(Everybody Thinks I'm Crazy)
4-To Burn Or
Not To Burn
IT BED - (2004) – Produção: John
The idea of recording Let it Bed started to materialize
itself when John Ulhoa of Pato Fu band went to Juiz
de Fora to install a series of audio softwares in Arnaldo’s
PC. John and Rubinho Trol started to show Arnaldo the
possibilities of these new technologies, only available
years before in very expensive studios and which were
now perfectly off the shelf, to home use. “This
is why this record is the encounter of Arnaldo with
this technology”, explains John. “That was
important for us. We did not want a CD that would sound
as a modern type electronic music recording with samples
from Arnaldo. That would be too easy. We wanted him
to record his new songs on his own way and then we would
just bring a finishing touch at the level of his talent”.
John and Rubinho took to Juiz de Fora enough equipment
to make a good home studio. They soon noticed that Arnaldo
wanted to play everything and that he would go from
one instrument to another very quickly. So they scattered
microphones all over the place with everything set to
record and to keep up the creative momentum.
“Rubinho brought his PC from London. We recorded
using software Cubase and an M-Audio Delta 44 interface,
so we could record four channels at the same time. It
sounds little but it would be enough for this record,
since Arnaldo would play everything, one instrument
at a time”, says John. “AKG lent us microphones
and headphones and I took with me preamps, a mixer,
a guitar and some other things. One curious item was
the Pignose guitar with the loudspeakers on its body,
which Arnaldo experimented and ended up using in some
John gave Rubinho some basic instructions, “enough
to avoid some irreparable technological wrongdoing.”
But it was soon clear that the most important were the
moment, the atmosphere, the tranquillity Arnaldo had
to have to record everything he wanted as many times
as he wanted and when he felt like it. And that Rubinho
managed pretty well.”
“After all was recorded, we went back to my studio
in Belo Horizonte were we translated all the Cubase
sessions to my studio system, Logic Audio/Mac. We had
nothing else to record. We only added some programs
and virtual instruments,” explains John. All was
edited and mixed piecemeal at John’s studio. “Every
time Arnaldo visited, we would listen to the work and
feel happier with it.”
Que Eu Vou Virar Bolor?
Estou Nem Aí
Me Afundar Na Lingerie
Tá Pensando Que Eu Sou Loki?
Amo Podes Crer
(Mad?) – ARNALDO BAPTISTA - (Philips, 1974) –
Producer: Arnaldo Baptista
his experiences plenty of radicalisms, Jean-Luc Godard
stated: ‘nobody does two revolutions. And this
is good.’ It was like a message, a presage, another
voice to the sphinx, in a euphemism format, a paradox,
Gilberto created the bossa-nova revolution; Oswald de
Andrade the pau-brasil anthropophagic revolution; Helio
Oiticica was a revolutionary with his parangolés
and experiencing the experimentalism. Perhaps with Tropicalia’s
revolution the Godard’s presage went different
since it was aborted by the AI-5 and its consequences.
Therefore, the tropicalists followed their own steps.
the Mutantes was the same. Arnaldo Baptista, Rita Lee
and Sergio Dias created parabolas inside and from parabolas.
They wanted to experience their collective, parallel
and individual possibilities. Both for the Tropicalia
movement and the Brazilian music history, Arnaldo is
the artist who mostly broken Gordard’s presage.
He was Mutantes’s motor. Arnaldo produced Rita
Lee’s two first solo albums: Build Up (1970) and
‘ Hoje é o primeiro dia do resto de sua
vida’ (1972) (Today is the first day of the rest
of your life). Arnaldo then embraced a solo career.
He pushed the concept of radicalism to the extreme.
Lóki? (1974), his first solo work, is still the
most revolutionary and visceral album of Brazilian music
history. It was recorded with a basic set – Arnaldo
(piano and keyboards); Liminha (bass); Dinho (Drums)
and backing-vocals (Rita Lee). Lóki? marked the
last Mutantes’s gathering in ten songs, which
travels around the whole rock’n’roll days
and could be called a lysergic tropicalia. Without doubt
the best cast of songs in a single album.
format is conceptual. Both sides open with key songs:
side A with ‘Será que vou virar bolor?’
(Will I turn into mildew?) and side B with ‘Cê
Tá Pensando que eu sou lóki?’ (Are
you thinking I am mad?’). Both bring Arnaldo’s
uncertainties after Mutantes. Which is the future? The
forgetfulness? Or madness? The other eight songs answer
these questions. The final and minimalist ‘È
fácil’ (It is easy) replies with a much
elaborated composition and a mini-lyric which says:
neither forgetfulness either madness but the geniality
of the music. It is easy!’
other songs are: ‘Uma Pessoa Só’
(One only-lonely person), the only track inherited from
the A E O Z days. This is a utopia-song pointing to
the plenitude of the humans as a collective but in a
single body and single life project. ‘Não
Estou Nem Aí’ (‘I don’t care’)
is the antithesis of ‘Uma Pessoa Só’.
It tells about somebody who rejects these utopias and
faces the real world, the instant karma of daily life.
