Camel and Genesis regarding the melodic aspect, Gentle Giant regarding the use of stylish counterpoints and Return to Forever regarding the jazzy vibe (especially concerning Mello's guitar playing), Terreno Baldio took this mixture to a different level, closely related to the melodic roots of their own country's Creole folklore. Now, the overall result can be easily perceived as a clever display of technical prowess without overdoing things, and the same can be said about the compositions. That is, the musical ideas bear an appeal that is enhanced by sophisticated arrangements (for some tracks, more complex than in others), yet these arrangements never lead to a hyperbolic exaggeration - the performers act as a well integrated unit faithfully respecting the musical essence of the main ideas. The first two tracks are pretty much focused on the band's relaxing side, with 'Pássaro Azul' leaning more on the jazzy side and 'Loucuras de Amor' defining a direction toward bucolic romanticism in a symphonic context. These two songs have a dreamy flair to them, which allows them to accruately fit the artsy standards of Terreno Baldio's music. With 'Despertar' things start to get really intense. Full of fusionesque colors that are undobtedly indebted to both the tradition of American jazz-rock and bossanova, the band displays an effective portrait of musical sensualism. This is also the first track in which the band begins to show the GG influence: particularly, Lazzarini's delivers on electric piano and synth solo, not precisely cloning Minnear's style but definitely being influenced by it. 'Água que Corre' brings back that ethereal mood present in tracks 1 & 2, mixed with the fusionesque vibe of track 3: this one might truly serve as a perfect recapitulation of the album's first half, as well as a perfect sample of the album's overall essence. The GG thing will never leave the set of ingredients for the repertoire from 'Despertar' onwards, although, as I said before, this is not a copycat. The dissonant interplay of guitar and piano during the intro motif of 'A Volta' is too short, since it could have been such an exciting overture had it been really developed. Anyway, the main motif shows how well can Brazilian music and vintage symphonic prog be mixed in an appealing way. Having a duration of 3 3/4 minutes, it feels too short, and even shorter does 'Quando as Coisa Ganham Vida' feel, too. On the other hand, it is admirable how well can inventiveness give way to variety and solid colorfulness in a 2- minute span. A terrivic short track. Terrific but longer is 'Este é o Lugar', which shows Terreno Baldi oat their most epic. Not unlike 'Água que Corre', this song bears a perfect sample of all main musical sources in Terreno Baldio's style, fully integrated all through the arrangements and variations of the main motifs. 'Grite' closes down the album with a highly symphonic structure, basically lead by the Baroque-like keyboard flourishes. The final claims by lead singer Fusa (the message is "shout at the system if they want to suppress you") feel quite emotive while accompanied by Mello's guitar harmonies during the fade-out. The "Terreno Baldio" album is a hell of a gem in 70s South American prog: from my point of view, it is really a pity that some individual tracks are not more developed, but in general, the repertoire is both genius and Cesar Inca ....

Brazilian underground movement of late 60s and early 70s (sometimes called udigrudi or marginalia) was more powerful and fruitful than originally thought. Checking the odds of the cited era we conclude that bands and artists related with the 'udigrudi' scene were reasonably acclaimed by the critics and got fairly surprising sales but received no media exposure at all, certainly due to the many problems they have with the outrageous censorship that overwhelmed then. All that was produced by those artists could have been lost in the dust of times if a renewed interested shouldn't be arisen with the internet, the new approach toward the musical trends and the eternal and indefatigable work of professional researchers and amateur curious. 
And what really 'marginalia' was? A blend of pop, folk, rock, psychedelics and madness, sired and later hugely influenced by the Brazilian tropicalism movement and taking blood continuously from parallel movements from outside: psych & space rock, fusion, proto-prog, hard & acid rock, glam, latin jazz, etc. It's hard to shape an accurate definition since its boundaries are very smooth and not totally clear. 

However, while 'tropicalism', rooted on Brazilian popular music, was dead around 1971-1972, the 'udigrudi', rooted mainly on international rock, struggled and got to remain alive until the end of the 70s, and going more and more in the direction of prog-rock or at least prog-related as time passed by. 

It's fine, in fact it's enjoyable to see that the Prog Archives shelters acts like Casa Das Máquinas, Som Nosso De Cada Dia, late Mutantes, Recordando O Vale das Maçãs, Saecvla Saecvlorvm and TERRENO BALDIO. Sooner or later other acts from the Brazilian underground will be added, like Marconi Notari, Spectrum, Módulo Mil, Zé Ramalho, Lula Cortez, O Peso, Ave Sangria, etc, while others like Sirlan, Alceu Valença and Jards Macalé even being part of this stream are really more difficult to be included since their progressive sound of the 70s lacked the rock part required at the Archives. 

But being a representative of an era or a movement means not necessarily that you are great or musically meaningful, sometimes some acts simply disappear when all the foam vanishes - this is not the case of TERRENO BALDIO: they were good. I do not like to make comparisons between artists, and specifically if one point to a sole name, like being an ersatz to Gentle Giant; it sounds like they were a weak tribute band. Also one must know the history behind the curtains; the way TERRENO BALDIO sing and play has much more to do with Brazilian bands and artists of late 50s and early 60s and it's steadily settled on bossa nova singers and folk acts. Can't we carry the aroma of originality too? Hearing the album "Terreno Baldio" I also grab much of O Terço and Os Mutantes and why not? The main influential line comes from other Brazilian artists, be them prog or not. 

