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24 May 2017

Erasmo Carlos "1990 - Projeto Salva Terra" 1974 Brazil Psych Groovie

Erasmo Carlos  "1990 - Projeto Salva Terra" 1974 excellent... Brazil  Psych Groovie recommended........
An exercise in futurology in the name of Erasmo's persistent pacifism, the title track exudes the composer's subtle irony: "In 1990, the crisis was too much / Canned people could no longer remember peace / Sometimes God was remembered for his lack ". In it, there are also unpublished compositions, written with Roberto. Among them, the irresistible Harold, the Domestic Robot, and the classic I Am A Child, I Do not Understand Nothing. According to the compact of the album, the samba rock O Comilão, was a great success, but was left out of the LP, after being censored. In 1980, the song was re-recorded with the illustrious presence of Jorge Ben Jor, on the album Erasmo Carlos Convida.

The success of Dreams and Memories and their compact was great, and in 1973 Erasmus only thought of compact with unpublished songs. "Cachaça Mecânica", a mixture that only Erasmus could make of Mechanical Orange (the film) with the shakes of the Bahian carnival, came out in June and was a great success. "El Comilão" came next, targeting Christmas 1973, but the song had problems with Censura and ended up not entering this 1990 - Salvaterra Project, which would only come out in November 1974. Preceded from the compact "I Am A Non Child I understand Nothing, "that very successful, the album brought a re-reading of" Preto Gato "(by Getúlio Côrtes, recorded in Jovem Guarda by Renato and his Blue Caps and Roberto Carlos) and several partnerships with Roberto Carlos. Production signed by Guti Carvalho and Erasmo............

I did not think Erasmus's album "1990 - Projeto Salva Terra", released in 1974, was so good! Today I listened to her with a dedication I did not have before. The four albums ranging from Carlos, Erasmo, Dreams and Memories, Saving Earth to the Banda dos Contentes have a counterculture unity that I believe to be somewhat proto-revolutionary. Three of them were recently re-released, in a "three-tone" collection, leaving exactly the one I listened to today in digital format. The others spent these days worshiping in CD, among other arts and languages ​​that fill my days.

No wonder all four are on the list of the 500 most important MPB albums at rateyourmusic (which is a lot for a country as musical as ours). Definitely, the work of these guys in the 1970s is unsurpassed, excellent without being commercial and "pasteurized", as has been commonly seen for a few years now, especially in an overdimensionalized way by the "supercontemporaneous" itself.

Beyond the tone in 1974 about the future, which seems ironic, from the title of "1990 - Project Saves Land", the guy was really a visionary. He said in an interview that rock in Brazil would not die so soon, but innovate, to have other names, which is natural to differentiate the various genres and the various musical subdivisions. Okay, it was not the only voice of those days, but an important Brazilian voice.

But what matters is that not only has rock resisted and remains, but that Erasmus himself survived his physical and mental journeys, influencing and reinventing himself, with his genius, creativity, lucidity and opening up, at the age of 72, To the new generations of fans, musicians and artists. Already we see and recognize in him not only a complete artist, but a fantastic subject who has kept the essential of the past to be revised and ...........

Erasmo Carlos is a historic figure in Brazilian rock, acknowledged by many as the father of Brazilian style. Extremely important as a composer, mainly because of his creations with longtime partner Roberto Carlos, he has been intensively recorded by many top artists. He also has an extensive solo discography. Heavily influenced by rock & roll, he learned his first chords with Tim Maia in 1957. In the same year, he became a member (together with Roberto Carlos) of Maia's seminal band Os Sputniks, a precursor to Brazilian soul music. The next year, he joined the group the Snacks as a vocalist, again with Roberto Carlos. Until the mid-'60s, he performed on radio and TV shows like Os Brotos Comandam (Rádio Guanabara and TV Continental) and Festival de Brotos (TV Tupi), which became important precursors to the Jovem Guarda movement. From 1965 to 1967, he joined the group Renato e Seus Blue Caps as a vocalist and guitarist. His first composition, "Eu Quero Twist," was recorded by Agnaldo Rayol for Copacabana. His first recording as a singer was in 1962, with "Terror Dos Namorados," written with Roberto Carlos. Soon the duo released "Parei na Contramão," and the two hits consecrated them permanently. "Festa de Arromba" (with Roberto Carlos) was a big hit in 1964. In September 1965, TV Record launched the show Jovem Guarda, directed toward their younger audience. The show would give birth to the eponymous movement that provoked the precocious demise of bossa nova. In Jovem Guarda, Erasmo Carlos was the Tremendão, and shared the hosting with Roberto Carlos and Wanderléa. Many of Roberto and Erasmo's songs became big hits, with "Quero Que Tudo Vá Para o Inferno" becoming the anthem of a whole generation. Carlos' career continued after the end of Jovem Guarda with the recording of many albums and performances; at the same time, his compositions continued to be recorded by many top artists. In 1968, he made his first appearance in film, in Roberto Carlos em Ritmo de Aventura. The same year, he was sued for the corruption of youngsters due to his sensual performances and was prohibited from performing for two years. In the next year, he appeared in Roberto Carlos e o Diamante Cor-de-Rosa and, in 1970, in A 300 km por Hora. In 1972, he was awarded with the Coruja de Ouro award for his performance in the film Os Machões (1971). In 1974, he formed the rock band Companhia Brasileira de Rock with guitarist Liminha, saxophonist Yon, bassist Rubão, pianist Sérgio Kaça, and drummer Dinho. This was followed by a performance in the Hollywood Rock Festival and, in 1985, the historic Rock in Rio Festival in front of 250,000 people. In 1997, he and Roberto Carlos were awarded the Shell prize for the entirety of their works. Erasmo remained active, playing live, re-recording hits, and participating in and contributing to others. In 2001, at the age of 60, he released Pra Falar de Amor, a collection of songs by other songwriters. Its single "Mais um Na Multidão," was a duet with Marisa Monte -- a tune she co-wrote with Carlinhos Brown. A year later, a 40th anniversary box was issued titled Mesmo Que Seja Eu. It contained his entire discography between 1971-1988 as well as a wealth of unreleased material. Santa Música appeared in 2004, and marked his return to all-original material. In 2007, Erasmo Carlos Convida II continued his duets with a host of prominent guests including Monte, Milton Nascimento, Los Hermanos, and Lulu Santos. Two years later, his memoir Minha Fama de Mau was published and his album Rock 'n' Roll was released. The recording was nominated for a Grammy and won Brazil's Album of the Year award. Sexo followed in 2011. Not only was the explicitly themed album regarded as provocative, it resonated with critics for its creativity and boldness, and its support tour won many "show of the year" accolades as well. In subsequent years, live albums and compilations dominated his discography. In early 2017, the U.S. label Light in the Attic simultaneously reissued three '70s albums: 1971's Erasmo Carlos e Os Tremendões, Carlos, Erasmo (1972), and Sonhos e Memórias 1941-1972 (1974). ~ Alvaro Neder................