The fourth song of side A is ‘Vou me afundar na
lingerie’ (I will dive into the lingerie’)
shows a third possibility: neither a world of utopias
or the harshness of daily life but the hedonism, the
laziness as a weapon against the oppression and heavy
going life. The last side A song is ‘Honky Tonky’,
Arnaldo’s solo on the piano, a trans-Stones-boogie-woogie.
B and after ‘Cê Tá Pensando que eu
Sou Lóki?’ comes ‘Desculpe, Babe’
(Sorry, babe), signed by Arnaldo & Rita. ‘Desculpe…’
is a new version of the same song of Mutantes’s
third album. Another answer for the impasse: forgetfulness
/mildew/lóki/madness. Love is the big interrogation
mark: say yes or say no. Forgive or not. Go ahead. The
third song ‘Navegar de Novo’ (Navigate once
more) presents a straight forward way: go ahead facing
the unexpected. ‘Te Amo Podes Crer’ (Believe
me! I love you!) is perhaps the masterpiece of all Brazilian
love songs. In two minutes and 50 seconds Arnaldo talks
about the pains of love, a kind of Tristao & Isolda,
Romeu & Juliet over the piano, keyboards, bass and
drum. He ends the album with ‘É fácil’
(It is easy). The concept clicks and completes itself.
the era of CDs some information got lost and there is
one that makes sense in vinyl and therefore it is worth
it commenting. Each side of the vinyl brings exacts
16 minutes and 50 seconds. And a footnote: ‘This
is an album to be listened in high volume’. It
is Arnaldo asking us to heighten not only the volume
but also our primitive emotions. Comment by Marcelo
Dolabela Oct/Nov 1999.
Volte Até aTerra
wanna To Take off Every Morning
Voador – UFO – (Baratos Afins, 1987, not
yet launched in CD)
In 1987, Arnaldo created his most radical musical experience.
Independent label Baratos Afins launched this home made
record for experts and fans only: ‘Disco Voador
Arnaldo Paz’ (UFO Arnaldo Peace). It is a songbook
which captures the artist in his environment: his studio-workshop.
It is roughly recorded, but translates Arnaldo’s
musical world as it could. There you can find his sounds
experiments and personal options for specific tones;
his vibrato’s voice and his twisted keyboards.
The great surprises are the two versions for ‘Balada
do Louco’ (Ballad of the Mad’, by Arnaldo
and Rita) translated into English by Arnaldo as ‘crazy
one’s ballad’ and into French as ‘Le
foulle balada’. ‘Jesus, come back to earth’
was translated into Portuguese as ‘Jesus volte
até a Terra’. Six other songs complete
the album: ‘Eu’ (Me); ‘Rodas’
(Wheels); ‘OVNI’ (UFO); ‘Maria Lucia’
and ‘I wanna to take off every morning’.
All composed by Arnaldo, except ‘Traduções’
(Translations) in partnership with A.Alexandre.
title turned into cover from a painting by Arnaldo is
very Arnald-ish. It plays with double-meanings such
as disco (disc=vinyl) and disco-voador (UFO in Portuguese).
The painting brings two images which reinforce mixed
ideas: the record is a disc (vinyl) and rare = UFO (disco-voador)
since it was a limited edition and real. The word ‘peace’
drawn in the centre of the painting simulates the space’s
centre and the vinyl’s hole. When the vinyl spins
the sky also do so revealing where the UFO and the songs
are. Comments by Marcelo Dolabela, Oct/Nov 1999.
ao lado da Estrada
Um Pouco Assustador I
PERDIDO (Lost Link) – ARNALDO & PATRULHA DO
ESPAÇO – (Vinil Urbano, 1988, not yet launched
in CD). Producers: Arnaldo & A Patrulha do Espaço
After Loki? (1974) and before Singin’ alone (1981)
Arnaldo Baptista entered his hard rock phase, better,
very hard rock phase alongside with the band A Patrulha
do Espaco (Space Patrol). This trip started in 1975
when Arnaldo worked on a new project: the group Space
Patrol initially with Ze Brasil and then with Rufino
and Dudu (guitars); Cenoura (`Ccarrot`, nick name for
the bassist); and Arnaldo playing drums with two hi-hats.
They rehearsed at home, with small amplifiers and a
TV puggled in mute mode all the time. In 1977 the group
change its name to Arnaldo & Patrulha do Espaço
carrying on rehearsing but now with John Flavin (guitar);
Osvaldo Gennari ‘Cokinho’ (bass); Rolando
Castello Junior (drums) and Arnaldo (piano and vocal).
In the end of the year they recorded 13 songs using
two channels and with the support of Rogerio Duprat.