So much blabbing and no word up to now about the album "Terreno Baldio", the debut work of TERRENO BALDIO. We have a cluster of neat short tracks decorated with fine musicianship and exquisite whispered vocals, very refreshing and amusing. Lyrics in Portuguese are mainly incidental, basically meaningless but well placed to trim the overall atmosphere - melodies kept a certain resemblance amongst them, which is another part of the intended ambience. 

'Pássaro azul', the opener, is a blues-rock provided with good tunes and strange sound effects. 'Loucuras de amor' mixes the blues climate with a kind of balladesque accompaniment; refrain brings a renaissance flair. 'Despertar' maintains the rock trend while 'Água que corre' goes from soft to a bit experimental; the bossa nova drumming and the jazz beat are undeniable. 'A volta' is very interesting with its baião intro, calling the gods from distant worlds, only to give room to some weird tunes. 'Quando as coisas ganham vida' is where they really look like Gentle Giant, but the quaint effects provided are quite different. 'Este é o lugar' shows the fine band musicianship. 'Grite', the closing track, is the album's best - a great progressive song indeed. 

I believe that "Terreno Baldio" is an important piece to solve the puzzle of the Brazilian underground movement that happened 30 years ago and should not be forgotten. For this reason and also for the overall quality of songs and musicians, I rate this album an excellent addition to any music Atkingani ..

This album is a true gem from the original brazilian progressive rock scene and can possibly be the best brazilian rock album ever made, in my opinion. Here, Terreno Baldio represents the first wave of bands that, still in the 70's, were influenced by the previous / major progressive rock band, just like bands such as Triumvirat and Eloy and, along with their german counterparts, the brazilian band was able to put out terrific albums inspired by one major (and amazing) english progressive rock band most of you know, called Gentle Giant. The Giant influence becomes even clearer when you see that both bands have technically challenging songs, similar vocal styles and restless basses and drums (both instruments are the base for all the songs in both bands, hardly having any rest or pause). 

However, Terreno Baldio was able to surpass Gentle Giant, at least in this album, in an incredible display of musical skill, creativity, beauty, originality and, last but not least, ROCK. That's right, rock. Terreno Baldio may be called the brazilian Gentle Giant because their music resembles GG but, unlike the english band, the Terreno music is much more energetic, straight to the point and have a heavier music somehow. Another important characteristic that puts Terreno Baldio ahead of Gentle Giant is the language the lyrics are sung: i am more capable to appreciate poetry in my native tongue (portuguese) than in a foreign language (in this case, english). 

There is also something very interesting in this album that no one else have noted so far: this is a concept album. However, its concept is actually two different stories put together in an album: the life story of a blue bird and the story of a man in search of something (i still could not put my finger on what he is after, but anyway. . . ) that were connected by an empty lot. 

The Concept 

Well, the plot is very simple and the band, as far as i know, don't went too deep it, so this will be quite a summary track by track. The opening song talks about the blue bird and prophetizes its destiny: it must fly. The second track talks about the man and he is walking on a beach and the feel of the sand, the wind and the water makes him remember one lost love and he wishes to have her love again, even if he has to suffer to have it. The third track is about the birth and the early life of the bird: it discover a brand new world from its nest; it urges to fly and, after falling a couple times (the downward glissando symbolizes its falls wile it is learning to fly), does it. I am not sure if the fourth track talks about the man or the bird, but it probably talks about the man, since the fifth talks about the bird; the track tells him to find the things he wants, wishes and a new home. The fifth track talks about the voyages and experiences of the blue bird and its search for a warm place to call home in the place were it was born. i don't have any idea of what the sixth track is about. The seventh track is about the empty lot. It is described as the place to throw garbage at, but everything (square, block, street, home, building . . .) was already an empty lot. The blue bird seems to see the empty lot as its new home, the place destined to be its home. In the final track the man realize his loneliness and see in the empty lot a place to set lose all his frustrations screaming, living and dying. 

Grade and Final Thoughts 

This great band, by improving drastically the quality of the music made by GG and being able to do so with originality wile being heavier and straightforward, deserves rightfully the masterpiece grade..... by CCVP ...

A trully ''big'' band coming from Brazil,TERENNO BALDIO were born in 1973 and led by vocalist Joao Furk,guitarist Mozart Mello and keyboardist Robert Lazzarini.It hasn't been cleared yet when their first release came out.Most sources indicate 1975 as the year of their debut's release,though there are references also for year 1974. 

Apart from this detail,''Terreno Baldio'' showcases a different side of Brazilian prog.Yes,there are folk influences.Yes,there a few South-American elements and obvious psych traces...but most noteably there are a lot of nice yet smooth interplays and great vocal work contained in here. Certainly,GENTLE GIANT are the closest comparison,starting from the fantastic twisted bass lines,the jazzy and complicated drumming,the beautiful sound of the xylophone and,of course ,the story-telling poetic vocals.However,the vocal harmonies are not so complicated as in GENTLE GIANT's works,yet they are so ethereal and delicate,an ear's heaven.Overall,the musicianship may sound quite mellow,but ,believe me,it is also really demanding and professional with balanced use of piano,organ ,complex guitar parts and the strong presence of a super-tight rhythm section.Short-lived TERRENO BALDIO will leave you undoubtfully a pleasant taste after every listening of their work.Try this other side of Brazilian prog without any hesitation...... by apps79 .