"Sou uma criança, não entendo nada"
"A lenda de Bob Nelson"
"A festa do corpo lindo"
"1990 - Projeto Salva Terra"
"A experiência"
"Bolas azuis"
"Haroldo, o robot doméstico"
"Por cima dos aviões"
"Negro gato"
"Deitar e rolar"
"Amiga forte"
"Cachaça mecânica"
"Dia De Chuva" (Faixa Bônus)
"O Comilão (Faixa Bônus)


2014) Gigante Gentil • Coqueiro Verde • CD
(2011) Sexo • Coqueiro Verde • CD
(2009) Rock`n`roll • Coqueiro Verde • CD
(2007) Erasmo Carlos convida II • Indie Records • CD
(2004) Santa música • Indie Records • CD
(2002) Erasmo Carlos ao vivo • Abril Music • CD
(2001) Pra falar de amor • Abril Music • CD
(1996) É preciso saber viver • Polygram • LP
(1992) Homem de rua • Sony • LP
(1989) Sou uma criança-Erasmo ao vivo • EMI-Odeon • LP
(1988) Apesar do tempo claro • Polydor • LP
(1986) Abra os seus olhos • Polydor • LP
(1985) Erasmo Carlos • Polydor • LP
(1984) Buraco negro • Polydor • LP
(1982) Amar para viver ou morrer de amor • Polydor • LP
(1981) Mulher • Polydor • LP
(1980) Erasmo Carlos convida • Polydor • LP
(1978) Pelas esquinas de Ipanema • Polydor • LP
(1976) Banda dos contentes • Polydor • LP
(1974) 1990-Projeto Salva Terra • Polydor • LP
(1972) Sonhos e memórias-1941-1972 • Polydor • LP
(1971) Carlos, Erasmo... • Philips • LP
(1970) Erasmo Carlos e os tremendões • RGE • LP
(1968) Cara feia pra mim é fome • RGE • Compacto Duplo
(1968) Para o diabo com os conselhos de vocês/Todas as mulheres do mundo • RGE • Compacto simples
(1968) Erasmo Carlos • RGE • Compacto Duplo
(1968) O maior amor da cidade/Baby, baby • RGE • Compacto simples
(1968) Erasmo Carlos • RGE • LP
(1967) O Tremendão/Bilhetinho • RGE • Compacto simples
(1967) O Tremendão • RGE • LP
(1967) Vem quente que eu estou fervendo/O dono da bola • RGE • Compacto simples
(1967) Caramelo/O ajudante do kaiser • RGE • Compacto simples
(1967) Erasmo Carlos • RGE • LP
(1967) Capoeirada/Nenêm corta essa • RGE • Compacto simples
(1966) Alô benzinho/Sou feliz com a mamãe • RGE • Compacto simples
(1966) Deixa de banca/Você me acende • RGE • Compacto simples
(1966) Você me acende • RGE • LP
(1966) O pica pau/É duro ser estátua • RGE • Compacto simples
(1966) Erasmo Carlos • RGE • Compacto Duplo
(1966) A carta/Gatinha manhosa • RGE • Compacto simples
(1965) Festa de arromba/Sem teu carinho • RGE • Compacto simples
(1965) A pescaria/No tempo da vovó • RGE • Compacto simples
(1965) A pescaria • RGE • LP
(1964) Jacaré/Terror dos namorados • RGE • Compacto simples
(1964) Minha fama de mau/Amor doente • RGE • Compacto simples

Sergio Sampaio "Eu Quero É Botar Meu Bloco Na Rua…“ 1973 Brazil Samba Psych Pop,Folk Pop

Sergio Sampaio  "Eu Quero É Botar Meu Bloco Na Rua…“ 1973 Brazil Samba Psych Pop,Folk Pop

The same city of Roberto Carlos, Sérgio Sampaio had recorded together with Raul Seixas, Edy Star and Miriam Batucada, the disc The Society of the Great Order Kavernista presents Session of the Ten in 1971 and leveraged, the following year, a A great success with the song "I want to put my block on the street", finalist at the International Song Festival - a courageous protest against the military dictatorship, which sold 500 thousand simple compacts. Roberto Menescal, who was artistic director of Philips at that time, hired Sergio, as well as Raul, to join the cast of the label and launch their first solo.

With the production of Raul Seixas and a lot of versatility, Sampaio mixes in this album genres such as blues, samba, choro, bolero, ballad, rock and the ranch of the title track. "Shut up, Zebedee" is his father's samba, the conductor Raul Sampaio and is followed by a song-blast "Poor my father." The final track, a vignette, honors the friend and producer Raulzito.

Although the composer was considered the great revelation of that year, having even received the Trophy Press of Silvio Santos, his disc did not have the expected success. The label "cursed" began there for the now-worshiped poet and composer, reference to countless artists and passionate fans.

For the singer and composer Zeca Baleiro, I Want to Blow My Block on the Street is a great album. Made forty years, but still young and modern ".....................

RIO DE JANEIRO - Cachoeiro de Itapemirim, a city in the state of Espírito Santo, located 139 km from the capital Vitória, is known nationally for being the land of Roberto Carlos. But it is necessary to do justice to another very talented composer who was born by those plagues, in 1947: Sérgio Sampaio .

Son of maestro Raul Sampaio and primary teacher Maria de Lourdes Moraes, he was related to another composer, Raul Sampaio Cocco, his cousin and author of "My little Cachoeiro", a success in the voice of Roberto Carlos. Fan of Orlando Silva, Silvio Caldas and Nelson Gonçalves, Sergio started working on the radio. He had an experience in a prefix of Cachoeiro and even in Federal Clock Radio, there in 1964. But he stayed only four months in Rio de Janeiro.

Determined, he would return to the Marvelous City in 1967, to work on Continental Radio. He resigned to invest in the artistic career and thanks to a force of Raul Seixas, who is presented, he gets a chance on CBS to show his compositions to some artists. He would have songs recorded by Trio Tenderness, "Sun 40 degrees" and "See if you can fix it." But Raulzito, who was a producer on the US record label at the time, convinced Sérgio to record a compact: "Green Coconut", which would later be sung by Dóris Monteiro, was well received on the radio.

In 1970, Sérgio and Raul, with the help of the performative Edy Star and the controversy Miriam Batucada, "commit" the album Society of the Great Order Kavernista Presents Session of the 10 . There is a lot of legend around this record and the main one is that Raul Seixas was sent away from CBS because the work was done without the authorization of the severe director Evandro Ribeiro. It was better this way: Brazil began to know Raulzito better as a singer and composer and Sérgio Sampaio, who shared tracks with the Bahian, also had his chance to affirm himself in the music market.

The way was to look for another record company and in 1972, came the big chance for both. Raul and Sérgio knocked on Philips' door, proposing to register their own compositions with the help of the label at the International Song Festival (FIC). Roberto Menescal made a long talk with Sérgio Sampaio and in the conversation, the composer showed a song that would become a classic. "I want to put my block in the street" was entered, classified and reached the final. But he took nothing. The 1972 FIC champion was "Fio Maravilha", by Jorge Ben (Jor).

Although the song did not take any prize, it was released in compact and rumbled. Sérgio Sampaio's ranch was courageous, a cry amid the dictatorship in which Brazil was buried up to the neck. It was hard times and singing was as dangerous as a simple crowding of people on the street. Any misinterpretation by generals, colonels and censors could mean the death of a song. And maybe even the artist's arrest for inquiries.

Some people say that I slept in a cap
That I lost my mouth, that I ran away from the fight
That I fell from the branch and did not see exit
That I died of fear when the stick broke

There are those who say that I do not know anything
That I am of nothing and do not apologize
That I am not guilty, but that I gave silly
And that Durango Kid almost got me

I want to put my block in the street To
play, to groan
I want to put my block in the street
Gingar, to give and to sell

I, for myself, wanted this and that
One kilo more of that, a cricket less of it.
That's what I need or is not any of this.
I want it's everybody in this carnival ...