The material was expected to be launched by a record
company but none were interested. Named Lost Link, the
album would be released only in 1988, 11 years after
recorded, even so in a rough mix and incomplete. There
were 12 tracks: seven Arnaldo would re-record later
in its solo Singin’ Alone (1981) keeping their
original version or translating them into English or
Portuguese with small but deep alterations in their
lyrics. Therefore Elo Perdido repeats Singin’Alone:
‘O Sol’ named here ‘Sunshine’;
‘Corta Jaca’; ‘Oh Trem/Train’;
‘Emergindo da Ciencia/Coming through the Waves
of Science’ and ‘Sentado ao lado da Estradal/Sitting
on the Road Side’ (According to Arnaldo, the correct
name of ‘Raio de Sol’ is ‘Sentado
ao Lado da Estrada’, as in the previous English
New songs included: ‘Sexy Sua’, song of
love and sex inspired in Arnaldo’s ex-girlfriend
Martha Mellinger and which can be read as a cult-exercise
of libido. According to Arnaldo ‘Um Pouco Assustador’
(‘A Bit Frightening’) promotes a game of
telepathic gatherings where the players get rather scared
or end up knowing themselves better. In ‘Fique
Aqui Comigo’ (‘Stay by Me’) Arnaldo
dialogues with an unknown woman who could be partner
or audience in a mental-show chat. Comments by Marcelo
Dolabela Oct/Nov 1999.
Um Pouco Assustador II
Feel In Love One Day
de Manhã Eu Acordei
UMA NOITADA EXCELENTE (We will have a great night out)
- ARNALDO & PATRULHA DO ESPAÇO – (Vinil
Urbano, 1988, not yet launched in CD). Live. Producer:
Roberto Takaharu Oka.
In May 1978 Patrulha do Espaço played with an
extra guitarist Eduardo Chermont in São Pedro
theatre (São Paulo city). The show was roughly
recorded and again launched only in 1988 (10 years later)
named ‘Faremos uma Noitada Excelent’ (we
will have a great night out).
It included the already known ‘Emergindo da Ciência’,
‘Um Pouco Assustador II’, ‘I Fell
in Love One Day’, ‘Cowboy’ and ‘Hoje
de Manhã eu Acordei’ (This morning I woke
up’), with Arnaldo improvising on the piano as
Hermeto Paschoal would do. The title was given later
by Rolando Castello Junior and embraces several Arnaldo’s
skills and insights: pianist; soloist; Franz Liszt fan
(the Hungary classic composer) and sunshine/LSD’s
These two records with Patrulha do Espaço are
two fake drafts, actually songbooks, which tell Arnaldo’s
fights and survivals. Arnaldo builds a mosaic of his
revolutionary masterpieces created in his own universe
of mad lucidity. The songs reminds projects of dialogues
between audience and artist, past and future, life and
art, science and dream revealing that there is always
something missing, something never to be found and that
at each moment we realise that it is this incompleteness
that makes us entire entities. The solo works of Arnaldo
are that: hiatus and lost links which complete each
other permanently. So let’s get new ears and welcome
this Garden of Dreams and this New Science which is
this eternal music so called Arnaldo Baptista. Comments
by Marcelo Dolabela, Oct/Nov 1999.
Premier Bonheur Du Jour
(Polydor, 1968) – Producer: Manoel Barenbein
first album. The band’s tropicalist record. Kind
of ‘our principles’ letter. There are 11
songs showing their proposals and further possibilities.
Arranged by Rogerio Drupat and with contributors such
as Jorge Ben (vocal and acustic guitar) and drummer
Dirceu, the album is a mix of Tropicalia fundamental
stones - ‘Panis et Circenses’, ‘Bat
Macumba’ and ‘Baby’ - and the Mutantes
anarchic irreverence. They treaded all sorts of absurd
and inconsequence. They challenged Luiz Gonzaga’s
collaborator, Humberto Teixeira, in ‘Adeus Maria
Fulô ‘ (Goodbye Maria Fulô) and dressed
Françoise Hardy as pop-existentialist in Le Premier
Bonheur du Jour. The record mixes Jorge Ben’s
trade mark ‘A Minha Menina (‘My Girl’);
a version of a not well known Mamas and The Papas’
song ‘Tempo no Tempo’ (Once There was a
Time I Thought), which is actually a non credited version
of Cesar Dias Baptista, father to Arnaldo and Sergio.
They added a pre-historic shout, a tribute to Gengis
Khan ‘Ave Gengis Khan’ and the Kafkanean
‘Senhor F’ (Sir F). The album finishes with
‘O Relogio’ (The Clock) and ‘Trem
Fantasma’ (Ghost Train). Comments by Marcelo Dolabela,
Vá Se Perder Por Aí
Nº II Dos Mutantes
(Polydor, 1969) - Producer: Manoel Barenbein
the next year the Mutantes (now without the article
‘Os’ - The) launched the truly Mutants-tropicalist
aesthetic. This is the most experimentalist album of
their career. There are no limits. Everything is possible.
