Novos Baianos F.C. (1973)

novos baianos

Novos Baianos F.C.
Novos Baianos Futebol Clube
Released 1973 on Continental
Reissue, Warner Archives

1. “Sorrir e cantar como Bahia” (Luiz Galvão / Moraes Moreira) – 3:37
2. “Só se não for Brasileiro Nessa Hora” (Galvão / Moreira) – 3:28
3. “Cosmos e Damião” (Galvão / Moreira) – 4:07
4. “O Samba da minha Terra” (Dorival Caymmi) – 3:29
5. “Vagabundo não é Fácil” (Galvão / Moreira) – 5:06
6. “Com qualquer Dois Mil Réis” (Galvão – Pepeu Gomes – Moraes Moreira) – 3:26
7. “Os Pingo da Chuva” (Galvão / Pepeu Gomes / Moreira) – 4:10
8. “Quando você Chegar” (Galvão / Moreira) – 3:19
9. “Alimente” (Jorginho Gomes / P. Gomes) – 4:44
10. “Dagmar” (Moreira) – 2:31

* Moraes Moreira – vocal, violão base, percussão, arranjos, compositor
* Paulinho Boca de Cantor – vocal, percussão
* Baby Consuelo – vocal, pandeiro
* Pepeu Gomes – guitarra, violão solo
* Jorginho Gomes – bateria
* Dadi – baixo
* Baixinho – percussão
* Bolacha – percussão
* Luiz Galvão – letras

I may have given a somewhat overly-harsh review of “É Ferro na Boneca” in the previous post, and it may have been due to the fact that I had been listening to it back to back with THIS album. So I feel it is only fair to post about this album next, and I hope people out there can appreciate just how far along Novos Baianos had come in a couple years. The songwriting is first-rate (and, unlike “Ferro” has actual ‘hooks’ that stick in your head after listening..), the musicianship is impeccable and faultless, and the overall vision delivers on the “100% in the rhythm of our musical revolution” commentary that was promised in the liner notes to their first album. Of course, between that one and this one lay the band’s encounters and collaborations with João Gilberto and their legendary album “Acabou Chorare”, deservedly hailed as huge landmark in Brazilian music. “Acabou Chorare” tops the list of the ‘top 500’ Brazilian albums by R.S. Brasil… As much as I abhor list-making like that, it still says something about how powerful that record is. Given the accomplishments of that record, it would be almost natural for their next record to disappoint the listener. This album, known as “Novos Baianos Futebol Clube”, does not disappoint.

“If it isn’t broke…” may have been an overriding philosophy while Novos Baianos were working on this, their third album. They were obviously riding high on a wave of creative energy, but smart enough not to mess too much with the chemistry of what they had going on. They were also living in a communal arrangement on a rural property and devoted their time to music, football, and other leisurely activities, so they may have been ‘riding high’ on other things as well. Like the previous landmark album this one is a mix of old-school choro and samba styles with an early 1970s sensibility, occasionally electrified. The album starts out quietly and doesn’t even approach `rock` until the end of the third cut in, `Cosmos e Damião’. The band continues the winning formula by doing something that worked fabulously the last time — covering an old, classic samba and reinventing it. On the previous album this was Assis Valente’s “Brasil Pandeiro” (written for Carmen Miranda but never recorded by her). This time, it’s fellow son of Bahia Dorival Cayymi’s “O Samba Da Minha Terra”. Gal Costa would include her own version of this song on her album ‘Gal Canta Caymmi’ the following year, and her version is very good — but this one is revolutionary. Novos Baianos ability to switch gears in a split-second is simply flabbergasting – the change from a rock groove to a full-fledged samba is done in a single beat on this tune, and sounds as if none of them even broke a sweat. Words like “exultant”, “effortless,” and “joyful” come easily to your lips while playing this disc. Aside from the Caymmi tune everything else here is an original composition. It is hard to pick favorites because they are truly equally stunning, but ‘Cosmos e Damião’, ‘Vagabundo Não é Facil’, ‘Com Qualquer Dois Mil Réis’ and ‘Os Pingo da Chuva’ all stand out — but there it is, I just named half the tracks on the album… The last tune in that little sequence features Baby Consuelo on lead vocals and really makes me wonder why she didn’t record a solo record much sooner — She didn’t get nearly enough ‘air time’ with the Baianos in my opinion. Aside from that the only other minor gripe I have is the decision to end the album with two instrumentals, one after another. They are good enough, but they make me want to hear those vocal numbers over again… Perhaps that was their intention, to make us flip the vinyl over and play it again (or, alternately, set your digital device to “repeat”.) The band would rely on instrumentals even more heavily on their next album, “Vamos Pro Mundo”. after the departure of Morreira from the band.

