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.’ This monumental compilation is the work of a like minded collective – radicals that would subvert and forever change the art and politics of Brazil, specifically Gilberto Gil, Caetano Veloso, Gal Costa, Tom Ze, Nara Leao, and Os Mutantes. Leaders of the movement, Gil and Caetano, would be imprisoned and exiled for 4 years because of this record.

You can hear their urgency in the music itself. I can’t understand Portuguese, but this sound communicates through the language barrier. It’s a sound to make your eyes drop back in your head and swirl: a stirring blend of American psychedelia, traditional Brazilian music, African popular music, and English pop rock. Taken in by the rhythms and growingly addictive melodies, you will find yourself singing along in pidgin Portuguese before long.

The title of this record translates to “bread and circuses,” a phrase denoting cheap political handouts used to gather support. Makes me imagine the music was probably just an amusing distraction aiming listeners towards some higher cause. Regardless of your interest in the social importance of this record, I suggest you take the handout – it’s unlikely you won’t be carried away with Tropicália’s drama, intensity, stylistic range, and irresistible rhythms.

If you have any interest in the Tropicália movement, which was more recently popularized in the states by artists like Beck and David Byrne,  Panis Et Circenses is the place to start. I highly recommend you grab the 4 Men With Beards 180-gram vinyl reissue and spin it loud. Even if you balk at compilations, this is more, it’s the original and essential Tropicália comp. One that changed the world.

Gilberto Gil – “Geleia Geral”

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Vinyl Reissue | 2008 | 4 Men | 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 the 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 whacked 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.

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“The Empty Boat”

CD Reissue | 2008 | Dusty Groove | order @ Dusty Groove ]
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This was Som Imaginario’s (Imaginary Sound) debut album from 1970. A Brazilian band that often backed the great Milton Nascimento just as Os Mutantes had backed Gilberto Gil and Caetano Veloso on their early albums. In fact, this album could be seen as the perfect companion piece to Os Mutantes’ 1969 masterpiece, A Divina Comedia Ou Ando Meio Desligado.

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.

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“Sabado”

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