Everything is functional in its strangeness. On the
cover the trio is dressed as Don Quixote (Arnaldo),
Sancho Pancha (Sergio) and the bride Dulcinéia
(Rita). They included a jingle recorded for Shell ‘Algo
Mais’ (Something Else). They recorded their two
big hits ‘Fuga No 2’ and ‘Caminhante
Noturno’ (Fugue No 2 and Night Walker). They ranged
from a version of ‘Banho de Lua’ (Moon Shower)
originally recorded by popular singer Celly Campello
to concrete poetry (‘Dom Quixote’) with
a little help of father Cesar Dias Baptista. There is
also a magisterial dialogue with the Tom Ze’s
insided out version of Tropicalia in ‘2001’
and ‘Qualquer Bobagem’ (Any Foolery). You
can still find the iê-iê-iê ‘Não
vá se perder por aí’ (Hei do not
get lost!) and the psychedelic ‘Dia 36’
(Day 36) this last in partnership with hippie Johnny
Dandurand. Last but not least, perhaps the first metaphoric
Brazilian song talking about Rita Lee. This album brings
even subliminally the collaboration of those who would
become the 4th and 5th Mutantes – the drummer
Dinho (Ronaldo Leme) and bassist Liminha (who is this
record played viola). Comments by Marcelo Dolabela Oct/Nov
Tem Mêdo de Brincar de Amor
Refrigerador Não Funciona
Urgentemente Encontrar Um Amigo
DIVINA COMÉDIA OU ANDO MEIO DESLIGADO (The Divine
Comedy or I Feel a Little Spaced Outt’ (Polydor,
1970) – Producer: Arnaldo Sacomani
After re-inventing Miguel Cervantes’s Dom Quixote,
the Mutantes turned Italian poet Dante Alighieri ‘s
The Divine Comedy into a pop-psychedelic inferno. Roughly
summarising, the 1969’s album was experimental,
this is revolutionary. Never before in Bazilian music
history had a group or artist gone so far and radical.
The Divina Comedia… buried all divisions and musical
segments. It is a fusion of pop, experimentalism, vanguard,
kitsch, rigour, informality, rock… There is a
version of ‘Preciso Urgentemente Encontrar um
Amigo’ (I need to find a friend urgently) from
Roberto and Erasmo Carlos (the kings of the so called
Brazilian iê-iê-iê). Rogério
Duprat presented his best ever arrangement for the classic
‘Chão de Estrelas’ (Floor of Stars)
from Silvio Caldas and Orestes Barbosa. The Mutantes
hit their head with Dante in ‘Ave Lucifer’
and ‘Oh! Mulher Infiel’ (Oh! Unfaithful
woman). Dinho and Liminha were already part of the group.
This album also had collaborators such as Raphael Vilardi
(vocal and acoustic guitar) and Naná Vasconcelos
(percussion). All arranged by the magisterial touch
of Rogerio Duprat.
Comments by Marcelo Dolabela, Oct/Nov 1999.
Very Nice Pra Xuxu
ELÉTRICO (Electric Garden) (Polydor, 1971) -
Producer: Arnaldo Baptista
After three albums – one tropicalist, one experimentalist
and one revolutionary – the Mutantes launched
their weirdest record. It is very much what the cover
suggests: the group messing around with their electric
paraphernalia, acoustic instruments and some stimulants.
Just have a look at this: for the first time, when Rita
Lee and Sergio Dias are also composers, the sequence
for the credits is: L for Lee, S for Sergio and D for
Dias, like in Lucy in the Sky with Diamonds. Jardim
Eletrico is an album inside a party. It brings another
hit: ‘Top Top’ an infernal hard rock; ‘Jardim
Eletrico’ a sweet English version of ‘Baby’;
and a tribute-parody of Tim Maia’s Bemvinda (Welcomed
Lady). Completing the album are ‘Technicolor’;
‘El Justiceiro’; ‘It’s Very
Nice pra Xuxu’; ‘Virginia’; ‘Lady,
Lady’; ‘Batmacumba’ and ‘Sarava’
(both a references to the Brazilian afro religious rituals).
Comments by Marcelo Dolabela, Oct/Nov 1999.
Perder Minha Mulher, Minha Mãe,
Desde Que Eu Tenha O Meu Rock and Roll
Hora e a Vêz do Cabelo Nascer
e Seus Cometas No País do Baurets
Mundo Pastou II
E SEUS COMETAS NO PAÍS DO BAURETS (Mutants and
its Comets in the Baurets’ Land) (Polydor, 1972)
– Producer: Arnaldo Baptista
is a key year for the rest of Mutantes’ life.
With the Baurets, Rita Lee said good bye to the group.
Before leaving she recorded the group’s most rock’n’roll
album. From ‘Posso perder minha mulher, minha
mãe, desde que eu tenha meu rock'n'roll’
(I can loose my woman, my mother as soon as I have my
rock’n’roll) to ‘Rua Augusta’
(São Paulo city’s famous street) the album
is pure TNT. There is a waterfall of rock’n’roll
in ‘Dune Buggy’, ‘Beijo Exagerado’
(Too Much of a Kiss), ‘A Hora e a Vez do Cabelo
Nascer’ (The Time for the Hair to be born’),
re-edited in a brilliant version by Sepultura in 1989.
Although surrounded by pure rock’n’roll,
there were also the acid smoothness of ‘Vida de
Cachorro’ (A Dog’s Life) and what would
become the group’s biggest hit ‘Balada do
Louco’ (Balad of the Mad). The psychedelic side
brings the surreal-progressive opera in ‘Tempo
no Tempo’ (Once There was a Time I Thought) from
the first album; and the Dada teaser ‘Todo Mundo
Pastou I e II’ (Everybody got messed up I and
II). Last comment on the album goes for the title inspired
in Lewis Carroll famous Alice in the Wonderland and,
of course, a reference to Bill Harlley and Its Comets.
by Marcelo Dolabela, Oct/Nov 1999.
e o Z
Vou Transar ComVocê
A E O Z (The A and the Z) Philips, 1992; recorded
in 1973. Producer: Mutantes
Rita Lee left Mutantes, Arnaldo, Sergio, Dinho
and Liminha recorded a new album in 1973 unknown
to the public until 1992. O A E O Z exacerbates
the surrealist-progressive opera Mutantes e Seus
Cometas no País dos Baurets. Although independents,
its six tracks remind a long soundtrack for a
movie the kind of Atonioni’s Zabriskie Point.
