NOVOS BAIANOS: "Acabou Chorare"

Edição original em LP Som Livre SSIG 6004

(BRASIL, Novembro de 1972)

Os Novos Baianos (now without the "h") was an important group in Brazilian music in the '60s and '70s - from which came several successful solo artists: Moraes Moreira, Baby Do Brasil (then Baby Consuelo), Pepeu Gomes (a virtuoso in rock guitar and choro mandolin), and Paulinho Boca de Cantor. Other support musicians for their recordings included here had already constituted a band called A Cor Do Som, which also had some international success playing electric choro. This is their second album, released in 1972. The work displays a strong influence from João Gilberto, with whom they had been together in the preceding year (clearly felt in Moraes' "Acabou Chorare"). But it is not related to bossa nova in any way, consisting of explorations of the group's compositions in acoustic and electric settings, with freshness and originality. The album has some important songs, including "Brasil Pandeiro," a classic by Assis Valente rejected by Carmem Miranda that deals with the appreciation for Brazilian music by American people; "Preta Pretinha"; "Acabou Chorare"; and "Besta é Tu." (Alvaro Neder in AllMusic)

OS NOVOS BAHIANOS: "É Ferro Na Boneca"

Edição original em LP RGE Discos XRLP 5340

(BRASIL, 1970)

Formed in Salvador, Bahia in the late 1960s, Os Novos Bahianos were initially guided by stylistic trends set by their fellow countrymen Caetano Veloso, Gilberto Gil, and Os Mutantes. Comprised of lyricist Luíz Galvão, singer/rhythm guitarist Moraes Moreira, vocalists Paulinho Boca de Cantor, and Baby Consuelo and guitar virtuoso Pepeu Gomes, the band started out following the tropicalista precept of producing a quintessentially Brazilian form of psychedelic rock influenced by the music of their American and British counterparts like the Beatles, the Mamas and the Papas, and Jimi Hendrix. Their first LP exemplifies this with little of the hybrid bossa nova sounds that they would later incorporate into the acid-rock hodge-podge for their 1972 masterpiece "Acabou Chorare". Nonetheless, "É Ferro Na Boneca!" contains its fair share of genre-bending experimentation, incorporating regional Brazilian musical styles such as baião ("Dona Anita e Dona Helena"), forró ("A Casca de Banana Que eu Pisei") and chorinho ("Colégio de Aplicação") as well as elements of international sounds like cool jazz ("Eu de Adjetivos"), mambo ("Outro Mambo, Outro Mundo - na Velocidade da Pulga") and tango ("Tangolete"). (Matt Rinaldi in AllMusic)