The texture of the acoustic instruments on this album is fantastic, and are perfectly blended in the mix with the electric instrumentation. Warner Archives has done a better job on this remaster than any of the treatments I’ve heard for Acabou Chorare or any of the Som Livre titles. (Perhaps because Charles “Mr.Tinnitus” Gavin was not involved at any step?) This album is a treat that ranks among the top that this group produced in their career.

mp3 icon

Novos Baianos – É Ferro na Boneca (1970)

“É Ferro na Boneca”
RGE (XRLP-5.340)

1. “Ferro na boneca” – 2:02
2. “Eu de Adjetivos” – 3:01
3. “Outro mambo, outro mundo” – 2:45
4. “Colégio de Aplicação” – 4:11
5. “A Casca de banana que eu Pisei” – 2:20
6. “Dona Nita e Dona Helena” – 2:30
7. “Se eu quiser eu compro Flores” – 3:17
8. “E o samba me traiu” – 2:05
9. “Baby Consuelo” – 2:02
10. “Tangolete” – 2;21
11. “Curto de véu e Grinalda” – 2:28
12. “Juventude Sexta e Sábado” – 2:54
13. “De Vera” – 2:50

Novos Baianos

* Pepeu Gomes – guitarra
* Paulinho Boca de Cantor – vocal, percussão
* Baby Consuelo – vocal, percussão
* Moraes Moreira – violão, vocal, letras

with supporting band “* A Cor do Som” (Jorginho Gomes, Dadi)
* Luiz Galvão – letras

This is a very heavily Tropicália-laden album from Novos Baianos (at this point in time called Os Novos Bahianos), and pretty extremely different from what they would become known for in their masterpiece follow-up, ‘Acabou Chorare’. In fact when I compare it to their next few albums I find I don’t think this is really that good.. The song “Tangolete” is almost the only thing here that sounds like it would have fit on their next couple records, and this is only a *maybe* and definitely not with the arrangement used here. But if it was from anyone else I would say its a pretty good Brazilian psych-rock album with some good arrangements and interesting instrumentation. Collectors of obscure ‘world’ psychedelia should love this. Fans more familiar with their transformation after their “encounters” with João Gilberto will doubtless like it but maybe more as a footnote to their other work. In other words, this is a historically important album but mileage may vary depending on how groovy you are or whether or not you need regrooving.

The title track leading off this album is pure Tropicália and would fit comfortably in between any of the tracks on Caetano’s first or Gal Costa’s first two albums. The track is, just as the title would imply, a lusophile mambo with some overwrought singing. The horn arrangments by H.L. Fietta really jump out and call your attention on this track. Both because they are some first-rate horn arrangements, and also because you might have noticed at this point that you will never again hear a Novos Baianos album with orchestration that is so prominent, with hippy-jazz flutes and real-jazz saxophones peppering the mix like day-glo axeita de dendê. Same with the following cut, Colégia de Aplicação. “A Casca de Banana que eu Pisei” is a fairly straight forward baião about slipping on banana peels, not much to say here. The tune “Baby Consuelo” is just plain annoying, but of course you may feel differently. Once again, the track “Tangolete” has something of the cadence of later compositions by Morais Morreira, but you might notice there is no *band* here as far as the Baianos are concerned — the arrangement is entirely made up of the orchestra and a lone bandoneón played by… somebody. The fact that this is the most memorable song on this album highlights the main problem I have with it — Most of these songs just kind of drift in one ear and out the other. Even if you find yourself digging it, you will be hard pressed to remember any of the melodies afterwards, which is a strong contrast to all of their later work. In spite of the hyperbolic liner notes from Augusto de Campos which assert that these songs are “100% in the rhythm of our musical revolution,” this is the sound of a band finding its footing on its first full-length recording, and there were a lot more memorable releases coming out of Brazil in 1970 to overshadow this one. Still, it is well worth giving it a listen and having around. The closing song, “De Vera” is a good ‘un that rocks the groove with some nice echoplexed, distorted, wah-wah guitar that works well to distract from the trite lyrics from Gavão. It’s a good closing to the short chapter of this phase of the Baianos story.