I want to put my block in the street To
play, to groan
I want to put my block in the street
Gingar, to give and to sell

In the face of the success of the compact, which sold 500,000 units and made Sérgio Sampaio the MPB revelation, winning the Silvio Santos Press Trophy, in addition to making the song one of the hits of the 1973 carnival, Philips called Sérgio Sampaio to record an LP only his. With production of Raul Seixas, of course. He was a studio musician, composed of, among others, Alexandre Malheiros, Ivan "Mamão" Conti and José Roberto Bertrami, who would form the Azymuth group shortly afterwards.

I want to put my block on the street is a very well recorded album. The instrumental "bed" is not at all due to any production of the time and, versatile, Sérgio bet on a mixture of samba, blues, chorinho, rock and roll and boleros. Not by chance, the album opens with "Leros, leros and boleros" ( Leros, boleros, music in your life ... the dissonant chords are at the root ... ) and soon after "Terror movie", lyrics and music that go back to the time By Sérgio Sampaio as Kavernista.

Today is passing a horror film
In the session of ten, a horror film

I have very attentive eyes
And ears wide open
Who leave the house now
Leave the children with the neighbors

Inside the revelry, a horror film
Lasts a full year, the horror film
And on the street, a sacrifice
In the neck a crucifix
Who dared to leave the house
Pass the latch and close the latch

On the floor of the cinema Empire of Tijuca
The cemetery of Caju
Cemetery of Caju
In the cinema Empire of Tijuca

My blood wells up and blurs with terror.
With whom do you dance and love my love now?

Witches, fears and sighs
Teeth, hair and vampires
Who dare to leave aside
Open your eyes with neighbors

On the floor of the Tijuca Empire cinema ...

Sérgio did not forget a composition by his father Raul Sampaio that he had heard in his teens and brought it to the album, the fun samba "Cala a boca Zebedeu" ( ... I'm going to Rio to watch the Brazilian play ). And shortly after, there came a song in the form of an outburst, "Poor my father."

The rocker "Black Labyrinths" (Exploded the shadow and the party broke ... strange cave ... ) and the beautiful "I am the one who said" ( Sing, talk to me ... before I grow up and show up ... even if I'm not in danger ... I I want you to warm me up this winter ... in this hell ) show that Sérgio did indeed have songs that went beyond his success at FIC.

All its versatility is shown on the B side of the disc, with "Viajei de Trem", which features Raul Seixas; In the great "Do not be afraid not!" ( Soak your feet in the mud and come talk with me ... with me ... cry, forget the drama and come and relieve the friend ... the friend ... ); The beautiful homage to the mother in "Dona Maria de Lourdes"; The samba-choro debauchery "Odete", the title track, hidden there at the end, as the penultimate of the album and a vinhetinha-homage to its 'discoverer' Raul Seixas.

My name is Raulzito Seixas
I came from Bahia
I came to change it here
Toco samba and rock brunette
Ballad and baioque

Despite the eclecticism of the album, the good execution of "Cala a boca Zebedeu" on radio and the repercussion of "I want to put my block on the street", which earned the artist the participation in the Philips Phono 73 festival, the record did not take off . The singer became a "damn" artist, which today is synonymous with cult . With only two other recorded albums besides this one reviewed here in the blog, Sérgio Sampaio disappeared from the media in the end of the 80s, but his successes would return in the voice of other artists in the following decade. When he was ready to return and release a fourth album by Luiz Calanca's label Afnes Afins, he died at age 47 due to pancreatitis.

The Maranhense Zeca Baleiro, who has Sérgio Sampaio as one of his musical references, tried to rescue what would be the 1994 record. Cruel is one of several souvenirs of the artist, who won a biography and musical piece. And that does not deserve to be forgotten..............................

From the biography of Sérgio Sampaio, entitled I Want to Botar Meu Bloco Na Rua, by Rodrigo Moreira Gomes, published in the year 2000, I intend to comment on the first album by this capixaba composer who knew success in the early 1970s and the isolation in the decades of 1980s and early 1990s.

In December 1968, Institutional Act No. 5, AI-5, was enacted, giving full power to General Artur da Costa e Silva to arrest, torture and kill workers, left-wing militants, LGBT and artists. The AI-5 meant an intensification of the Military-Burden Dictatorship instituted in 1964 in Brazil to defeat the workers' movement and guarantee the capitalist interests in the country and in Latin America. From 1968 onwards, it was repression and censorship on an industrial scale for the breakfast of Brazilian families. It's the years of lead in the cellars of police stations. Art must pass through the censor's room if you want to go to the street. Police are specialized critics and artists considered dangerous to the dictatorial regime are arrested, tortured and exiled. The AI-5 disrupted the Tropicalismo, the New Cinema, the Arena Theater, the Oficina Theater, The poetry and the songs of protest. All the radical experimentation that emerged in the 1960s was annihilated or had to adapt to the authoritarian winds of the generals.

With this deep attack, Brazilian artistic production attempted to rebuild itself in the early 1970s under the government of General Emilio Garrastazu Medici, one of the periods of greatest repression and censorship in the country's history. In this absolutely gray and intolerable scenario emerges a new generation of musicians and composers like Jards Macalé, Luis Melodia and Sergio Sampaio. Quite influenced by Tropicalism and counterculture, they are called post-tropicalists.

Sérgio Sampaio was a drop-off, a dissatisfied young man who at the end of 1967 left his family, his job and the Holy Spirit and went to try life in Rio de Janeiro. Like thousands of young people at the time, he wanted to get out of the system, pick up that old ship and roll around in the sand dunes. In the capital of Rio de Janeiro, the poor young composer lived in precarious pensions and student republics where he met leftist militants, hippies and thieves. He witnessed the student movement fight and be repressed by the police in the center of the Marvelous City. By day radio broadcaster and poet night, Sampaio would climb the Morro da Mangueira or play his guitar in the taverns. Sampaio begged and slept on the sidewalk.

With the help of Bahia singer-songwriter Raul Seixas, then a music producer, Sérgio Sampaio was hired as a musician by CBS in 1971. Raul encouraged his production and presented him to the artistic universe of a major label. In 1972 he inscribed the song I Want To Put My Block On The Street At The International Song Festival. The song was applauded by the Maracanãzinho bleachers, but since the Festival was strangled by the repression organs, the songs with political content were eliminated, and the Sampaio Block, although not a typical protest song, Air that he wanted to explode in the streets. The song was not successful but it turned out to be a hit with 500,000 copies sold and huge execution on the radios.

Sérgio Sampaio is now being sought by directors and producers. Overnight he started making lots of money. From the sidewalk to the Program of the Chacrinha and this made him goofy. What do these culture entrepreneurs want with a young, popular composer? Why so many compliments and pat on the back? How much do TV labels get on these plays? Sérgio Sampaio did not want to be used by the music market. Distrust, success, money, a lot of drugs and despair, Sérgio Sampaio was not able to manage his career according to the commercial etiquette.

Success brings expectations and charges. The Philips label was expecting another success such as Block and proposed the recording of an LP. With the production of Raul Seixas and support from the band Azymuth, Sérgio Sampaio recorded his first album titled Eu Quero Botar Meu Bloco Na Rua in 1973. The album brings the young composer with an intense and visceral poetry in a climate of State Terror, an economic miracle for The rich and suicidal exasperation.

