8 classic national rock albums and their secrets [LISTA]

One of the most famous and beloved musical styles by the public, rock n’ roll was born in the United States in the late 1940s and early 1950s. Soon, it became part of popular culture and became a way of life, not limited only to songs, but influencing the fashion, habits and desires of generations.

This Tuesday, July 13, is celebrated the World Rock and Roll Day. With that in mind, the Rolling Stone Brazil listed eight national albums that we love and their curiosities. The list contains weight names like Urban Legion, The Mutants and more. Check out:

The mutants – The mutants (1968)

Rita LeeArnaldo Baptista and Sérgio Dias formed one of the most original bands in music history. They are, in fact, the first great band in the history of Brazilian rock and responsible for exhibiting one of the greatest songwriters in the country.

It’s not the band’s best album, but it’s an emblem. Mixing psychedelia, MPB, progressive rock, acid lyrics with criticism of Brazilian conservatism (mainly against the Brazilian family) and hallucinogenic harmonies, it is not surprising to observe that few bands are so uncommon and even more necessary nowadays.

Raul Seixas – Krig-Ha, Bandolo! (1973)

Since their first album, Raulzito and The Panthers (1968), until his last musical act with Marcelo Nova, The Devil’s Pot (1989), Raulpebbles is memorable and historic for Brazilian rock. Its simplicity and objectivity of expressing sentimentality in a charged genre is a brilliant and harrowing musical aesthetic.

In Krig-Ha, Bandolo!which means “the enemy is coming” in the Tarzan language, Raul brings its origins and explores even more the sensitive of the Brazilian. With songs written on the bedroom wall as a teenager (‘Walking metamorphosis’), samples of Raul singing at age 9 and arrangements inspired by classics with Henry Mancini, Raul is not ashamed to feel in a time where emotion is totally forbidden.

Still on the curiosities of the album, Raul he even recorded a version in Spanish, targeting the Latin American market, but he did not like his performance in the songs and withdrew from the release. Subsequently, the tracks were released to the public.

Red Baron – Biggest Abandoned (1984)

First-time protagonist of the rock wave that took over Rio de Janeiro at the time of the founding of Flying CircusO red baron he watched all of his contemporaries rise to stardom as they hit hits, appeared on television shows, and sold many records.

However, the fact that the vocalist cazuza be son of João Araújoprecisely the president of the record company that released his band’s records, created a fair skirt that, even after two albums released, prevented the band from taking off.

But slowly fate smiled on the red baron. After a rewrite of Neymar Matogrosso, cazuza he became increasingly confident on stage, and his group received numerous invitations to participate in movie soundtracks and television shows. So the rock red baron began to assume its bohemian DNA, passionate and instigated by ‘lies that matter’.

Thanks to Biggest AbandonedO red baron performed at Rock in Rio in January 1985 and ended up being one of the only Brazilian bands that performed at the festival without being booed.

Kid Bee & The Wild Pumpkins – your spy (1984)

Although there is no shortage of good candidates, no debut album by a Brazilian artist from the 1980s is as impressive as the first Kid Bee & The Wild Pumpkins. Allied to the fact that the band’s history is practically a rock fairy tale of that generation, the sequence of hits that the group ranks helped to narrow the MPB that had dominated the previous decade.

The group’s unusual name – chosen during a live interview at radio fluminense – helped to draw attention, but the first album released in 1984 and the half-shy, half-blasé presence of Paula Toller turned the group into a success. With the help of Lulu Santos, Kid Bee & The Wild Pumpkins soon found themselves in the genus.

Initially, Mariano Torquato was the guitarist, but soon left the band and gave way to Bruno Fortunato. Posteriorly, Torquato became a producer and worked on the band’s greatest hits Charlie Brown Jr.

In addition to the tracks from the first single, the album would also include “Fixação”, “Alice”, the title track and the ballads “Nada Tanto Assim” and “As I want”the latter pinched by the producer lime towards the end of the recording, of the drafts that the band thought of discarding. It’s the great Brazilian new wave album, a perfect pop record.

Urban Legion – Two (1986)

The band that put Brasília on the map of national culture had its roots in punk and post-punk, as it had made clear on their debut album, urban Legion(1985). But when the gang Renato Russo reunited to record the long-awaited successor, they realized the need for a generation to quickly rewrite their own history, just as the band needed to.

The second disc of urban Legionwhich was originally called Mythology and Intuition, it was planned to be a double, with much of its songs driven by the guitar. Nonetheless, Renato recorded a series of songs with a folk appeal, so that the other members could understand the sound he wanted to bring to the new album.

From this first idea, only the acoustic presence ended up surviving, which gave life to the release, further expanding the reach of the songs and poetry of the group’s vocalist and composer, portraying the yearnings and feelings of a revolted generation.

Titans – dinosaur head (1986)

Despite the controversies after the arrest of two members for drug possession, the Titans recorded faithfully at the time with the third disc. dinosaur headit’s everything the generation expected – but even better – loud songs, with protest lyrics and a punk and new wave sound that had just reached the masses.

The octet recorded in two days what was initially supposed to be a demo, but ended up becoming the essence of the game. Titans that would go far beyond riffs and profanity, marking a new phase in national pop. Finally, the night had reached the 1980s.

the drummer Charles Gavin described the production at the time as a disappointment, a dystopian scenario and moments when the band left perfectionism aside to really say what mattered in the midst of the Military Dictatorship in Brazil.

The Paralamas do Sucesso – Wild? (1986)

No band that played in the first Rock in Rio (1985) benefited from both the festival and the Paralamas do Sucesso. In addition to having toured the country thanks to the fame gained at the event, the trio decided to bet on a radical sound change when recording their third album.

Tired of being called “Brazilian Police”, Herbert Vianna, Bi Ribeiro and john barone decided to go straight to the source, seeking influences in African music, root reggae and also in Brazilian Popular Music (MPB).

The bet on a more tribal music that completely escaped the British standard that prevailed here caused strangeness, but it was successful in every way. “Alagados”, “Melô do Marinheiro”, “A Novidade” and the simple rescue of “Você” from Tim Maia were successful with critics and the public, proving to be fundamental for the genre in the country, by rescuing ancestral influences and inserting them into popular taste.

Venus Shirt (1986)

The Bahian band released not just one, but two albums in 1986. The first of them, Liveis one of the great live albums of our rock and brings the definitive versions to “I Didn’t Kill Joan of Arc” and “The Adventist”in addition to five hitherto unreleased songs.

What few know is that Live was released only for contractual needs with the old label, before migrating to WEArecognized by the wide range of artists to be signed.

running the risk it showed the group expanding its sound horizons, without losing its punk past. Filled with criticism of the dictatorship, the members of the Condom they also spared no effort in showing dualities and maturity, especially in the hits “Só o Fim” and “Simca Chambord”.

Bonus: Grave – roots (1996)

In 1996, the Grave took a bold step in a career that changed the history of rock metal not only in Brazil, but around the world. roots took experimentation to the maximum, recording songs in an indigenous tribe and playing with Carlos Brown.

The desire to make recordings in indigenous tribes already existed before the 1996 album, but the group ended up taking the definitive decision for a film directed by filmmaker Hector Babenc, entitled Playing in the Fields of the Lord.

“Ratamahatta”, one of the album’s biggest mysteries, was composed with Carlinhos Brownbringing Mike Patton and Jonathan Davis on backing vocals. Full of single words in Portuguese, the song was inspired by the street rats that populate New York.