 mp3 icon  flac button

password: vibes

Arnaldo Baptista – Loki? (1974)

1 Será que eu vou virar bolor?
2 Uma pessoa só (Mutantes)
3 Não estou nem aí
4 Vou me afundar na lingerie
5 Honky tonky (Patrulha do Espaço)
6 Cê tá pensando que eu sou loki?
7 Desculpe
8 Navegar de novo
9 Te amo podes crer
10 É fácil

All songs by Arnaldo Baptista except “Uma pessoa só” by Mutantes.

Recording in 16-tracks at Eldorado Studio (SP)
Produced by: Menescal/Mazola
Audio technician: Marcus Vinicius
Album cover by Aldo Luis, photo by Leila

Featuring: Dinho, Liminha, Rogério Duprat, Rita Lee, Rafa, and Arnaldo Baptista

The world of popular music is full of mythic figures whose eccentric reputations unfairly obscure and overshadow their actual contributions. Arnaldo Baptista is one such figure. In my younger days when I had just discovered them and was gripped by Os Mutantes “fever” (Mutant Mania?), I sought out this record with high expectations, knowing only that it was Arnaldo’s “nervous breakdown album” after which he took a long, um, “rest” and a break from the public eye. I admit I was slightly put off by the fugly album jacket design but I kept hope alive.

I brought it home full of eagerness, put it on the stereo expecting “The Madcap Laughs” and instead I got “The Madman Across the Water.” This is not a slam or a dis, as I will defend early Elton John and challenge anyone who wants to argue about it to a duel. Not a duel to the death with pistols or sabres, mind you, but maybe with a fencing foil. But still, Sir Elton doesn’t even rank in the realm of ‘loony’ tortured souls. So I was rather shocked to find myself listening to a subdued album of piano-driven rock music (hell, there isn’t any guitar on the whole record until the very end), rather than the Brazilian equivalent of “Oar,” “Easter Everywhere” or the aforementioned “Madcap.” What “Loki?” offers us is a piece of reflective pop music, a fragmented narrative of a life in the midst of post-psychedelic fragmentation of identity and doubt, of struggling with the ambiguities of celebrity and modernity, a “concept album” whose concept continually eludes the listener. For sure, the album is peppered with oddball, beguiling lyrics in praise of fruits and vegetables (“xuxu beleza, tomate maravilha”), lingerie, or an unexplained aversion to Alice Cooper, and his vocal delivery occasionally bursts into an odd Screamin’ Jay Hawkins warble, but for the most part Baptista’s stream-of-consciousness tales bring us a mix of the quotidian and the transcendent moments that made up a life lived to the limits of mental, spiritual, and physical exhaustion. For my money Baptista was the driving force behind Mutantes — I have never been terribly impressed with Rita Lee’s solo work, even the first two albums that Baptista produced. For me, those records are listenable largely by way of Arnaldo’s involvement; In fact her record “Hoje é o primeiro dia do resto da sua vida” is sort of a counterpart to this one.