It is a trip, a good trip. From the autobiographic
(by Arnaldo Baptista) ‘Rolling Stones’
to ‘Uma Pessoa So’ (One Only-Lonely
Person, which would be re-edited in 1973 in his
solo Loki?), O A E O Z sounds, as the title suggests,
the last breath of the wonderful history of Mutantes.
After a while, Arnaldo would leave the group and
Sergio, Dinho and Liminha would carry on with
the new Mutantes. But this is another history,
another mutation and another trip.
Comments by Marcelo Dolabela. Oct/Nov 1999
My Shoo Shoo ( A Minha Menina)
Feel A Little spaced Out (ando Meio Desligado)
Sorry Baby (Desculpe Babe)
Premier Bonheur Du Jour
Et Circenses (reprise)
(Universal, recorded in 1970 and launched in 1999) -
Producer: Carl Holmes
‘Tecnicolor’, the pre-last trip of the Mutantes.
There are compilations and successful compilations.
Most of the times, they are a pain. They follow the
will – or bad will – of the record companies,
which are almost always trying to fit the artist’s
work into a new trend. If being romantic pushes up the
sales, the compilation shall highlight the melting side
of the artist. Hardly the artist manages it themselves
so the compilation is a masterpiece. Beatles, Madonna,
Prince, Roberto Carlos, Marisa Monte, Paralamas do Sucesso
are no exception to this rule. Particularly in Brazil,
the contracts giving rights of use are still written
as per in Stone Age. Although the artist can get some
advantages, broadly speaking, the record companies win
and the artists loose. This is common in the rock and
pop industry, one of the most profitable fields. It
hardly happens in literature, theatre, cinema and fine
arts – the artist has always a grip on his/her
work, manages it more efficiently. Therefore, the artist’s
big revenge is when the compilations are presented as
a conceptual work and not as a cheap puzzle to increase
the record companies’ profits. Without doubt Tecnicolor
follows this conceptual format when recorded in 1970.
It was, at the same time, a joke and one step ahead:
a compilation and a carrier’s album. Mutantes
re-dressed songs already recorded in really new outfits,
not only a new thread here or a new bottom there. The
Mutantes alongside with their permanently revolutionary
vision and in its third year of recordings, without
fear or shame, re-visited and re-wrote the inners of
According to the Brazilian journalist Carlos Calado,
author of the non-authorised but acclaimed Mutantes’
biography, ‘Tecnicolor’ is a virtual title,
probably named well after created. The album was recorded
in November 1970 in Paris in the Des Dames Studio. It
was produced by Carl Holmes. Following a concept of
that time, one can say that Tecnicolor was a compilation
of poems-processes: versions of masterpieces that turn
into new masterpieces.
Tecnicolor is a special anthology. It brings ‘new’
songs of the most recent albums, such as ‘Jardim
Eletrico’(1970); ‘Virginia’, ‘Tecnicolor’,
‘El Justiceiro’, and ‘Sarava’
all mixed with old works. There you can find Tropicalist’s
hits such as two versions of ‘Panis et Circences’;
‘Bat Macumba’; ‘She is my Shoo Shoo’
(an English version for Jorge Ben’s hottest hit
‘Minha Menina’) and ‘Baby’ (their
mostly recorded song with 3 versions). Tecnicolor also
houses classics such as ‘I feel a little Spaced
Out’ (Ando Meio Desligado); ‘Adeus Maria
Fulô’; ‘I’m Sorry, Babe’
(Desculpe Babe); and a tribute to the host France offering
a new version of ‘Le Premier Bonheur Du Jour’
from their first album.
They translated all songs into English, except ‘Bat
Macumba’, ‘Adeus Maria Fulô’
and of course the French song. ‘She’s my
Shoo Shoo’ got even closer of Jorge Ben’s
original. They kept only the chorus in Portuguese (Oba
Oba she’s my shoo shoo).
Tecnicolor was launched only in 2000. It surprised the
audience for sounding so modern. It surprised also because
of Sean Ono Lennon’s drawings and handwriting
used for the album’s design. The Brazilian critics
did not see Sean’s collaboration with good eyes.
They said he was not the right person for the job. Bullshit.
Brazilian prejudice only confirms Arnaldo Baptista’s
theory, our ‘released astronaut’ who every
day is immortalised in the international rock-pop scenario.