In the first track, Leros, Leros and Boleros, the music, the dissonant chords, tangos and other delights are in the root of hair, in hell, in your farewell smile. Why are so many people laughing at a time of missing people and murders? Brazil won the 1970 World Cup in Mexico and served as a backyard for the auto industry. Happy the country of the tortures.

Movie of Terror, second track of the album, a metaphor of the Medici government where the blood flows and one must have very attentive eyes and open ears. Whoever leaves the house leaves the children with the neighbors, passes the lock and closes the latch. Inside the revelry has a horror film, ended the tropicalist party illuminated by the sun. Now it's cine and cemetery.

Shut up, Zebedeu, by Raul G Sampaio, the third song on the album, presents a determined woman who does not accept her husband's demands and decides to go to Rio de Janeiro.

Poor My Father, the fourth song of the LP, speaks of childhood and youth that does not accept the suffocation of the Home Sweet repressive Home of the traditional Brazilian family. It portrays the paternal figure who watches dinner and breaks the young glass hearts. Patriarchalism, fear, fear, fear.

Black Labirintos, fifth track, a dreamlike landscape with modern city buildings that hide labyrinths that imprison those who wait for the driving. Something strange hides the shadow under bare feet. On the asphalt on the broad avenue the labyrinths spread gray clouds of hopelessness.

I am the one who said, sixth track, with the days counted and hands on the head. The young composer wants the beasts loose in front of the table and the dogs loose in the parks. Even though he is not in danger the poet asks for shelter in this hell of disappeared and commercial successes.

Traveled from Trem, seventh song from the album is a bad trip lyrical by Brazil of nationalist slogans and songs. An atmosphere of danger and unknown ways.

In the eighth track, Do not be afraid, no! (Rua Moreira, 65), the singer asks if it is possible to forget the drama. The bar is heavy and can relieve, or not. The poet lives far away and may not arrive, not return.

Dona Maria de Lourdes, ninth track, in full economic miracle for the automakers, Sergio Sampaio sings the cars that invade the simple city while the people drag. Hidden flowers, the audience applauded but beware of the front door. The audience applauds but in the streets if you run the handle and if you stay the animal eats.

In Odete, the tenth song of the disc, the poet gets mad and hoarse from gnawing at neck meat from an old time. How wonderful! Banking and automobiles.

The eleventh track I Want To Break My Block On The Street is the hit that filled an entire generation suffocated by AI-5 and the Medici government. The desire to explode in the streets, to scream.

Raulzito Seixas, the last song of the album is a tribute to the friend and singer who came from Bahia to modify the musical scene with their rock, ballad and baião.

The result did not please Philips. There were some serious problems surrounding this work and this young singer. The album did not reach sales expectations, did not bring another millionaire hit as I Want to Put My Block On the Street and Sérgio Sampaio did not adapt to the promotional tactics for the promotion and promotion of LP. For some, Sérgio Sampaio played a successful career in the drain, for others, was another artist who did not accept the fool of the Cultural Industry and paid an expensive price for it.

Called damn by the record companies and TV stations, it has entered the list of the disaffected ones. In the leaps, bar and ravines recorded three simple compacts between the years 1974 and 1975. For the record company Continental launches in 1976 its second LP titled It has to happen, critical success but another sale fiasco. Sampaio does shows in small theaters and bars. In 1977 it launches another simple compact by Continental and in 1982 it releases the album Sinceramente, with independent production.

The music market wanted something cheerful and easy. Sergio Sampaio, who was crooked, very crazy, but not stupid, was devoured by the entertainment wolves, set aside in a jungle without a dog because he did not want to become another Dr Paxeco of the reformed and starched MPB in the Hebe or Faustão Program. He did not have the dollar sign in his eyes, and the market is cruel.

In the early 1990s, the period of great defeats of the working class and a huge advance of neoliberalism, Sérgio Sampaio tried to escape from his musical exile with some shows and possible releases, but his health was greatly weakened by the excesses of alcohol. On May 15, 1994, his body was buried in the São João Batista Cemetery, in Botafogo, Rio de Janeiro. ..................

Acoustic Guitar – Piau, Sérgio Sampaio
Arranged By – Zé Roberto*, Raul Seixas, Sérgio Sampaio
Bass – Alex Malheiros
Drums – Ivan Conti Maranhão*, Wilson Das Neves*
Guitar – Piau
Keyboards – Zé Roberto*
Producer – Raul Seixas
Vocals – Sérgio Sampaio
Vocals [Uncredited] – Raul Seixas (tracks: B5)
Written-By – Maestro Raul G. Sampaio* (tracks: A3), Sérgio Sampaio

Lado A
1. Leros e lero e boleros (Sérgio Sampaio)
2. Filme de terror (Sérgio Sampaio)
3. Cala a boca Zebedeu (Raul Sampaio)
4. Pobre meu pai (Sérgio Sampaio)
5. Labirintos negros (Sérgio Sampaio)
6. Eu sou aquele que disse (Sérgio Sampaio)

Lado B
7. Viajei de trem (Sérgio Sampaio)
8. Não tenha medo não (Rua Moreira 65) (Sérgio Sampaio)
9. Dona Maria de Lourdes (Sérgio Sampaio)
10. Odete (Sérgio Sampaio)
11. Eu quero é botar meu bloco na rua (Sérgio Sampaio)
12. Raulzito Seixas (Sérgio Sampaio)

Lula Cortês e Zé Ramalho "Paêbirú: Caminho da Montanha do Sol" 1975 Brazil Psych Freak Folk Rock,Experimental.

Lula Cortês e Zé Ramalho "Paêbirú: Caminho da Montanha do Sol" 1975 mega rare Brazil Psych Freak Folk Rock,Experimental....recommended...!
This album is considered as the MOST IMPORTANT of the Brazilian Psychedelic movement called "Desbunde Nordestino". It's TOP MEGA MEGA RAAAAAAAAAARE – There are only 300 copies worldwide!!! It's a CREAM of Brazilian Psychedelic!The album is divided between Terra, Ar, Fogo, Agua (Earth, Air, Fire and Water). One element to name each of the four sides of the double LP.It mixes Fuzz guitar with Brazilian percussion like Berimbau, Atabaques 
and Tricordio (a Popular Morocco Sitar), Acoustic steel guitar, effects and voices.A spatial sound mixed with Brazilian northeastern regional. Experimental recording techniques!
Acid trips grooved with traditional plenty of melodies using Mixolydian, Mixo #11 and Dorian modes / scales."Paêbirú is the rarest LP from Brazil. This concept masterpiece takes you to an acid trip into the Brazilian rain forest. Full of sounds, acoustic instruments and heavy fuzz guitar. If you like Ceremony from Japan you'll love this one".......................

Paêbirú, (Peabiru or Paêbirú: Path of the Mountain of the Sun) was launched in the year 1975 by Lula Côrtes and Zé Ramalho. The disc contains a great miscellany of musical genres as the psychedelic rock, jazz, and regional rhythms of the Brazilian Northeast. It was one of the first undeclared records of Brazilian psychedelia. The album is today the most commercially valuable vinyl in Brazil. Well preserved, a disc of the original edition is worth around 4 thousand reais. It was reissued in 2005 on vinyl and CD in Europe by Mr. Bongo label. It was only re-released on CD in Brazil in 2012.....................