Terreno Baldio´s first album, released in 1976 was quite a complex affair. I have to agree with the general opinion that their most important influence is british band Gentle Giant. They have lots of things in commom and the elaborated, very dense arrangements are quite similar. Even João Kurk´s vocals - all sung in portuguese - reminds me a lot of them (more especificly, of that of Kerry Minnear). But they were far from being copycats. They actually blended the influece very well with Brazilain popular music and rhythms, even if that is not easily noticeable at first. Besides, there are no vocal hamornies like GG and Mozart Mello´s guitar style is much more jazzier then GG´s Gary Green. 
Having said that, it is only unfortunate that the band had distribution problems and the record reached few people (it was very hard to find in stores) even if it was very well received by critics, something rare for prog groups at the time in Brazil. The production was absolute fantastic for the time and the songwriting here is quite mature and strong. You can hear all the instruments and the balance between them and the voice is perfect. All the musicians are masters of their respective instruments and I just loved the bass and drums patterns, very technical and creative without being too flashy. They were all team players and hence, they play for the music not to show how good they are or capable of doing 13 minute solos. 

If you´re into complex, GG style class of music, this is surely a must have. The elaborated arrangemnts, the odd rhtyhm paterns and the unusual vocal lines are something to be heard many times to be fully appreciated. Truly eclectic and innovative for the time. Savory, no doubt, but for special tastes. One fo the most interesting, talented and bold brazilian rock bands of the period. The music hasn´t aged a bit since then. Rating: at least four Tarcisio Moura .

This is a tough one to track down since it was never released on cd and the master tapes are gone. The band re-recorded this record in studio but used English vocals back in 1993. I have that and was quite impressed. This original one impresses me more though. So a big thanks to Todd who came through for me once again. Tracks 3, 5 - 7 really remind me of GENTLE GIANT from the sound of the vocals to the complex instrumental work. 
"Passaro Azul" is almost RPI sounding with that beautiful sound and vocals. It kicks in after 1 1/2 minutes with an impressive display of instrumental work before settling back late with vocals once again. Great track ! In fact a top three along with the next song "Loucuras De Amor". It's spacey to start then it kicks in with drums, guitar and piano standing out. Reserved vocals before a minute as a flood of emotion hits me. So beautiful. "Despertar" is different as we get this funky jazz to start. It settles back with vocals after a minute as the funk comes and goes. Synths lead after 3 1/2 minutes as the bass throbs. Vocals are back 4 1/2 minutes in. The mellow sections remind me of GG. 

"Agua Que Corre" is mellow with water sounds then it kicks in after a minute. Nice crisp drums and chunky bass here as the piano and guitar join in. Organ too and vocal melodies which turn into vocals. "A Volta" has upfront bass and a beat to start as it builds and the vocals join in. Excellent sound here. "Quando As Coisas Ganham Vida" has these intricate sounds that come and go and the vocals are very GG-like. "Este E O Lugar" has more complexity as the organ and punchy sounds lead. Vocals come and go along with the guitar. Impressive stuff. "Grite" is my final top three. Organ, bass and a beat lead as the vocals arrive before a minute. The vocals are passionate suddenly then they soften as it becomes very beautiful sounding. Contrasts continue. 

If you don't mind the GENTLE GIANT flavours chances are you will really enjoy this. Great looking album cover as well......... by Mellotron Storm

 Early Seventies band Terreno Baldio released an unpredictable and eclectic prog album with their self-titled debut `Terreno Baldio' in 1976, and while they're often referred to as the `Brazilian Gentle Giant', the group were not quite as easy to pigeon-hole as that, therefore dismissing them as an outright clone band would be doing them a complete disservice. While they share many of the quirkier elements, crafty direction changes and rich vocal arrangements of that band, they also had some rougher qualities so weren't quite as fancy, and many other moments on their debut calls to mind the warm symphonic synth and guitar soloing of Camel, jazz/fusion fire and even the romance of some of the Italian prog groups of the time. 
Briefly touching on some of the highlights (mentioning the frequent Gentle Giant-esque passages that pop up throughout most of the tracks would become redundant very quickly!), `Passaro Azul' is a warm and pleasant opener with a sweetly crooning falsetto vocal over piano and nimble fiery electric guitar licks emerging around bristles of Hammond organ. `Loucuras de Amor' is a dignified and mellow tune with frequent Camel-like chiming lead guitar, restrained wisps of synths in the background and a stirring vocal finale, and the jazz-fusion/funk-tinged `Despertas' is full of slinking subtle grooves woven into twisting-turning rollicking guitar lines, buoyant bass and peppy drumming. Joao Kurk `Fusa's vocals move between early Jon Anderson-like gentle innocence and hearty RPI-throated theatrical bellowing, as loopy Moog spirals dash over runaway piano and rough guitar grinding alongside. 