But “Loki?” is far more tranquil and pensive; it’s occasional prog-rock flourishes never become cloying or annoying. Some of the songs flow one into the other in true rock-opera fashion. Mileage may vary, however, for the non-Portuguese speaker, as the music here is very much driven by the lyrics. Some of the tunes are self-referential to themselves; in other words, conjuring phrases and images already dealt with in other places on the album. I particular love his occasional use of an English lyric thrown in seemingly at random that matches perfectly the rest of what is going on musically and discursively. There are metaphysical musings – We are all one and the same person, I am the Alpha and Omega, and so on. “Uma Pessoa Só” is graced by the lush arrangements of Rogério Duprat, cradling Baptista’s explorations into the inner cosmos. And then there are moments of raw, confessional tenderness and intimacy — “Desculpe” and “Te amo podes crer” are both too plaintive and profound, too human and eternal, to suffer any hackneyed translations at my hands. My favorite song in the whole bunch is “Navegar de novo” which mixes reminiscence of going to the cinema with his girl, lamenting that the car he bought six months ago is already out of fashion, the tough impersonality of São Paulo; with musings about humanity, the speed of light, the conquest of space, of Brazil as being still a child, and, um, urban planning (I think..) Rita Lee sings backup on “Não estou nem aí.” The album ends with two minutes of an open-tuning 12-string solo guitar piece whose only lyrics, “I love myself like I love you. It’s easy. It’s easy,” his hushed voice mixed into the left channel as if he is whispering in your ear, before he ends the tune banging out guitar chords that rock out more than anything else on the record, giving way to a heavily-flanged fade out. The end. Like one of his more obvious anglophone parallels, one Roger Barrett, the album leaves me with the persistent feeling that there was (is) much more to the man than the “loony” tales and stories, the idiosyncratic behavior, the health problems. Don’t let the legend and the myth distract you from what this album is – a beautiful swan-song.

Additional info contributed by blog friend CK:

I love this album, which I bought back in the days of vinyl records. I’d
like to comment on the so-called Rita albums produced by Arnaldo. The
story that I’ve heard is that her first album, Build Up, was not
originally Rita Lees idea. Os Mutantes went into a forced recess due to
her husband Arnaldo deciding on an adventurous vacation with a friend
traveling by motorcycle from São Paulo to New York. Hitting into some
difficulties along the way (I think he made it to Panama), Arnaldo gave
up on the idea and returned to São Paulo to find Rita midway into an
album. So it was agreed that he can produce some of the remaining
recordings. So yes, he did have a hand in it, but its not like he was
the mastermind behind the helm of the whole thing.

Regarding her
so called second album, ‘Hoje É O Primeiro Dia Do Resto Da Sua Vida’,
the story of this album is quite well known. Mutantes informed their
record company that they have enough material for, and intend to,
release a double album. The record company explained that Mutantes did
not sell enough to warrant a double album. The compromise was to have
the second album out as a Rita Lee album, because she was always the
bands main pull or main attraction in minds of the populous. Arnaldo was
the musical genius, Sergio the guitar wiz kid, but it was Rita’s charm
and charisma that made Mutantes television friendly. So, this is really a
Rita’s album at all although it is officially credited to her.

Loki the album, one of the important things to know about the album is
that it was recorded after Rita and Arnaldo split up. Almost all the
songs are directed to Rita in one way or another. Será Que Eu Vou Virar
Bolar questions his musical future without her (venho me apegando ao
passado e em ter você ao meu lado // trans.: I’ve been getting attached
to the past and with you by my side). Uma Pessoa Só is a rerecording of a
Mutantes composition form their 1973 album O A E O Z (The A And The Z),
that was shelved until the nineties. In Não Estou Nem Aí he shows
himself unwilling to deal with the pressures in his life; rather get
high every morning (Não estou nem aí pra morte, nem aí pra sorte/ Eu
quero mais é decolar toda manhã). Rita Lee and Lucy Turnbull, who at
that time were working as a duo called ‘Cilibrina do Eden’, sing
background vocals on this and the following Vou Me Afundar Na Lingerie.
Arnaldo jokingly tuants them (or maybe it’s a shout-out?) on Cê Tá
Pensando Que Eu Sou Loki? (Cilibrina pra cá / Cilibrina pra lá / Eu sou
velho mas gosto de viajar). Descuple is an obvious open letter to Rita
Lee that warranted her to write and record her answer Agora Só Falta
Você on her 1975 album Fruito Proibido. Certainly not the answer Arnaldo
was hoping for. Desculpe is heart breaking in it’s vocal
interpretation, and has Limninha and Dinho giving us pure Mutantes power
in its execution, with only brother Sergio absent. Te Amo Podes Crer
follows Navegar de Novo, both stream of conscience type lyrics, and
follows the pattern of woes for the person identified as ‘you’ that left
and doesn’t want to return. Its a sad record thematically, but
beautiful in it’s playing. The Last song É Facil, Arnaldo amazes me as
how good a guitar player he really is, although he hardly plays the
instrument, up to that point in his carrer.