My tip today is about the psychedelic sound of the Brazilian Northeast: "Paêbirú - Caminho da Montanha do Sol" - Double LP by Lula Côrtes and Zé Ramalho released in 1975 and recorded at the studios of Rozemblit in Recife, well before the Paraiba Zé Ramalho become one of the biggest icons of our music.

"Paêbirú", is considered one of the LPs (vinyl record, known simply as vinyl, or even Long Play) the most expensive in Brazil, costing more than 3 thousand reais. LP became a rarity among collectors around the world after a flood that hit the record company heavily, exterminating all the material that existed inside. Whoever had already acquired the disc, today has a cultural fortune in hand and can trade for a very good value.

The disc is divided into 4 parts: Earth, Air, Fire and Water. In the recordings, several musicians left their marks, such as Robertinho from Recife, Paulo Rafael, Jarbas Mariz, Geraldo Azevedo, Alceu Valença, Zé from Flute among others. Today we can hear "Paêbirú" through the Internet, but having the LP in our hands is an incredible sensation.........................

Zé Ramalho dismisses the matter. But how to ignore the superb monolith, standing in the midst of the agreste, carved with hieroglyphs in low relief, the work of native peoples of the pre-Cabral era? "Paêbirú - Path of the Mountain of the Sun". The first record of the Voice of Darkness. Legend greater than that of the populace, who shortened it into a mere program boy. Paêbirú! Moroccan rhinoceros and Northeastern 12-string guitar. Organ Farfisa and saxophone. Alceu Valença pre-Cambrian, co-operative gargling prayers in illicit transes.

While punk rock smudged ears from around the world, subduing the sixties psychedelic, Paêbirú was born and raised in 1975. Hippie bulge embedded in the northeast lysergic. A double LP of single press, 1300 copies. Of these, along with the master tape of the recording, a thousand were taken by the flood that submerged the Recife in the same year of the launch. Those that remained, 33 springs after, are worth four thousand reais. The most expensive discs of the Tupiniquins. If Zé Ramalho does not pronounce himself, for Lula Cortes Paêbirú is an open book. And who is Lula Cortes? Multifaceted artist who has signed this masterpiece with two hands.
An artisan, named Raul Córdula, summoned the then young Ze and Lula to rip the dry trail from Ingá do Bacamarte, 85 kilometers from Joao Pessoa, towards the Ingá Stone. The mysterious monolith, adorned with representations dating from three to six thousand years, is, according to local folklore, a record of the passage through the entity Sumé. After colonization, to dilute indigenous values ​​in Catholic dogmas, Portuguese missionaries sanctified Sumé, renaming it São Tomé.

Legends also say that the entity, after leaving the northeast, headed for the Mountain of the Sun. The extirpated meaning of the Tupi-Guarani gives its name to the disc: Paêbirú, literally, is the Way of the Mountain of the Sun. It is not a daydream nor a creed. According to researches of historian Eduardo Bueno, there was the 'corruption of an extension' of the Inca Trail that linked Cuzco to Quito. Enough to hypnotize Zé Ramalho and Lula Cortes, leading them to crash in the studio to record the damn album.

"Mercury / Venus / Earth / Mars / Jupiter / Saturn / Uranus / Neptune and Pluto ... a lunar traveler who descended on a laser beam ... and, with his red beard, drew the Stone of the Inga." The track Track of Sumé sums up in thick modes the poetic content of the album, almost all instrumental. A sudden psychedelic, with a powerful bass line, interspersed with jazz sax and drums, guitars, drums, flutes, pianos, guttural noises, which serves as a compass to locate us on the four sides of the LPs, named Terra, Air, Fire and water. Everything under the watchful eye of the filmmaker and then companion of Lula Côrtes, Kátia Mesel, that recorded in Super 8 the comings and goings to Stone of the Ingá to look for inspiration. And there were not only three, there was Fred Mesel, Katia's brother, clicking on the tours with infrared film,
Then came the flood ... A thousand LPs flocked to ostracism. The survivors swam to the high shelves of the talons, where they are "Tim Maia Racional" and "Roberto Carlos - Crazy For You". Zé Ramalho fell silent. Lula Côrtes gets drunk on nostalgia. The Ingá Stone remains imposing. Sumé watches everything, wherever he is..............................

On December 29, 1598, the soldiers led by the chief captain of Paraíba, Feliciano Coelho de Carvalho, impaled Potiguar Indians when, in the midst of the caatinga, in the diapers of the Serra da Copaoba (Plateau de Borborema), an imposing record of ancestry Prehistoric army imposed itself on the troops. On the banks of the dry bed of the Araacoajipe river, a huge monolith revealed, to the stupefied recruits, strange drawings carved in the crystalline rock. 

The rock panel was on the inner walls of a cave (formed by the overlapping of three rocks), and displayed, in low relief, characters left by a long extinct culture. The signs were grouped with representations of spirals, crosses and circles carved, too, on the lower platform of the rocky shelter.

Concerned with the discovery, Feliciano ordered a thorough measurement, ordering all characters to be copied. The occurrence is described in Dialogues of Quantities of Brazil , work published in 1618. The author, Ambrose Fernandes Brandão (for whom Feliciano Coelho entrusted his account), he interpreted the symbol as "figurative of things to come." Make no mistake about it. The French priest Teodoro de Lucé discovered, in 1678, in the territory of Paraíba, a second monolith, when he went on a Jesuit mission to the camp of Carnoió. His reports were recorded in Relation of a Mission of the São Francisco River , written by the Friar Martin of Nantes, in 1706.

In 1974, almost 400 years after the discovery of the chief captain of Paraíba, such "symbols of things to come" would return. This time, in the shape and rounded silhouette of a vinyl record. The most ambitious and fantastic psychedelic incursion of Brazilian music - LP Paêbirú: Way of the Mountain of the Sun , recorded from October to December of that year by Lula Côrtes and Zé Ramalho, in the studios of the recipe label Rozemblit.

Telling the story of the album, far from the amalgamation of people, sound strands and especially the so-called Ingá Stone that inspired it, is impossible. Ironically, the original LP of Paêbirú also became an "archaeological find", just like the stone, 33 years after its release. The stories about the production of the record, such as shipwreck in the flood that submerged Recife in 1975 and, finally, was saved, are fascinating.

The press of Paêbirú was unique: 1,300 copies. A thousand of them, literally, went downhill. The calamity took along the master tape of the disk so that the tragedy was almost complete. Miraculously to the saved were only 300 copies. Well preserved, the original Paêbirú vinyl (the English label Mr Bongo reissued it on vinyl this year) is currently valued at more than R $ 4,000. It is the most expensive album of Brazilian music. It overrides, in monetary (and sonorous: it is debatable) parameters, the "unattainable" Roberto Carlos. The bitter King second place with Crazy for You , the first of his career, rated at half the price of the "eccentric" Paêbirú .

The expedition in the trail of the mysteries and fables of Paêbirú begins in Olinda (Pernambuco). The Brazilian artist Raul Córdula receives me in his studio. On the wall of the historic sobrado, a pictograph snake snakes in the picture painted by him. The insignia was decalcada of the same inscription that, millennia, remains carved in the Stone of the Ingá.