`Agua Que Corre' mixes droning electronics, early A.M-hours piano coolness, strolling bass ruminations that grow mud-thick and almost Zeuhl-like jazzy flights. `A Volta' holds jazzy smoothness with organ-fuelled symphonic bursts, `Quando as Coiasas Ganham Vida' is a spirited multi-part vocal interlude, and `Este e o Lugar' has plenty of keyboard dazzle. But it's closer `Grite' that turns out to be one of the absolute standout moments of the LP, a melancholic and powerful tune with a weary wailing vocal that almost reminds of Italian band Banco del Mutuo Soccorsso. 

If you're looking into this album, be sure you're getting the new 2015 reissue of the original version, as a complete re-recording of the album in English was released back in 1993. Although that likely has its own merits, the original is the one you really want, as `Terreno Baldio' remains one of the standout Brazilian prog albums alongside Casa das Marquinas' `Lar de Maravilhas'. While it's easy to enjoy the Gentle Giant-inspired parts, there's really so much more going for the album than that, and it makes for another fine addition for anyone with a large progressive music collection looking to add more of those obscure titles and bands....... by Aussie-Byrd-Brother 

Progressive rock group formed in São Paulo, SP by João Carlos Kurk (flute, vocal), Mozart de Mello (guitar), Ronaldo Lazzarini (keyboards), Ascenção (contrabass) and (drums). In 1975 they released an independent untitled LP, with a thousand copies; The matrix tapes would eventually disappear, and over time pirated CD editions would emerge in Europe and Japan made from vinyl. 

In 1977 the group was hired by Continental, who demanded a recording inspired by Brazilian folklore; So the group recorded Beyond the Brazilian Legends, with new drummer, Ayres Braga. In 1993 the group (this time formed by Mozart, Kurk and Lazzarini) gathered to, like Remembering the Valley of Apples, re-record the first LP for the Progressive Rock Worldwide label with the lyrics in English but using the original cover! 

This moth that speaks to you watched the Land show in 1993, the re-release of the first LP on CD. It's a heavy, Gentle Giant-style prog with the millstone!.

One of the most important progressive rock bands of all time in Brazil, "Terra Baldio" was formed in the early 1970s by musicians and founders Mozart Mello, Roberto Lazzarini and João Kurk. Together with the musicians Edson Ghilardi, Geraldo Vieira and Cássio Poletto, they form the current sextet, which is back on stage to the delight of lovers of long notes of progressive sound. To commemorate the reunion and return to the stage, the band is reissuing their first album "Terra Baldio - 1976", in CD and Vinyl formats, which must be re-released until the end of the year. The return will take place this Thursday, the 8th, within the project "Open Rehearsal", designed by the businessman and producer Roberto Oka. The project is an innovation within the context of "show" - it is an essay with the presence of the audience, which presents the construction of the details of the songs. In this format, the artist can, during the execution, stop and adjust the themes. This idea is wonderful, because it shows us the creative and technical dimension of those involved. The project is limited to an audience of 150 people, which I classify as lucky, as they will share unforgettable moments. 

The young lords of Terra Baldio still have a lot of firewood to burn ... Most of the guitarists, formed in the last decades in Brazil, admire Professor Mozart Mello, since it was formed by his methods. The virtuoso makes the audience delirious with precious guitar solos. Roberto Lazzarini, conductor and arranger, with his piano and keyboards, commands the band for an unforgettable sound journey. And, forty years later, John Kurk continues with an amazing voice and impeccable tuning, although he loses a bit of treble, a natural factor for his age. Even so, Kurk modulates the voice and knows how to use it at the right time. Also plays flute in some songs during the show. Geraldo Vieira on the double bass, along with Edson Ghilardi on drums, make the Terrain kitchen. In addition to Cássio Poletto on the violin, it brings an extremely fascinating sound. Together, without a doubt, they form a fantastic sextet of national progressive rock. 

For the "Open Rehearsal", Terra Baldio must visit his two albums: "Terra Baldio -1976" and "Beyond the Brazilian Legends -1977". The band will present their audiences with the classics "Bluebird", "Love Stories", "Awakening", "This is the Place", "Scream", "Caipora", "Running Water", "When Things Come to Life "," Saci Pererê ", among others. To my readers who still do not know the progressive rock of the Land Baldio, I make the invitation and I guarantee that everyone will go crazy for the quality of these refined musicians....

What if Gentle Giant were born in Brazil? Strange question, maybe, but we can try a good answer thanks to this Brazilian band. "Este é o lugar" ("This Is The Place") comes from their debut self named album and has the strong, unpredictable, jazzy and symphonic flavour of the Giant. Even the vocal harmonies could be compared with those of the British prog masters. But, of course, if you like such a complex, eccentric and diversified music, you can't really be considered as a derivative band.
Terreno Baldio, as a matter of fact, have all the fantasy and all the colourful creativity they need to be a world apart in the South-American prog scene. Their interplays are fascinating and highly dynamic, their sung themes are suspended and effective and they even know how to include in this song - and in many other ones - a good pinch of Brazialian music. That's why I can state here that listening to this track was a special and brand new experience to me. Just do it you too..