We hope the lesson will one day be learned: as Tom Jobim
would put it: The Mutantes, as well as Brazil, are not
for amateurs. Comments by Marcelo Dolabela, Oct/Nov
- Don Quixote
- Caminhante Noturno
- Ave Gengis Khan
- Cantor de Mambo
- El Justiciero
- I'm Sorry Baby
- Top Top
- Dia 36
- Fuga nº II
- Le Premier Bonheur du Jour
- Dois Mil e Um
- Ave Lucifer
- Balada do Louco
- I Feel a Little Spaced Out
- A Hora e a Vez do Cabelo Nascer
- A Minha Menina
- Bat Macumba
- Panis et Circensces
AO VIVO - BARBICAN THEATRE - LONDRES
(Sony & BMG, 2006) - Producer: Sérgio
volta do Mutantismo
O Rock and Roll já é um senhor de mais
de 50 anos. Enfim, o tempo lhe permitiu começar
a acertar uma dívida histórica. Isto é,
uma dívida futura: “como entender, assimilar
e conviver com seu passado?”. Como viver e entender
o “sofrer”, como cantou Tom Zé, “de
O escritor Rubem Braga, falando sobre a crônica
jornalística, comentou: “A verdade não
é o tempo que passa, a verdade é o instante”.
Se o Rock é volátil, um gás, como
cantou Jimi Hendrix, como viver a eternidade do instante?
Como viver esse único tempo?
B. B. King completa, este ano, 83 anos. Para os fãs
do Blues, ele não está velho. João
Gilberto está com 76 anos. E ainda é o
grande nome da Bossa Nova.
O Rock, enfim, começa a entender o jogo dialético
entre “tempo” e “instante”,
entre o que já está inscrito na história
e o que ainda esgarça, com inventividade, a história.
A volta dos Mutantes vem, em boa hora, saldar essa dívida
e responder, de vez, a questão: “se o grupo
foi e é o exemplo mais perfeito da revolução
do rock brasileiro e um dos maiores nomes do rock internacional,
por que encapsular sua trajetória em apenas cinco
anos (1968-1972) de produção fonográfica?
O acervo do Beatles, vez ou outra, é bem revisitado
por Paul McCartney e George Martin. Por que não
permitir que a revolução-Mutantes continue?
Tirando o fogo amigo (as críticas de Rita Lee
e a recusa de Liminha), quando foi anunciada a volta
do grupo, as expectativas foram as mais diversas, da
dúvida ao medo, de alívio ao “até
Mas o que poderíamos esperar dessa volta? Como
o núcleo Arnaldo Baptista – Sérgio
Dias & Dinho se comportaria “quimicamente”
trinta e cinco anos depois? Quem e como substituir a
voz emblemática de Rita Lee? De que instrumental
e de quais arranjos vestir “clássicos”
que trazem o grupo em seu apogeu sob a maquinaria sonora
do maestro Rogério Duprat?
A resposta foi sábia. O grupo ressurgiu no “exílio”,
longe das expectativas e das ansiedades, em um evento
em Londres que comemorava a Tropicália para além
dos muros musicais, a mostra/exposição
“Tropicália – a revolution in brazilian
culture”. Que fez um mapeamento amplo do movimento:
música + poesia + artes plásticas + cinema
+ teatro + arquitetura + dança + política
+ teoria + história. Com um show no The Barbican
Center, em Londres, Inglaterra, em maio de 2006.
O material-show/disco, lançado agora em CD/DVD,
é impecável. O grupo, sob a batuta de
Sérgio e a criatividade de Arnaldo, conseguiu
unir o mais experimental da Tropicália aos melhores
elementos da psicodelia, de ontem, hoje e sempre.
Hoje o grupo tem dez integrantes: os oficiais: Arnaldo
Baptista, teclados e voz; Sérgio Dias, guitarra
e voz; Dinho Leme, bateria; mais a voz, em participação
mais do que especial, de Zélia Duncan, uma mutante
por natureza; os backing vocals de Fabio Recco e Esmérya
Bulgari; os teclados de Vitor Trida e Henrique Peters;
o contrabaixo de Vinicius Junqueira; e a percussão
de Simone Soul.
O repertório é um “the best”.
Há música dos cinco álbuns, da
fase heróica, do grupo. Do primeiro disco, “Os
Mutantes”, de 1968: “Panis et circencis”;
“Minha menina”; “Bat macumba”;
“Le premier bonheur du jour” e “Ave
Gengis Khan”. Do álbum “Mutantes”,
de 1969, “Dom Quixote”; “Dia 36”;
“Fuga n.2” e “Caminhante noturno”.
Do “A divina comédia ou ando meio desligado”,
de 1970, “Ando meio desligado”; “Ave
Lúcifer” e “Desculpe, babe”.
Do “Jardim elétrico”, de 1971, “Top
top”; “Technicolor”; “El justiciero”
e “Virgínia”. E do “Mutantes
& Seus Cometas No País do Baurets”,
de 1972, “Cantor de mambo”; “Balado
do louco” e “A hora e a vez do cabelo crescer”.
Sérgio Dias está em uma forma impressionante.
Zélia Duncan, mesmo participando pouco, mostra
que a escolha foi acertada. Arnaldo aparece com suas
tiradas surreais e seu vocal característico.
Dinho continua preciso e fundamental. Os demais músicos
assumem, com louvor, a função de co-participantes.