NOTE #1: There is noticeable noise / digital drop-outs beginning at the 1 minute and 20 second mark on the track “Uma pessoa só”. You may only notice them if you use headphones or a accurate speakers for playback. I compared two different CD copies of this first pressing, and the noise is in the exact same place. Quite likely damaged master tapes. I recently came across a new remaster of this album released on by the Universal group. I have not heard it and am not too inspired to pick it up, since the first pressings on Philips typically sound better than the newer remasters.

NOTE #2: There is a documentary about Arnaldo Baptista also called “Loki.” To my chagrin and consternation I still have not managed to see it. I am sure it has some lovely anecdotes about this album. Hopefully nothing that will make my commentaries look silly (or sillier..).


flac button

password: vibes

Ronnie Von – A Máquina Voadora (1970)


Ronnie Von
“A Máquina Voadora”
Released 1970 on Polydor (LPNG 44.050)
This pressing, Discos Mariposa, Argentina, 2006

01. Máquina Voadora
02. Baby de Tal
03. Verão nos Chama
04. Seu Olhar no Meu
05. Imagem
06. Continentes e Civilizações
07. Viva o Chopp Escuro
08. Enseada
09. Tema de Alessandra
10. Águas de Sempre
11. Cidade
12. Você de Azul

I have to admit it. If I were around in Brazil in the 1960s, I would have hated Ronnie Von with a passion. A former air-cadet pretty-boy (Top Gun, anyone?) who then went on to work at the Brazilian stock-market… A guy who would have been selling designer jeans in magazines if he had not eventually become interested in the idea of playing or singing music. He began cultivating this interest in 1964 because of a Brazilian Beatles’ cover band, and by 1966 was being presented on TV as a jovem guarda singer. I’m not kidding, it would have been very very hard for me to take this guy seriously. Ah and those hypnotic come-hither green eyes of his, how could I resist those?? Pretty easily, actually. As a friend of mine here put it, she always found Ronnie Von a bit too “mocinha”, which I discovered is probably the best translation of ‘pretty boy’, or at least of an effeminately macho heterosexual. He was also nicknamed “The Small Prince”, which sounds much better in Portuguese. Sort of.

In truth Ronnie is known more for his work as a TV presenter than a singer, being thrust into the spotlight rather quickly with those good looks and bad haircut (featured in one shot in the booklet and in this vintage clip on Youtube). He hosted a ton of different TV specials, introducing musical artists and interviewing guests. And here is where I begin to like Ronnie’s story, although I know nothing about his media personality. You see, as the 1960s drew to a close, he psychedelized himself. Rather convenient of him, you might be justifiably thinking to yourself. But how can you not like a guy who hosted a TV special in 1968 that is listed simply as “Ronnie Von and The Robot (In Which Ronnie Talks With a Robot).”

Ok, so now I’m all ears.

He made three long players in this period that are worth hearing, and this one is by far the best. In fact, I like it quite a lot. It’s got some pretty heady stuff on it to please any obsessive psychedelic-rock collector, while still retaining enough jovem guarda sensibility to never take itself too seriously (“Verão nos chama” and especially “Viva o chopp escuro”). The album has decent orchestral arrangements that don’t try too hard to sound like Rogério Duprat. The title track is a monster of a bad-ass song, in my opinion. In 1968 Brazil it would have come off as totally derivative of The Beatles simply by way of its production, but in the rest of the world at that time that was full of much more rock derivative of The Beatles, it wouldn’t sound that way at all. And in fact the song owes more to Taiguara and Roberto Carlos then to McCartney or Lennon. “Seu olhar no meu” has a lot of Donovan in it (another pretty-boy, come to think of it), which is completely alright by me as I happen to really like Donovan. And while some people may find his spoken poem “introduction” on “Continentes e civilações” a bit overdone (I put “introduction” in scare quotes because it lasts for a full two minutes), I find it highly entertaining when the crescendo kicks in and… well, goes nowhere really, that’s basically the end of it. The two songs apparently written for his daughter, “Tema de Alessandra” and “Você de azul”, are both really nice, even beautiful. Like other parts of the record, the production strikes gold with a delicate balance of strategic use of strummy acoustic guitars, bombastic organ chords, some noodling on a recorder or okarina flute, and fuzzy fuzzy electric guitar lines. Whatever dude, I find this album charming and I hope you do to.