In the same year of Crazy for You, 1961, geography professor Leon Clerot presented the monument to Córdula. The teacher had made the invitation: "Follow me, and you will see something you will never forget." A decade later, in 1972, Raul Córdula became friends with José Ramalho Neto, the young Zé Ramalho da Paraíba. The countrymen met at the Asa Branca bar, which Córdula had in the capital, Joao Pessoa: "The only bar that was open in the whole of Paraíba after eight o'clock in the evening, on the basis of 'mensalão' paid to the police." The Zé Ramalho composer, attests, was born in Asa Branca.

Córdula wanted to show Ramalho "something he knew", and organized a trip to the municipality of Ingá do Bacamarte, a town formerly known as Vila do Emperor, because of the passage of Dom Pedro II there. Ingá do Bacamarte's location is 85 km from João Pessoa, a coastal caatinga, in the transition zone from Agreste to Sertão. To "make the trip", Córdula also invited the recifense artist Lula Côrtes - a young man who had lived many adventures. But that one, proposed by Raul, not yet.

No surprise was the guide to the fact that Côrtes and Ramalho were as amazed by the rock as the expeditionaries of the commander of Paraíba. The charade carved on the stone wall gave them the provocative challenge: how would they decipher such arcana - never understood and so majestic - in a song that, if it did not encode, should at least tax the remote Brazilian ancestry? It was the spark that had burned ideas. Camped in the caatinga sertaneja, face to face with the Stone of the Ingá, Ramalho and Côrtes decided for the production of a "conceptual album".

The only way to get to know Lula Côrtes is to visit him in his habitat: the studio in Jaboatão dos Guararapes. "The Homeland Was Born Here," discloses the huge plaque on the border with the capital, Recife. The apartment where he lives, paints and composes with the current band, Bad Company, has a frontal view of the Atlantic Ocean.

It is in the first handshake that Côrtes makes clear who he is: "indomitable spirit". Let go of the phrase to think: "The sea and I have been a thing only since I was a boy." At age 60, his voice is deep and roufenha. The white head, one day clothed with black Moorish hair. And the lean, but resilient, physique remembers the obstinate man of The Old Man and the Sea. Lula has Ernst Hemingway's old man, however, as "too much altruist." Most impressed was the Nietzschean captain Lobo Harsen, from The Sea Wolf, Jack London's novel. London's maritime archetypes, in fact, are more in tune with him: "I was born at the seashore, and he awakened me to the fulfillment of his fantasies," he remarked jubilantly.

It is this man who continues to narrate the most homeric journey of his life, so far: the conception of the album Paêbirú. Guided by his older partner, Raul Córdula, Zé Ramalho and Lula Côrtes, new friends, they soon realized the fantastic mystique that the inscriptions of the Stone of the Ingá exerted on the population near the archaeological site.

It was through the architect, nowadays filmmaker, Kátia Mesel, his companion at the time, that Lula Côrtes came to know Zé Ramalho. Together, the couple opened the label Abrakadabra, pioneer in the production of independent music in Brazil. The "seat" of the seal was on the premises of a building belonging to Katia's father, who, in times of slavery, had been a slave quarters.

To dive into the production saga that was Paêbirú, it is obligatory before we talk about the simplicity of the Satwa instrumental - the album managed, a year before, by Côrtes and the guitarist Lailson de Holanda.

It is the début of the seal Abrakadabra. Lula makes the sound debut of his popular Moroccan zither, the tricordium, an instrument he had brought from his recent trip to Morocco with Katia. In Satwa, Lailson's 12-string Northeastern guitar dialogues in perfect readability with the oriental language of Lula's tricord. It is probably the finest meeting between folk and psychedelia recorded in Brazilian music.

Lailson, an award-winning cartoonist, translates: "Satwa is an expression of Sanskrit: it means 'interface and balance'". In 2005, the North American label Time-Lag Records reissued Satwa, from the original master. Only the name, in fact, has been remodeled: Satwa World Edition. As expected, the edition ran out like magic.

After Satwa, Lula had improved his musical conceptions. He was fit for the great project he had been planning with partner Zé Ramalho since his visit to the "enchanted stone". They did not waste time and invested in serious research in the immediate vicinity. They hunted the local, folk, mythological interpretation about the admirable monolith written.

In the vicinity lived a group of Cariri Indians. The musicians went to them, behind the peculiarity of their type of music. Listening, they discovered that the traits of an African culture had merged with the sound of the natives.

Based on archaeological records, Zé Ramalho and Lula Côrtes agreed that from that point on, there would be a road, starting from São Tomé das Letras (where there are records of the same rupestrian writing traced in the Pedra do Ingá) and leading to Machu Picchu, in Peru. The trail that the Cariris called "Peabirú".

Getting to the mystical Stone of Ingá, nowadays, is easy. Following BR 101, in the Recife - Paraíba stretch, traffic conditions are permissible, even without duplicate route. By the federal highway, the small localities are intersecting: Abreu and Lima, Goiana, Itambé, Jupiranga, Itabaiana, Mojeiro. Tombada by the Institute of National Historical and Artistic Heritage (Iphan), the Stone of Ingá (Pedra Lavrada, or Itaticoara) is one of the most archeological sites in the world. The archaeologist Vanderley de Britto, of the Paraibana Society of Archeology, already awaits, on the spot, my arrival.

According to him, the inscriptions originate from prehistoric societies, natives previous to those found in Brazil by Europeans. "Certainly, these engravings," he says, pointing to the immense rock panel, "are the work of priests or pajés." They were aimed at magic-religious rituals that aimed at tribes, "Brito explains, with his proficiency.

Near the stone, without having to touch it, the archaeologist continues his explanation: "The representations record the magic song solved by the priests in the ceremonies," he preaches. The stone, in the opinion of the archaeologist, would be, for the natives, a "means of communication" with the gods (or goddesses) of nature. The estimate of science is that the recordings are already there about three to six thousand years. "Exact dating is not possible, because the monolith is in the middle of the creek," clarifies the professor. Vestiges, left by the engravers, when carving the stone, were dragged in the crossing of the waters of the old Araçoajipe.

Dinosaurs, the archaeologist also confirms, inhabited the region. The probability - not prosaic - of bathing in the stream that, on any given day of prehistory, a tyrannosaurus rex had taken cubic meters of water, now passes from journalism to an adventure which I am obliged to put into practice.

The water is lukewarm. The feeling, creepy. "Large animals, such as laziness and giant armadillos, in the Mesozoic period, inhabited the region: mastodons, native horses and other mega-animals also circulated here," he recalls. Submerged in the tepidness of the placid prehistoric stream, a time tunnel inside my head made the imagination wander through archaic worlds missing in the temporal vastness.

Facing the sea, Lula Côrtes likes to believe in the interplanetary epic narrated in "Trail of Sumé", the opening of Paêbirú. "The recordings in the Ingá Stone were made with a laser beam," said the artist, who hummed the introduction of the music, the alignment of the planets: "Mercury / Venus / Earth / Mars / Jupiter / Saturn / Uranus / Neptune and Pluto" . The following verses sing the saga of Sumé, "a lunar traveler who descended in a laser beam and, with his red beard, drew the stone of Ingá."

At every discovery they made with their explorations, Cortes and Ramalho noted, in the variety of legends, that they were all about Sumé - mythological entity that would have transmitted knowledge to the Indians before the arrival of the colonizers. "All the signs lead to Sumé. Even the palm trees of the region, there, are called 'Sumalenses," says Lula.

