If you have any interest in the Tropicália movement/sound, put this record at the top of your list. I sometimes balk at compilations but this is definitely more than a comp. This sickeningly excellent LP is the work of a like minded collective - radicals that would subvert and forever change the art and politics of Brazil. (pictured above.)
Gilberto Gil, Caetano Veloso, Gal Costa, Tom Ze, Nara Leao, Os Mutantes. Tropicália, or Tropicalismo, was at once a response to military dictatorship and an attempt to expand Brazilian music by infusing ideas from all parts of the globe, even so far as an attempt to create a ‘universal music.’ Leaders of the movement, Gil and Caetano, would be imprisoned and exiled for 4 years because of this record. I believe, not sure, but I think you can hear the urgency in the music. This may be one of our world’s important albums.
When it comes to pure sound, dropping politics and meaning, it’s just strictly awesome. Music that makes your eyes drop back in to your head and swirl. I can’t help but haphazardly sing along in pidgin Portuguese to some of these beauties. Three times through and you are in love. I had a cheap digital copy of this somewhere and listened a few times, but when I bought the heavy vinyl reissue and turned it up loud, it hit really hard. The title of this record in Latin means “Bread and Circuses.”
Gilberto Gil - “Geleia Geral”
Vinyl Reissue | 2008 | Lillith Records | Order | Search ] CD Reissue | 2002 | Universal | Buy ]
This is an insane album that is more experimental than the Beatles’ psychedelic work while each song still retains a catchy pop flavor. This self-titled album was Gal Costa’s second effort and is commonly referred to as Cinema Olympia or 1969.
Cinema Olympia is also the first song on this album and it’s a catchy rocker that opens this program up with heavily distorted guitars reminiscent of Jimi Hendrix. In fact, many of the songs off 69 have blazing fuzz guitars that bludgeon and assault the listener’s ears. Only Pas Tropical has that typical folk bossa nova sound that is so often associated with the Tropicalia movement. And even this track is really good and is somewhat of a Tropicalia standard, notable for its pretty vocals and mellow atmosphere. The second song on side A, Taureg is an outstanding track with eastern tones, exotic instruments and heavy vocal echo.
Each song on this album is completely unpredictable, always trying a new vocal style or production trick. Costa expands on the studio freedoms granted to fellow Brazilian music pioneers Caetano Veloso, Gilberto Gil, and Milton Nascrimento. None of the above artists ever made anything this far out though, just listen to the cat screams that end Meu Nome E Gal or the funky, sexually charged psychedelia of Empty Boat (the one song on the album with English lyrics).
The Velvet Underground’s first album gave us an experimental work that was stoic and full of wisdom but Gal Costa’s 69 is junky, trashy, and sleazy but still somehow full of depth and meaning. Costa’s vocals are wonderfully out of synch with conventional pop and this disc is more wacked out than the U.S. and U.K.’s best groups. The five albums that succeed this lp are also very good and worth investigation. Gal Costa/1969 frequently goes in and out of print but readers are urged to search for a copy on ebay!
The beginning of the record brings a good wide smile. Either because of that brilliant sound or because you know what album is about to unfurl, remains yet undecided. Any of the early Os Mutantes records are consistent mind-blowers and this one makes an unforgettable introduction.
I feel that the music and voices of Os Mutantes transcends any language barrier such that even the most literary of music fans can still fall deep in love with these dazzling sounds. David Byrne, who incidentally reissued an anthology of the Mutants on his Luaka Bop label, seems to justify this sentiment on the liner notes to Stop Making Sense: “Singing is a trick to get people to listen to music for longer than they would ordinarily.” Delving deeper while trying to avoid comparisons, I falter and one phrase echoes in my head when I listen. Better than the Beatles.
Hugely inspired by their work, Os Mutantes managed to expand the music further than The Beatles were capable, and still maintained the disparate elements of pop song and art form. Laced with the sexiest assortment of fuzz tones and unheard-of electronic sounds, the production is startling and the compositions are eclectic, addictive, and lovely.
Os Mutantes’ have an interesting history; they are one of the best known bands of the Tropicalia movement and dealt directly with the frightening political climate of Brazil 1968. Through Byrne’s efforts, serious interest in their music led the band to reform and they are performing and releasing new records today.
No serious rock collection overlooks the Mutants. At the same time, the joy in their music should appeal universally and to all tastes.
The band’s name is very fitting, Som Imaginario is an invigorating blend of folk, soul, psychedelia, brit influenced pop, rock and Brazilian homeland music. For a debut album, the band sounds extremely confident and wild, steaming and cooking thru the album (and there are no duff tracks either!!).
Morse opens the album on a funky note, with blasts of fuzz guitar and swirling organ. The next song, Super-God has some great use of wah-wah and distorted vocals. Milton Nascimento guests on the mysterious Pantera, which is another highlight with a bomb explosion intro. Nascimento’s voice is highly original and experimental and adds depth to an already good composition. The two songs in English, Poison and Make Believe Waltz, are also very good, soulful folky ballads.
An essential psychedelic album and a must for fans of Tropicalia. Som Imaginario released a few albums during the progressive rock era which are also highly recommended but reissues are criminally unavailable.
Vinyl Reissue | 2008 | Lillith Records | Order | Search ]
CD Reissue | 2002 | Universal | Buy
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