Ronnie, looking fabulous and not ‘mocinha’ at all, in fact.

The preparation of this post must have been cursed by haunted television personalities of ages past or whatnot. First I put together a folder with all the artwork crooked and barely usable and failed to notice this until all the other work had been done, including hosting the file. Alas, easy enough to fix and only slightly time-consuming. Then I discovered that I somehow missed a page or two of the booklet giving Ronnie’s bio, and one of the badly-translated pages in English. More importantly, I missed a shirtless photo of Ronnie. I am not fixing it again, but alas, I found the entire text of the booklet online to give you here. But no sexy chest, sorry.

RONNIE VON – Biografia

Nascido em Niterói sob o signo de câncer, em 17 de julho de 1944, nos primeiros minutos de uma Segunda-feira.

Teve uma infância tranquila, fazendo muitas molecagens como era comum nas crianças da sua idade.

Em 1960 prestou exame para a Escola Preparatória de Cadetes do Ar de Barbacena, tinha 15 anos, entrou em 72º lugar, entre 4000 candidatos e 240 aprovados. Aos 17 anos de idade fez seu primeiro vôo sozinho num Folker T-21, um dos dias mais emocionantes de sua vida. Foi um bom piloto, mas fez um montão de molecagens, coisas da juventude.

Mas ser piloto não era o seu destino, então saiu da escola da Aeronáutica e foi para a faculdade de Economia onde passou a estudar a noite e durante o dia a trabalhar com seu tio que administrava empresas que operavam no mercado de capitais. Tempos depois casou-se com Aretusa, mãe de seus dois primeiros filhos e montou uma distribuidora de valores, começando a operar no mercado paralelo. Não obteve muito sucesso e teve que vender seu carro, presente de casamento de seu pai, e outros bens para honrar seus compromissos.

Em 1964 começou a interessar-se pelos Beatles, que tornaram-se seus grandes ídolos, iniciando assim o seu interesse pela música.

Em 1965, muito amigo de Eli Barra, um dos integrantes do grupo Brazilian Beatles (grupo “cover” dos Beatles), foi apresentado ao produtor Glauco Pereira, que sentindo o talento e as grandes possibilidades do rapaz, contratou-o imediatamente.

Sua estréia deu-se no programa BRAZILIAN BEATLES CLUB (1965), na antiga TV EXCELSIOR do RJ, onde cantou a música mais bonita da época – YOU’VE GOT TO HIDE YOUR LOVE AWAY, de Lennon e McCartney, tema do filme HELP, surgindo a seguir o seu contrato com a Philips, lançando seu 1º compacto com a música “MEU BEM”, versão feita pelo próprio Ronnie com o auxílio de seu pai, da música GIRL.

Agnaldo Rayol, em seu programa CORTE RAYOL SHOW, foi a grande chance que Ronnie procurava para vencer em SP, onde recebeu a consagração de ídolo (seus olhos verdes e tristes, conquistaram os corações das garotas).

A partir de MEU BEM, abriram-se as portas para um novo ídolo do iê iê iê.

Passando pelo programa de Hebe Camargo, tornou-se o “Pequeno Príncipe”(1966), um título que perdura até hoje.

Outubro de 1966, com o sucesso de MEU BEM, Ronnie ganha um programa exclusivo na TV Record: “O PEQUENO MUNDO DE RONNIE VON”.

No mesmo ano de 1966 surge o 1º LP, e os shows começam a aparecer por todo o país. Depois de MEU BEM, um novo sucesso: – A CATEDRAL.

Em 1967 Ronnie Von grava “A PRAÇA”, música de Carlos Imperial, com a qual vendeu muitos discos, mostrando um cantor mais versátil, menos “Beatles”, mas igualmente romântico. O estouro desta música mudou muito a vida de Ronnie, todas as cidades queriam conhecer o cantor de “A Praça”.

Com o final do “PEQUENO MUNDO”, Ronnie viaja para a Disneylândia onde passa 17 dias e aprende muitas coisas no bairro dos Hippys, voltando psicodélico.