In order to "liberate" the Indians from pagan belief, the Jesuits pontificated Sumé as "sanctity": it became São Tomé. This explains, in the Northeast, the fact that many villages were baptized from São Tomé. "Here is the place of São Tomé ! ", The priests used to announce, when arriving in a new region.

In Paraíba, there is a town called Sumé. "Whoever Sumé was, what is more known, however, is that a lot of them have been around," laughs Raul Córdula. In spite of Catholic evangelization, the memory of indigenous Sumé is still alive throughout the Northeast.

The indigenous belief says that when the pacifist Sumé left, expelled by the Tupinambas warriors of those lands, left a series of trails carved in stones in the middle of the way. The Indians believe that Sumé would have gone from north to south, kills in, unveiling the millenarian trail "Peabirú" - in Tupi-Guarani, "The Way of the Mountain of the Sun".

The historian Eduardo Bueno, who spent years of his life "summering" on the beach of Naufragados, in the south of the island of Santa Catarina, tells that he learned of the trail reading the adventure of Aleixo Garcia, who, after living on that beach, Had been informed of the existence of an "indigenous road" leading to Peru.

After many rainy summers contemplating the place where the brave Garcia had left on his epic journey, Bueno decided to accompany him - but in his mind: "I immersed myself in all the sources that brought accounts of his trip. , Contradictory among themselves, were of the best quality. " The most interesting summary in history, he says, is what defines Peabiru as "an extension of the majestic Inca Trail that linked Cuzco to Quito and, in turn, another corruption - from 'Apé Biru'". In Tupi-Guarani, Apé means "camino", or "trail", and Biru is the original name of Peru. Therefore, Peabiru would mean "Road to Peru".

There were three main beginnings of this path: one from Cananéia (south coast of São Paulo) and another from the mouth of the Itapucu river, near the island of São Francisco do Sul (north coast of Santa Catarina). A third exit from Praça da Sé, in São Paulo, followed Rua Direita, it was in Praça da República, up to Consolação, down to Rebouças, crossed the Pinheiros River and ... arrived in Peru. "I wonder why they robbed us of the pleasure of enjoying this story in high school," jokes Bueno. "Come to think of it, that was not the only pleasure they stole from us, was it?"

Often sought, Zé Ramalho declared that "he does not want to talk about the subject of Paêbirú" - for him, closed. In some interviews, however, he compared Paêbirú to Tropicália. One of the comments is about the handmade way, "as if sewn by hand", that the album was made.

Acting a "commented hearing" of Paêbirú in the workshop of Lula Côrtes. While patiently painting the picture of a lighthouse, he explains to me how they made possible (and viable) the ingenious recording of the album. The album - double - is divided into four sides, according to the elements Earth, Air, Fire and Water.

In "Terra", the result "telluric" was achieved with drums, flutes in sun and do, congas and alto sax. "We simulate, with onomatopoeias, 'birds of the sky', 'birds in flight' and we add the berimbau, besides trichord," he says. Contrary to the practice of "empty inserts", the range of instruments used is described in the data sheet of Paêbirú.

Studio effects, no thinking: "There were only people, voices and instruments," comments the artist. Certain effects, such as the ripping of a coconut leaf, for example, many thought to be electronic.

On the "Ar" side, in addition to "conversations", "laughter" and "sighs", harps and violas were selected for songs such as "Hares Harp", "There Is No Wet Like a Prank" and "Omm". In "Water", the songs have sound background of running water. On the same side, African songs, praises to Iemanjá and other representative entities of the element. In the most dancing, the lysergic baião "Pedra Templo Animal", Lula Côrtes plays "marine horns". Zé Ramalho pilots the okulele.

"Fire," as the name warns, is the incendiary facet of Paebiru. The most rocky one too. Thunderous sounds come in: the distorted wha-wha of the tricorion and the psychopathy of the organ Farfisa in "In the Walls of the Enchanted Stone". "Raga dos Rios" is conserved, more than 30 years later, as the best piece of fuzz guitar recorded in the national rock: "Electric guitar & nerve of Dom Tronxo", says the technical file. Where will Dom Tronxo walk?

The sophisticated insert of Paêbirú is the work of Katia Mesel. In addition to being a designer, she made the executive production of the album. "There are more than 20 people playing on the album - basically the whole scene from Pernambuco and much of the Paraíba," the filmmaker lists.

The record only worked, in Katia's opinion, because it was done with the soul and the creativity loose. "In a two-channel studio, baby?" It was playback playback playback! "We were comforted:" If the Stones recorded in Jamaica on two channels, why do not we? " In 'Trail of Sumé', Alceu Valença plays comb with cellophane paper. [The disc] has these refinements, "he jokes.

It was Katia's zeal, in fact, that secured the rescue of 300 copies of Paêbirú from the flood of 1975. She had retained part of the run in the House of Beberibe, where the couple lived - the environment in which many songs were gradually taking shape . "Fortunately, I had left the discs upstairs. These are the ones that are worth a fortune all over the world today," says Katia.

At that time, Ramalho practically lived with the couple in the Casa de Beberibe. The graphic design of the album was obtained after many trips of the trio to the Stone of the Ingá. In fact, a quartet, since Katia's brother, the photographer Fred Mesel, was traveling along on some trips. "I would shoot in Super 8 and Fred would take pictures of the rock with infrared film," she says. The photographic technique explains the blue-citric tonality of the cover and the inner part of Paêbirú.

Special attention was given to the technical file. In the central insert, photos of all the people who participated in the recordings. A detail is that all the titles were assembled by hand, one by one, in letter set. The difference is that, by this time, Katia was more experienced: in addition to Satwa, he had also produced the art of Marconi Notaro's only album, In the Sub Kingdom of Metazoans (1973). "To launch Paêbirú, we created the Solar seal," he adds.

The psychedelic substances, of course, were very important during the compounding process. For Lula Côrtes, however, it is possible to feel shamanism emanating from the rocky monument just by being close to the Ingá Stone: "We ate mushrooms more like 'poetic mental license'," the artist justifies.

Crosby, Stills and Nash, T-Rex, Captain Beefheart, Grand Funk Railroad and The Byrds were the bands most heard by the group at the time. By the mid-1970s glitter rock make-up was already blurred, and in the United States, punk seed popped into the dirty holes of New York. The disco music rehearsed the first steps of dance. Psicodelia, in the world, was an outdated thing: it encapsulated itself in the remote 1960s.

Ze da Flauta was 18 when he met Lula and Katia. At the height of the repression, the House of Beberibe was the temple of freedom and counterculture. "I learned a lot about art and talked about everything, even if I smoked a lot of marijuana," confirms Ze. He played sax on the vigorous "In the Walls of the Enchanted Stone". "I will never forget, for that matter: it was the first time I went into a studio and recorded professionally as a musician."

Another one that had "participation lightning" was the paraibano Hugo Leão, the Huguinho. It came from bands The Gentlemen and the Four Crazy, in which Zé Ramalho played the guitar. Ramalho called him to participate as a keyboard player for the "daring project". His performance was immortalized on the album. His are the organ riffs Farfisa in "In the Walls ..."

To assume the battery, Ramalho recruited Carmelo Guedes, another partner of his in the Gentlemen. The magic, recalls Huguinho, began as soon as they entered the studio. The bases were created at the time, as if in a scare: "I got a bigger tone: Mi!" The dream began, the secrets of the Ingá Stone finally seemed to be unraveled.