- Joao Kurk "Fusa" / lead vocals, percussion 
- Mozart Mello / guitars, vocals 
- Roberto Lazzarini / keyboards, xylophone 
- Joaquim Correa / drums, percussion 
- Joao Ascencao / basses 

Songs / Tracks Listing 
1. Pássaro Azul (4:02) 
2. Loucuras De Amor (4:02) 
3. Despertas (5:07) 
4. Àgua Que Corre (4:49) 
5. A Volta (3:44) 
6. Quando As Coisas Ganham Vida (2:03) 
7. Este É O Lugar (7:09) 
8. Grite (5:02) 


Terreno Baldio - 1975 - Pirata / 2003 - Rock Symphony
Além das Lendas Brasileiras - 1976 - Continental
Terreno Baldio (versão em inglês) - 1993 - PRW

David Peel & The Lower East Side ‎ “Have A Marijuana” 1968 US Psych Folk Rock

David Peel & The Lower East Side ‎ “Have A Marijuana” 1968 US Psych Folk Rock

At first, second and third listen the debut record by New York street musician and John Lennon protégé David Peel seems pretty ridiculous. Recorded live on the streets of New York, the production is patchy, yielding more of a "recorded live in someone's bathroom" vibe than anything else. Then there's the lyrics, all of which are juvenile, dated and delivered in an erratic Tiny Tim-meets-Cheech & Chong style. But somewhere around the fourth or fifth listen Peel and his merry band of misfits begin to grow on you. By the six or seventh spin songs like "I Do My Bawling in the Bathroom" and "I Like Marijuana," with their dumber than dumb choruses and out of tune folk-rock progressions, actually become charming. Perhaps it's because Peel, a marginal figure born to be a cultural relic, is a much more interesting, exciting and entertaining '60s icon than all the overblown, bloated characters like David Crosby and Grace Slick. Unlike them, Peel never came in from off the streets. In fact, he can still be found singing these songs in New York's Tompkins Square Park to this day. And while that's mildly pathetic, it's also heartening. When he sings about smoking some grass and getting harassed by lame cops (the topic of just about every track) you tend to believe him.... by Steve Kurutz ...

With more references to reefer per minute than most reggae albums, “Have A Marijuana” caught David Peel and his backing group, The Lower East Side live in a simple, funny and intensely passionate folk’n’freak-out record. Although the cover states it was ‘Recorded Live on The Streets of New York’ by the thinness of the cheering and applause it sounds more like the proceedings were captured in Washington Square Park (or in keeping with the locale of the group’s name, further east in Tompkins Square Park.) Because of the inciting tones and subject matter of their songs, it seems highly doubtful that the New York City Police Department would’ve consented to having some troublemaking troubadours barricading off an entire block of Avenue A to record an album’s worth of anarchic sing-alongs with titles like “Here Comes A Cop,” “Show Me The Way To Get Stoned,” or “I Like Marijuana.” 

It has been recently pointed out that one of David Peel’s later songs was a definite influence on The Clash’s “White Riot.” Which surprised me (not only because I had never heard anyone voice that comparison before, but) because I had come to the very same conclusion the night before and it’s true: David Peel’s voice predates Joe Strummer’s vocals on the first Clash album, but in an adenoidal Noo Yawk accent of the most streetwise non-nuancing AND IT’S ANGRY. NAW: MAYBE JUST FURIOUS. BUT FOR THE MOST PART HIS SINGING IS MORE A HILARIOUS SORT OF SCREAMING THAT GRABS YOUR ATTENTION AND BALLS AT ALL AT ONCE AND MAKES YOU LAUGH WITH ITS RUDE IMMEDIACY AND EXHILARATING VOLUME. 

It’s a cop out to compare this record to other Lower East Side bands like The Fugs or The Godz (But I will, anyway) because it DOES have a comparable obscenity quotient akin to The Fugs and the simple, skeletal folk qualities of The Godz. But if The Fugs were The Mothers of Invention if they didn’t rehearse and replaced their jazz and Varese elements with lyrics about group sex borrowed from William Blake, then the equation would run that The Godz were The Fugs if they took too much acid and didn’t care about the whole jazz/beatnik nexus that those oldsters were into, And then David Peel & The Lower East Side would be The Godz if they weren’t so abstract and expressionistic and had all their equipment stolen then found two broken 12 string guitars in the garbage, fashioning a tambourine outta a trash can lid with beer can pop top rings and spent all their money on marijuana but were so pissed off it didn’t calm them down one bit but only made them even more agitated. And then spending all their time on the street, hollering themselves hoarse screaming at passing squares in the park, the sidewalk and everywhere “HAVE A MARIJUANA!!!” just to send them into a typically uptight and grumpy slowburn. 

