Gallery: Lindo Sonho Delirante: 100 Psychedelic Records From Brazil (1968-1975)

November 2016

*Lindo Sonho Delirante: 100 psychedelic records from Brazil (1968-1975)* cover

*Tropicalia Ou Panis Et Circencis,* Various (Phillips, 1968)

The collective album recorded in São Paulo in May 1968 was a project driven by Caetano Veloso, who selected a repertoire of compositions by Gilberto Gil, Torquato Neto, Capinam and Tom Zé, as well as his own. Arranged by Rogério Duprat and produced by Manoel Barenbein, the record showed how Duprat would be crucial in psychedelic productions, embellishing the songs with skilled arrangements, sound collages and much irreverence.

**Os Mutantes, *Os Mutantes* (Polydor,** **1968)**

Os Mutantes’ 1968 debut album can be considered a sort of *Tropicalia Ou Panis Et Circencis* part two. So much so that the band here officially opens its discography with “Panis Et Circenses” and what follows are band compositions and more partnerships with Tropicalistas like Caetano Veloso, Gilberto Gil and Jorge Ben.

Fábio, *Lindo Sonho Delirante/O Reloginho* (RCA Victor, 1968)

Juan Senon Rolón was born in Paraguay, but in the 1960s he moved to São Paulo. He began to sing at the many São Paulo nightclubs, where he met Tim Maia, who introduced him to black music from North America. A long and prolific friendship began. In 1967, the powerful and mythical Carlos Imperial heard “Juancito” singing. Imperial invited him to move to Rio de Janeiro and adopt a new stage name: Fábio. The following year, the duo wrote the song “Lindo Sonho Delirante (LSD)”, a Brazilian psychedelic soul landmark, backed on record by The Fevers.

**Ronnie Von, *Ronnie Von* (Polydor, 1968)**

Ronnie Von was responsible for the Brazilian psychedelic rock revival beyond the realms of Tropicália. In the 90s, many record collectors and young musicians rediscovered and revered Ronnie’s lost psychedelic era. This was the first of three albums from that period, considered a commercial failure for decades, or a mere artistic misstep in the singer’s career.

**Pedro Santos, *Krishnanda* (CBS, 1968)**

Out of this world percussionist, visionary composer, poet, philosopher, plastic artist and performer, Pedro Santos, aka Sorongo, played and recorded with and had his compositions recorded by Baden Powell, Milton Nascimento, Gilberto Gil, Paulinho da Viola, Dom Salvador, Arthur Verocai, Paul Simon, Jards Macalé and Passport, among others. Santos created new instruments such as bambussom, berimboca, criançola, somn’água and the popular sorongo. It was with these instruments and Santos’s boundless creativity that *Krishnanda* was recorded, his pioneering solo LP.

**Loyce & Os Gnomos, *O Despertar Dos Mágicos* (Do Ré Mi, 1969)**

Everything about this mysterious musical combo from the São Paulo countryside is foggy, as they completely vanished from the music scene after this EP, released in 1969 by the small Do Ré Mi label.

**Liverpool, *Por Favor, Sucesso* (Equipe, 1969)**

The most important and influential rock band in southern Brazil came from Vila do IAPI, a suburban neighbourhood of Porto Alegre, Rio Grande do Sul. Influenced by The Beatles and Tropicália, brothers Marcos and Mimi Lessa joined legendary singer Foguete and friends Pecos Pássaro and Edinho Espíndola to form Liverpool in 1967.

**Caetano Veloso, *Caetano Veloso* (Philips, 1969)**

Before they were sent into exile by the military government, Caetano Veloso and Gilberto Gil were detained for months in Salvador (Bahia), unable to play, record and even visit other cities. Veloso had written a few songs while in prison, including “Irene”, which unofficially names this album, also known as the “signature album” or “white album”.

João Donato, *A Bad Donato* (Blue Thumb, 1970)

Like many musicians of his stature, by 1970 João Donato had already left Brazil and was living in the US, where his music was much more respected. So much so that he was given a free hand by his US label, Blue Thumb Records, to record his most experimental album yet: *A Bad Donato*.

**Serguei, *O Burro Côr De Rosa/Ouriço* (Polydor, 1970)**

Sérgio Augusto Bustamante, our celebrated outsider Serguei, is still waiting to be rediscovered as an icon of Brazilian psychedelia, like Ronnie Von was a while ago. Serguei, now aged 83, is unfortunately still mostly famous for a supposed brief affair with Janis Joplin (when she spent the Carnival of 1970 in Brazil) than for his recording career spanning 1966–75.

**Spectrum, *Geração Bendita* (Todamérica, 1971)**

Brazilian psychedelic rock has many rarities, but few times the scarcity of a record is matched by its quality and importance. Fortunately, this is one of those few. Spectrum was formed in Nova Friburgo, in the mountainous region of the Rio de Janeiro state.

**Lô Borges, *Lô Borges* (EMI, 1972)**

Singer-songwriter Salomão 'Lô' Borges Filho was a founding member of Clube da Esquina along with his brother Márcio Borges and friends such as Milton Nascimento.

Nascimento, Borges and Clube da Esquina released their essential double album in 1972, the same year in which Borges also released his inspired solo debut album, known as the sneakers album.

**Som Nosso De Cada Dia, *Snegs* (Continental, 1974)**

Those who consider Som Nosso De Cada Dia just a progressive rock band probably never listened carefully to their debut LP, released by the Continental label in 1974. Manito, Pedrão Baldanza and Pedrinho Batera were wrongly tagged as the Brazilian Emerson Lake & Palmer, but *Snegs* is a consistent work, which shows all the group’s influences: folk, fusion, hard rock, Brazilian and Latin regional music, baião, psychedelia, etc.

**Persona, *Som* (Steps Produtos Didádicos e Recreativos LTDA** **1975)**

In 1973, Italian visual artist Roberto Campadello presented his *Casa Dourada* project at the São Paulo Art Biennial, an octagon formed by mirrors and glass panes which created optical illusions. This was the origin of the game Campadello created, called Persona, two years later. The game consisted of mirrors, candles and a poster with instructions on the back, as well as a 10" inch record called *Som*, containing nine scary themes intended to be listened to while playing.

**Lula Côrtes** **& Z**é **Ramalho, *Paêbirú: Caminho Da Montanha Do Sol* (Solar, 1975)**

*Paêbirú* is not only the rarest and most valuable Brazilian LP of all time; it is also a pivotal moment in psychedelic music. The mysterious and peculiar double album compiled all the concepts and ideals of Lula Côrtes’s freak collective, expanded the experiments of the previous albums from that prolific scene and took it to a whole new level.

New book on the album art and politics of Brazil's rock explosion

Lindo Sonho Delirante: 100 Psychedelic Records From Brazil (1968-1975) chronicles the evolution of some of Brazil's most mindbending music through a particularly fruitful era. Records included begin with 1968's Tropicalia Panis En Circensis, taking in Rita Lee, Tom Zé and Gilberto Gil to lesser known artists such as Lula Côrtes and Loyce & Os Gnomos along the way. The book proceeds chronologically, with detailed entries on records (in Portuguese and English) describing everything from pop heroes to tropicalia pioneers to wild takes on progressive rock, and the cultural and political climate that produced them.

The book was compiled by journalist, researcher and critic Bento Araujo; the captions in this gallery are shorter versions of his in-depth entries from the book. Araujo also runs the website Poeira Zine about little-known musics from around the world, and the accompanying poeiraCast podcast. The book is available to order here.

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Gallery: Lindo Sonho Delirante: 100 Psychedelic Records From Brazil (1968-1975)

November 2016

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