A caixa – com dois CDs e um DVD –, lançada
pela Sony & BMG, mostra na íntegra o show
de Londres. CDs e DVD trazem a mesma seqüência,
como em um jogo de mise-en-abyme, de bonecas russas,
dentro da maior, outra e outra e outra...
Começa com a poesia concreta (à maneira
mutantista) de “Don Quixote”, com suas aliterações
e paronomásias, e termina com a crueldade tropicalista
de “Panis et circensis”, de Gilberto Gil
& Caetano Veloso. Ao longo do show, o tempo vai
e volta. Pára e retorna. Como coisa móvel,
flexível, sem cronologia. Como se o grupo, na
verdade, em seu período áureo (68-72),
tivesse lançado um longo álbum quíntuplo.
As canções embaralhadas mostram melhor
a planta baixa o plano-piloto do estilo-Mutantes.
Provando, mais uma vez, que o grupo não é
apenas um nome na plêiade-Rock. Mas um “modo
de fazer”, um estilo, um subgênero, para
usarmos uma terminologia de Roy Shuker (“Vocabulário
da música pop”), dentro do próprio
Rock: o Mutantismo.
O que explica a admiração de artistas
tão diferentes em relação à
obra do grupo. De David Byrne a Kurt “Nirvana”
Cobain. Passando por Beck, Sean Lennon, Beastie Boys,
Pizzicato Five e Belle & Sebastian.
Afinal, o que foi apresentado nessa “reestréia”
é apenas um pequeno – mas significativo
– extrato do “baú dos Mutantes”,
ainda há material para pelo menos dois novos
O que virá, ainda não sabemos. Mas, com
certeza, é mais combustível (não-poluente).
Provando que, ainda vale a pena continuar com e na revolução-Mutantes.
(Marcelo Dolabela - bhz out/nov 1999).
Aqui Vou Eu
ao Fundo de Mim
Com Linguiça e Pimentão
I Love Her
Vou Me Salvar
Up – Rita Lee (Polydor, 1970) – Arrangements:
Pop music is a mix between novelty and redundancy. In
this dialectic game we can measure the relevance of
an artist and its work. Rita Lee’s two first solo
albums, ‘Build Up’ (1970) and ‘Hoje
é o primeiro dia do resto de sua vida’
(Today is the first day of the rest of your life –
1972), can only be understood through this relationship.
You can not classify them. They are solo albums and,
at the same time, complementary to Mutantes’s
In these two moments, Rita Lee was still
part of the Mutantes. Even so, she launched herself
into a solo project. So far, nothing wrong especially
when we understand the option working as oxygen in their
But what really surprises here is that
Rita Lee’s two first solo albums do not follow
the obvious path taken by other artists when going from
a band to a solo career, which is ‘an individual
approach distant from the group’s proposes’.
In Rita Lee’s case, it was the same innovative
work – or an innovation under the same theme.
Apart from the name and label stamped on the vinyl,
Rita Lee by Mutantes, nobody would notice that they
were actually listening to a solo record. Even so those
are Rita Lee’s solo records, which would only
exist as so. Therefore they deserve a comment with distance
from Mutantes works. Especially if we compare ‘Build
Up’ with the tropicalia-super-experimentalist
‘A Divina Comedia ou Ando Meio Desligado’;
‘Hoje é o primeiro dia do resto de sua
vida’; and with the lysergic-psychedelic ‘Mutantes
e seus cometas no Pais dos Bauretz’, launched
at the same time. Are there two characters looking for
an author? Or would be one character multiplied into
two authors? Both albums’ blueprints are quite
1) Basic core composers: Arnaldo Baptista,
Rita Lee and Sergio Dias plus Liminha;
2) Arranged by Arnaldo and played by Mutantes.
‘Build Up’ was created as
a soundtrack for Rodhia’s event ‘Build Up
Electronic Fashion Show’, an important fashion
show of those days called Fenit (Textile Industry International
Fair). The album tells the story and moves of an artist
heading to the stardom. There are songs by Arnaldo &
Rita: ‘Sucesso, aqui vou eu’ (‘success
here I go’ or ‘Build Up’) and ‘Macarrão
com Linguiça e Pimentão’ (‘pasta
with sausage and pimento). Elício Decário,
who has collaborated in ‘A Divina Comedia’,
‘Ave Lucifer’ and ‘Hey Boy’,
appears again in ‘Build Up’ and in partnership
with Rita in ‘Hulla-Hulla’, ‘Tempo
Nublado’ (Clouded Weather) and ‘Eu Vou me
Salvar’ (I will save myself). He also contributed
as solo writer in ‘Precisamos de Irmãos’
(We need brothers’) and ‘Prisioneira do
Amor’ (Prisoner of Love). Arnaldo wrote ‘Calma’
(Stay Cool). ‘Build Up’ also brings the
first solo songs arranged and/or written by Rita only:
‘Viagem ao Fundo de Mim’ (Inner Deep Trip)
and ‘Jose’, a second version of George’s
Moustaki’s original song, also recorded by tropicalist-bossa
nova Nara Leão. ‘Build Up’ also houses
the bolero Beatles inspired ‘And I love Her (And
I love Him)’.