The stentorian bellowing of David Peel breaking through a thicket of acoustic guitars and handheld percussion to bray in one of the most amazingly snottiest voices ever is this album’s primary focus. And this recording in the field (or rather, on the concrete) starts with the anti-war blast of “Mother Where is My Father” and at once you’re faced with a very spindly group sound with a voice that roars out like a street hippie version of the Bowery Boys singing drug anthems with all the larynx-destroying delivery of “London’s Burning,” “Deny” or “1977” by The Clash. The instrumental backing is all madly strumming out in almost middle European-type balalaika cycles on acoustic 12-string guitars with occasional touches of Spanish guitar flourishes handled by Larry Adam and Billy Joe White, while George Cori is on what sounds like a 1-stringed broom-and-metal-basin stand up bass as Harold C. Black whacks tambourine and Peel himself is on acoustic guitar banging out the barest of skeletal acoustic riffs while frothing at the mouth. There’s lot of high-spirited banter in between tracks, too. In fact, one of the highlights is just before their classic, “I Like Marijuana” when he starts REALLY bellowing at the assembled multitudes with a full head of steam. You cannot believe this man’s voice as he continually -- what -- Sings? Speaks?? Shrieks? Ha: it’s all of the above. It’s a loud, fuming tantrum although all he’s doing is asking “MAKE MEEE PREZIDENT OF DA YOO NI TED STATES...!” three times, and the very last one is so over the top, I play it over and over and over and it sends me to the floor every time because he is truly raving at the top of his lungs in an almost terrifyingly cartoon but dead serious underground comic kinda way where someone really freaks out and loses their temper, tearing out their hair and there’s rays of light sizzling from their head or when Fat Freddie’s on the kitchen floor flat on his back going “Gibber, gibber, tweet!” because The Freak Brothers are out of food or pot or both and he’s cracking up like an oversized Baby Huey flapping his atrophied appendages furiously straight up in the air like he’s soiled his nappies and had a bad dream and the whole world is closing in so bad all the time you just wanna cry or shit your pants to make yourself be somewhere else as quickly as possible like poor old’ Chef in “Apocalypse Now” raving like a madman after a near death experience with a tiger: “I CAN’T TAKE THIS FUCKIN’ SHIT ANYMORE, MAN!!! ALL I WANTED WAS A FUCKIN’ MANGO!!!” 


One of the most intense vocals I’ve ever heard on record or ANYWHERE, for that matter. And if that doesn’t flat out get it, then the squirrel joke right before the amazing “The Alphabet Song” on side two unequivocally does. I can’t even repeat it, because it wouldn’t do it justice at all. Just to hear the punch line in that roaring Bronx cheer of a voice sends me into hysterics every time. 

These are truly a crazy moments of sheer manic panic, and it’s utterly absurd because typical politicians don’t scream out pleas for election or make up rude jokes about squirrels on the spot. But David Peel was no politician and he tells only what he wants to and decorum be damned. Hell, there’s even a song called “Up Against The Wall” and wouldn’t you know it -- the entire lyrics are: “Up against the wall / Motherfuckers!!! / Up against the wall / Motherfuckers!!!” Well, there’s also a coupla “La, la, la, la, la, la”s thrown in to flesh it out, as well as ending on a jaunty “Cha-cha-cha!” 

Side two is dominated by the huge tenement sprawl of “I Do My Bawling In The Bathroom” which free associates all over the place. It starts with the spoken opener “Girls an’ guys come to The Village, lookin’ for sumpthin’ ta do...They want to have love and sex” and continues with this narrative for a while until he stops the song dead by yelling, “WAIT A MINUTE!!!” and sidetracks it into how these girls, guys and then even he are gonna be different from straight people by bawling in their bathrooms. Minutes later, it switches gears again and pretty soon it’s fairly apparent that although he’s singing “bawling” he’s obviously intending it as “balling.” 

Right before the grand finale of “We Love You” Peel announces “Ladies and gentlemen: we have completed a great album!” to celebratory applause and cheers. And for the only one time in the history of Elektra Records, the credits are not typeset on the back cover in Rockwell Bold but are announced in Peel’s barking tones even stronger than that most solid and in-your-face of typefaces, and at about 50 picas larger: “Production supervisor was Jac Holzman!!! Producer, Peter Siegel!!! Recording Engineer, Peter Granite!!! Art Director, William Harvey!!! Publicity Director, Danny Fields!!! And last but not least...Photographer, Artist and Designer...Bob Heimall!!!” 

You know, it’s not a comedy album because it’s still funny after multiple plays. And it’s not a novelty either, because it’s got some very heavy energy and some real subject matter pushing it forward so recklessly gutsy and with so much heart that it makes it on sheer fuck balls alone. The Seth Man...Head Heritage.

In the late 1960s, even the most adventurous rock and folk acts usually cloaked their drug, sex, and anti-war references in coy, coded language. It took several New York bands to spell these out in plainly explicit, taboo-breaking lyrics, matched to music as raw and pile-driving as their words. The Fugs, the Holy Modal Rounders, and the Velvet Underground are all celebrated for such contributions, but even they weren't as underground as David Peel and the Lower East Side. Peel wasn't just plugged into what was going on in the street – he was what was going on in the street, recording his 1968 debut album Have a Marijuana in Washington Square Park after gaining a following for his performances there. 
After a stint in the military from 1963 to 1965, Brooklyn native Peel moved to New York and played music in the city's streets and parks. Greenwich Village's Washington Square Park had long been a haven for informal folk performers, and it was there that Peel came to the attention of Danny Fields from Elektra Records. The singer's material was riddled with no-holds-barred commentary about war, illicit substances, and other hot-button topics like police brutality that few labels would have touched. Partially for those very reasons, Elektra was a logical home for the performer. 