On my journey, I continue to the capital of Paraíba. In Joao Pessoa, Telma Ramalho, Zé Ramalho's younger cousin, says she does not forget a pre-teen passage: her mother, Teresinha de Jesus Ramalho Pordeus, a history teacher, was talking to her nephew in her office: "Ze She remembered the 'Pedra Templo Animal' and 'Trail of Sumé', the most pop, 'amuse myself' .

Another memory is to have presented a replica of the Stone of the Ingá in the science fair of the college. The soundtrack was Paêbirú. "I took the vitrolinha and I put it to roll." Telma makes the blunt revelation: "I had Paêbirú boxes at home, a true cultural and financial fortune."

For Cristhian Ramalho, son of Zé Ramalho and godson of Lula Côrtes, Paêbirú also has special meaning: "My father would take me to the Stone of the Ingá as a child, he would go to find inspiration." Undoubtedly, says Cristhian, Paêbirú and the Stone still exert influence over his work. "In 1975 he wrote a very beautiful poem, which says: 'I come from one of these rolling stones.' There was, on his part, a great mysticism involved in my arrival," says the son proudly.

One of the people who, at the time of the release, bought the album was the architect Terêsa Pimentel. At age 14, in 1974, she was not sure what she was looking for in her life. Despite this, he knew "what he did not want". "We heard the locals: Ave Sangria, Marconi Notaro, Flaviola & Bando do Sol, Aristides Guimarães, the 'udigrudi' northeasterner.I sold my Caloi green-water bike to buy Paêbirú.Today, I am happy to have sold the bicycle and to have a teenager In that atmosphere, "he says. Teresa is the sister of the musician Lenine, whom Lula Côrtes presented with his last copy of Paêbirú a few years ago. "To get some samplers," says Lula.

From Jaboatão dos Guararapes, Lula and I headed to the house of Alceu Valença, in the historical center of Olinda. Lula knocks on the door of the big house. Party when Valença crosses the large lobby to greet Lula, old partner in Wet Sweat, one of his first records.

"We played 'Danado para Catende', which later became 'Catende Train'," Alceu says. "Until then Lula only composed, but he did not sing. I made the head of Ariola's people: 'The guy is the best!' At the record company, no one had the slightest idea who the guy was, let alone who did something like Paêbirú. "

They knew, however, when Lula Côrtes' album Gosto Novo da Vida was awarded as "the best selling of the year for the Ariola label" in 1981. In three months it sold 32,000 copies. Then it got its reprint stuck because of a lawsuit filed by Rozemblit, which alleged plagiarism in a song.

"He was the first artist I saw smoking on stage at the João Alcântara Theater," says Alceu.

They both laugh. Lula lights a cigarette.

"I participated in Paêbirú. I screamed there," summarizes Alceu.

"It was in the prayer of 'There Is No Wet Like a Prank'," Lula amended.

"Rozemblit's studio had wonderful acoustics, it was the most natural environment possible: I arrived and went to lie down in a corner, the band was playing, sleepy, I stretched: 'Ommmmmmmm ...'."

"It was like a mantra. When Alceu started, everyone came back and did not stop," concludes Lula.

It is in this "free spirit" tradition that Paêbirú was realized. In the homonymous text - a typed rarity found only inside the surviving LPs of the flood and written after the ingestion of mushrooms picked in the middle of the way - Lula Côrtes gives us one last idea of ​​the great adventure that was Paêbirú: "We hunted the past, And the hearts filled with hope with that vision.The path that we had left behind was that of the Stone of Fire, another small cluster with almost no chance of life.We are very scarce.We talked about the stones.And along, On the horizon, the silvery loin of Borborema draws light curves demonstrating its immense age.The natives had maps on their faces, the sun cracked their lips as the earth cracked, The hard, sharp stones that hindered the walk hardened their laughter. The information seemed to be correct. We find the stream and follow the direction. The water was clear and quite salty. Unreality took hold more and more of our bodies and minds, and all the legend that filled our ears until that day seemed to bloom all. " Bastos..............Rolling Stone....

Paêbirú (Peabiru or Paêbirú: "Paêbirú: Caminho da Montanha do Sol" , a road that extended for more than one thousand and two hundred kilometers of the Brazilian coast from the Atlantic Ocean to the Pacific Ocean) is a Brazilian album released in 1975 by Lula Côrtes and Zé Ramalho. The disc contains a great miscellany of musical genres as the psychedelic rock, jazz, and regional rhythms of the Brazilian Northeast. It was one of the first undeclared records of Brazilian psychedelia. The album is today the most commercially valuable vinyl in Brazil. Well preserved, a disc of the original edition is worth around 4 thousand reais. 
The main inspiration of the musicians in the creation of the disc was the Pedra do Ingá, located in the municipality of Ingá, in the interior of Paraíba, which is today one of the most significant archaeological monuments in the world. 
During the creation of the album, the variety of legends about Sumé - mythological entity in which the natives believed before the colonization - inspired beyond the opening track, several passages of the album. Other important entities of the Brazilian culture like Iemanjá are also mentioned in the c.mputer 
This is a double vinyl record with eleven tracks. They are compositions by the musicians themselves, Lula Côrtes and Zé Ramalho. Among the musicians who contributed to the recording of the album are the renowned Alceu Valença and Geraldo Azevedo. 
The album had a single press of 1,300 copies. Of these, around 1000 were lost in a flood that occurred in Recife in 1975. Along with the missing copies, the master tape was also destroyed. This is why one of the 300 copies that have been saved, has an average commercial value of 4,000 reais, overrunning Crazy for You by Roberto Carlos. 
The graphic part of the disc was by Katia Mesel, then wife of Lula Côrtes. The booklet and cover was the result of several trips to the Ingá Stone. 
It was reissued in 2005 on vinyl and CD in Europe by Mr. Bongo label. It was only re-released on CD in Brazil in 2012. 
The double disc is divided into four sides, and each is dedicated to one of the four elements of nature: Earth, Air, Fire and Water, respectively. In addition to the long psychedelic instruments, and regional rhythms, synthetic sounds were also added parallel to the theme of the sides. 
On the "Earth" side, the results were achieved through instruments such as drums, flutes, congas and high sax. Effects like birds in flight were also produced, but not electronically. Other typical instruments such as the berimbau were also used. 
On the "Ar" side, conversations, laughter, and sighs were introduced, as well as harps and viols. 
"Fire" is the heaviest side of the album, where rock and psychedelia are in evidence. Distorted electric guitar sounds, organ and less acoustic sound are used. "Raga dos Rios", is still considered the best piece of guitar fuzz recorded in national rock 
In "Water" are placed sound backgrounds of running water, and letters in praise to entities that represent the element, besides the incorporation of dance genres as the baião......................

A1 [a] Trilha De Sumé 6:31
A1 [b] Culto À Terra 2:12
A1 [c] Bailado Das Muscarias 4:35
B1 Harpa Dos Ares 4:02
B2 Não Existe Molhado Igual Ao Pranto 7:31
B3 Omm 6:04
C1 Raga Dos Raios 2:31
C2 Nas Paredes Da Pedra Encantada, Os Segredos Talhados Por Sumé 7:33
C3 Marácas De Fogo 2:34
D1 [a] Louvação A Iemanjá 1:53
D1 [b] Regato Da Montanha 3:25
D2 Beira Mar 1:40
D3 [a] Pedra Templo Animal 4:15
D3 [b] Trilha De Sumé 2:05


johnkatsmc5, welcome music..