Build Up, the song, works as a script
for the whole album. Although Build Up, the album, establishes
the idea of ‘building up a public image’,
its songs suggest ‘building the individual, intimate
side of Rita’, an inner trip as showed in ‘Ao
Fundo de Mim’ (Me in depth). Apart the non-sense
‘Macarrão com Linguiça e Pimentão’
(Pasta with sausage and pimento) and the lyricism of
‘Jose’ (Joseph), all other songs are written
using the ‘I’ pronoun, with variations of
its plural WE and unfolding into I + YOU. “I can
even see/ my name flashing/ and the world clapping/
when I am singing/ when I am dancing/ I wanna be a star…/
I would say good bye/ to my dreams/ Success, here I
go…/ I will fight/ I will get there…Hold
on a minute/ what I really want/ is to escape from you…”
“In slow motion I will fly/ and
feel your love…”
“I need songs and friends/ Love, flowers and shelter…”
“I am going to an island…”
“Where would you be, my love?/ Where would you
“I will save myself/ I will save myself/ To guarantee
my eternal life”
(Comments by Marcelo Dolabela – Jul/Aug/ 2005.
Tratar da Saúde
é o Primeiro Dia do Resto da Sua Vida
Branco e Preto
Novo Aqui Meu Bom José
É O PRIMEIRO DIA DO RESTO DE SUA VIDA (Today
is the first day of the rest of your life) (Polydor
- 1972) - Arrangements: Arnaldo Baptista.
Two years after ‘Build up’ Rita Lee launched
her second solo album. That was a different history
all together. Before Rita was still a member of Mutantes.
Now, with Mutantes taking the progressive rock path
influenced by Yes, the group would send her off to the
Bauretz’s Planet. Her second record is a farewell
album and, at the same time, the one that sounded more
Mutantes than any other. None of the six records from
the first phase – 1968-1972 – were composed
exclusively by Mutantes themselves: Arnaldo-Rita &
Sergio+Liminha. All others counted with external collaborators.
strong censorship regime of those days cut up some lyrics
that from acids turned into lyric. In “Beija-me,
amor” (Kiss me, love) we hear: “…To
feel your taste/ mixed with a taste of love/ chewing
between my teeth” actually originally was: “To
feel the saliva/ the spit’s taste/ melting through
my teeth…”, told us Carlos Calado, in his
Mutante’s biography, page 285.
only collaborator (and for the first time as part of
the band) was that of the singer, composer and player
Lucia Turnball as backing vocal. In 1973, Lucia would
become Rita Lee’s partner in the project Cilibinas
do Éden. This duo would also work as a base for
Rita Lee’s further group, Tutti Frutti, which
included Luiz Sergio (guitars) and Lee Marcucci (bass).
Their first album, “Atrás do porto tem
uma cidade” (behind the port there is a city),
was a come back or very similar to Mutantes first album.
As in the 1968’s album, “Atrás do
porto…” stamps a drawing made by Rita. Its
graphic simplicity hides a basic element of the new
group: the humour. This was hided or simply abandoned
in the new Mutantes driven by progressive rock.
é…’ can be translated into final-solo-collective-catharses
towards this element. If in “Bauretz” the
humour is submerse, in this solo album it is explicit.
Its musical texture sometimes sounds also progressive.
album has two distinctive chapters:
1) Biographic, following the path of ‘Vamos tratar
da saúde’ (Let’s take care of our
health) and ‘Hoje é o primeiro dia do resto
da sua vida’.
2) Humoristic in “Amor em branco e preto”
(love in black & white, a non-official anthem to
Corinthians Football Club); “Tapupukitipa”
and “Tiroleite”. This was perhaps the only
successful attempt to make a joke out of the hippie
generation’s values. This song, although not turned
into a radio-TV success, is one of the big hits in open
this album is a return to Mutantes’ beginning
it is also an album-project of what would be Rita Lee’s
solo career. It was an amalgam of the anthropophagic
formula created by Brazilian poet and writer Oswaldo
de Andrade: love/humour.
1972, neither Rita nor Mutantes would be the same again.
Each one followed their own paths. All, however, within
a path that was trailed before. From that we can understand
that the group’s first phase does not compile
five albums but eight – their five plus the later
‘Technicolor’, recorded in 1970 and launched
only in 1990, and Rita’s two solo albums.
this discography completed? Not for me. Actually, this
phase has nine records. I would include the first Arnaldo’s
solo album, ‘Lóki?’ (1974). What?
Please, just re-read the above. All that was said for
Rita’s two solo albums applies, in minor or greater
degree, to ‘Lóki?’. I would stop
there but you can still include the album-manifesto
‘Tropicalia – ou Panis et Circensis’;
‘A Banda Tropicalista de Rogerio Duprat’
(The Tropicalist Band of Rogerio Duprat - 1968); and
the single by Caetano Veloso with four songs: ‘A
Voz do Morto’ (The Death’s Voice); “Baby”;
‘Saudosismo’ (nostalgia) and ‘Marcianita’.
All these songs were recorded live in 1968. Comments
by Marcelo Dolabela, Jul/Aug 2005.
COMPLETA EM ARQUIVO TEXTO: clique