Label president "Jac Holzman and his Elektra team were certainly visionaries, and not afraid to use candid, controversial, and artistic originality as part of their repertoire of independent music and artists like me – to say what we mean and mean what we say," observes Peel today. "They also had pop, rock, blues, classical, and other good music stuff as part of their music catalog, along with concept recordings. The Doors, as a blues rock pop band, definitely influenced my decision to be signed on Elektra. The Doors are one of my top favorite music bands, along with Elvis Presley, the Beatles, the Rolling Stones, and Bob Dylan." 

Peel was unusual, indeed almost unique, in building his sound and reputation outside of the clubs and studios where most musicians scuffle for a break. "The Fugs were one of the first bands that influenced me to sing my type of music as part of my street and underground sound," he remembers. "They were candid, satirical, and contemporary with what was happening all around us and beyond. I saw them perform in Tompkins Square Park [in New York's East Village] and [they] blew me away with their content and style; I had my life changed into a street singer ever since." 

As for the other most notorious New York bands, "The Holy Modal Rounders and the Velvet Underground had their own thing going on -- more or less as electric indie music bands. They had very little influence on my style of music or on me, since I performed mostly in the parks, streets, and other outside public places as an acoustic performer, while they rocked electrically on the stage. I was basically influenced by my outside audience and other park musicians. I usually never hung out at any clubs or cafes or music venues. The parks and streets were my studio and stage." 

Although his route to a contract wasn't conventional, as David adds, "I was thinking of becoming a recording artist before I was signed by Elektra Records after living the Haight-Ashbury scene, then going back to the East and West Villages to do my live street performances. All of my material came organically from the streets and parks wherever I performed in and outside New York City. I more or less fine-tuned my songs when Elektra signed me." And since his sensibility was so shaped by his outdoor performances, it made sense to record his debut album in Washington Square Park itself. According to Peel, "Me and Elektra wanted it to be recorded in Washington Square as [an] acoustic songs concept record. The park was my stage and hangout where most of my songs were naturally developed in my own habitat and comfort zone." 

As spontaneous as Have a Marijuana sounds, with loose spirited backing by several like-minded friends who comprised the Lower East Side, it was actually cut over a period of four weeks. Producing was Peter Siegel, who'd worked with such Elektra folk and psychedelic acts as Earth Opera, Tom Paxton, the Charles River Valley Boys, and Pat Kilroy. "We actually got a permit from the city, but that didn't stop some policeman from unplugging us," recalled Siegel in Follow the Music: The Life and High Times of Elektra Records in the Great Years of American Pop Culture. "Yeah, I had a permit in my pocket, but they were singing about cops being pigs. The light would go out, you'd look up and the cop would be right there with the plug in his hand, you'd show him the permit and plug it back in." 

Siegel and Holzman, Peel emphasizes, "were very supportive to music openness along with Danny Fields, [sleeve photographer/artist/designer] Bob Heimall, [art director] Bill Harvey, and all the Elektra crew. They were a family of friends that made my work and my Lower East Side band have so much fun -- but also getting the music job done as natural but professional recording artists. I am so thankful that I made records on their label." More than forty years later, Holzman remained proud of the LP, commenting in Becoming Elektra, "David Peel was a phenomenon on the street, and we recorded it right out on the street. It was the spirit of Washington Square. Why not? Nobody was telling him or us what to do." 

The art direction and sleeve design was a quite important component for Have a Marijuana, since as Holzman explained in Follow the Music, "The album cover featured a massive marijuana plant, with 'Have a Marijuana' in outsized letters. That cover and the photos of David singing to and with the crowd made it into newspapers, magazines, and onto murals throughout the world as an example of what was happening in rebellious America." Elaborates Peel, "We also added the hemp leaf on the cover along with the title 'Have a Marijuana' – using a pot word (marijuana) that was very rarely used on any record covers until our entry title became real – hemp, hemp, hooray!!" 

An album containing songs like "Up Against the Wall" (which used the same phrase, adding a crucial FCC-unfriendly fifth word at the end, that Jefferson Airplane sang the following year on "We Can Be Together"), "I Do My Bawling in the Bathroom," "Here Comes a Cop," "I've Got Some Grass," and "The Alphabet Song" (with its chant "smoke pot smoke pot everybody smoke pot") was bound not to gain much aboveground airplay, as much as it did reflect day-to-day realities in the Village and Lower East Side. Nonetheless, it did attract some positive press, Eye magazine declaring, "What it lacks in virtuosity and polish it more than makes up in raw gusto." Music trade bible Billboard (whose charts the LP actually entered, peaking at #186) even gave it a blurb, pithily and accurately pegging it as a "folksy post-Fugs peek at pot, cops, and lunacy." 

Sales were profitable enough for Elektra to give a go-ahead to a second album, 1970's The American Revolution, distinguished from the debut as it was "done in an electric music format as I requested it to be done. I wanted to have some rock songs as recordings and had no problem with the record company to do so." A move to Apple Records brought Peel to his greatest level of visibility on 1972's The Pope Smokes Dope, produced by John Lennon and Yoko Ono. He's continued to release recordings since then, April 2012 finding him profiled in the New York Times for performances at Occupy movement encampments and protests, for which he's written songs like "Up Against the Wall Street." 

How do the songs and sentiments of Have a Marijuana reverberate down the years as the United States gears up for the 2012 election, with many of the same issues Peel addresses, satirized, or protested in the late 1960s still very much with us today? "History repeats itself as the rights and wrongs of peoples trying to get their share of peace and harmony," he responds. "I merely sang what I saw in action and otherwise. The Occupy movement certainly comes to mind as a current example of what's happening to our freedom and liberties. Singing songs concerning these matters is one way of expressing yourself in defiance without going to the extremes of no return." 

Continues David, "Elections are all the same in America and all over the world. We artists have to expose their wrongs on our rights as I do making music for the people – by the people – and with the people. David Peel will always be singing on the streets as a messenger of truth and honesty through my songs. And I will always sing my songs from Have a Marijuana until it's legalized as an open celebration for everyone. Thanks for listening. The journey and the adventure continues..." – Richie Unterberger.

David Peel is the nightmare of all staunch conservatives and straight-laced liberals - unclean, pot-obsessed and radical. So many people jumped on the bandwagon of 60s counterculture but Peel was real - pretty sure "Up Against The Wall" is the first on-record MOTHERFUCKERRRR so take that, MC5! Jefferson Airplane are more famous for using the slogan in "We Can Be Together", but Peel did it first! I highly doubt that those comparatively clean West Coast hippies had ever been up against the wall! Or ever fucked their mothers, for that matter! *Shakes fist at Jefferson Airplane* 

Peel took the lyrical themes of the Fugs (pot and sex, obvs) and did away with the arty beatnik influences. This is some of the 60s' most demented folk, not up there with Virgin Fugs but it still makes a hell of a lot of hippie folk look tame! The jugband tea-chest bass sound is what gives this a psychedelic vibe, it's just cosmic. 

Peel's songwriting is hit and miss here and there's filler on display - the last track is taken up by shout-outs, couldn't he have put them in the liner notes? I ask the same question to pretty much every 90s rapper ever. But the highlights hit hard - "Mother, Where Is My Father?" is one of the best anti-war songs of the era, straight to the horrifying point, no happy-clappy rubbish. Recording this on the streets of old New York (Peel's natural habitat) and capturing the reactions of fans and onlookers gives this album an incredibly lively atmosphere. 

Not much when compared to the two albums that followed it but still a great start to a great career. LSD gotta hold on me! .

A young David Peel (left) with his band, the Lower East Side, including Harold C. Black (right), circa 1968.

David Peel (born David Michael Rosario) is a New York-based musician who first recorded in the late 1960s with Harold Black, Billy Joe White, George Cori and Larry Adam performing as David Peel and The Lower East Side Band. His raw, acoustic "street rock" with lyrics about marijuana and "bad cops" appealed mostly to hippies. 

In 1968, Peel was contracted by Elektra Records when he was first discovered and recorded two "envelope pushers" for the label. His album Have a Marijuana peaked at 186 on the Billboard Charts. 

Peel was rediscovered by John Lennon in 1971 as the early seventies continued its swing towards the youth revolution. Lennon befriended Peel when David was playing with his ragtag hippie band in New York's Washington Square Park in Greenwich Village. Lennon produced The Pope Smokes Dope for Peel. This album was banned in many countries and since has been sought after by collectors worldwide. 

In the summer of 1970, Peel performed at Washington Square Park along with Ira Gewirtz. 

Peel appeared with Lennon at the John Sinclair Freedom Rally in Ann Arbor, Michigan on December, 1971. 

In 1976 the independent labels Orange Records and Auravox Records released An Evening With David Peel. The LP was hailed as being a breakthrough recording by capturing the tumultuous mid-1970s American underground movement as well as the bubbling under of live recordings that have become a mainstay of the recording arts. Mix was finalized by Ron St. Germain (of Band 311 fame) at Ultrasonic recording studios in Hempstead, NY. 

In 1995, the vinyl LP tracks from An Evening With David Peel were combined with two new multi-tracked studio recordings: "Junk Rock" and "I Hate You" (recorded at Right Track Studios, NYC) for a CD release Up Against The Wall. In the additional studio recordings on the CD, Muruga Brooker (of Genesis fame) played his "electric talking drum" on the comeback hit "Junk Rock"..

David Peel (in the middle) and the Lower East Side, circa 1970.

David Peel (left) with John Lennon and Yoko Ono at the John Sinclair Freedom Rally in 1971.

A1 Mother Where Is My Father?
A2 I Like Marijuana 
Written-By – Goldsmith*, Peel*, Smith*, Barnum*, Cooper* 
A3 Here Comes A Cop
A4 I've Got Some Grass
A5 Happy Mother's Day
A6 Up Against The Wall
B1 I Do My Bawling In The Bathroom
B2 The Alphabet Song
B3 Show Me The Way To Get Stoned
B4 We Love You

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“A Revolutionary New Triumph in Tape” 1958

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