Com o seu retorno vieram outros programas:


-Na rádio Jovem Pan, “O mundo colorido de Ronnie Von” (67 / 68)


-RONNIE VON E O ROBOT (onde Ronnie conversa com um Robot) (1968)

-RONNIE E OS ALEGRES COMPANHEIROS (com Renato Aragão) (1968 / 69)

Ronnie participou também de um dos Festivais da Record, defendendo a música “UMA DÚZIA DE ROSAS”, de Carlos Imperial.

Em 25/06/1968 Ronnie recebe o título de CIDADÃO PAULISTANO na Câmara Municipal de SP das mãos da vereadora Ana Lamberga Zeglio, onde Ronnie fez um breve discurso destacando a frase: -“HÁ MAIS ALMAS DO QUE TERRAS PARA CULTIVAR”.

Mais tarde recebe também o título de “Comendador” em BIRITIBA MIRÍM, onde inaugura a Avenida e Escola RONNIE VON.

Saindo da TV Record, Ronnie apresentou o programa “ASSIM CAMINHA A JUVENTUDE”, na antiga TV EXCELSIOR (1969 / 1970).

Em fevereiro de 1969, Ronnie inicia também um programa na rádio Nacional de SP, e lança mais um LP.

O pequeno Príncipe cresceu, cortou seus cabelos longos….tornou-se um “grande Príncipe”.

Entre um disco e outro Ronnie se dedica a outras atividades: empresário, produtor de modas, participa de filmes e novelas, entre elas “A Menina do Veleiro Azul” (1969).

Em 02/01/1970, nasce sua primeira filha, Alessandra, e Ronnie lança mais um LP contendo uma música em sua homenagem: – “TEMA DE ALESSANDRA”. No mesmo ano, em 02/12/1970, nasce Ronaldo, seu segundo filho com Aretusa.

Em 1977 ocorre uma nova reviravolta em sua carreira, Ronnie grava a música “TRANQUEI A VIDA”, pela RCA, e devido ao grande sucesso alcançado, regrava esta música em vários idiomas e passa a fazer muito sucesso também fora do Brasil.

Nesse mesmo ano Ronnie começa a participar de um programa de competição musical, o “QUAL É A MÚSICA”, onde torna-se o grande destaque do programa, devido aos seus conhecimentos e incrível memória.

Ainda em 1977, Ronnie faz mais uma novela: CINDERELA 77 (TV TUPI), onde vive um Príncipe motoqueiro.

Com o final da novela, surge mais um programa: RONNIE VON ESPECIAL (1977/78), desta vez pela TV TUPI.

No ano de 1979, Ronnie grava seu 2º LP pela RCA e logo depois, assina contrato com uma nova gravadora, a SOM LIVRE.

Nesse mesmo ano de 1979 Ronnie é pego de surpresa por uma grave doença, POLIONEURITE NEURO RADICULAR, que o deixa impossibilitado de andar e de cama por vários meses. Mas a vontade das pessoas de vê-lo curado era tanta, que através de orações e promessas, deu a ele forças para se recuperar.

E finalmente, depois de uma terrível luta contra a doença, Ronnie volta a cantar e promete: – “Só saio do Palco se me abaterem a tiros, e mesmo assim vou lutar muito para que isso não aconteça.”

Surge então em 1981 o LP “SINAL DOS TEMPOS”, onde Ronnie canta músicas com mensagens profundas, onde fala das mudanças e também do seu recaminho.

Nesse mesmo ano de 1981, Ronnie faz uma participação especial na novela O AMOR É NOSSO (TV GLOBO).

Em 1983 Ronnie aparece com força total, através da música “CACHOEIRA”, e novamente vem ocupar os primeiros lugares das paradas de sucesso.

Em 1984, Ronnie casa-se com a atriz Bia Seidl e muda-se para o Rio de Janeiro, mas mostrando que é um bom cidadão paulistano, um ano depois, retorna a SP, a terra que lhe adotou como filho.

Ainda em 84 Ronnie participa de um dos capítulos da novela “A GATA COMEU” (TV GLOBO), onde Bia Seidl é uma das protagonistas.

Em 1986, após ter protagonizado um filme em Buenos Aires/Argentina, entitulado TAXI UNO, Ronnie, no clima romântico de Buenos Aires, descobre o verdadeiro amor de sua vida, sua amiga de infância, Cristina, que esperou por ele durante muitos anos, e que havia ido até lá apenas para acompanhá-lo a uma exposição de arte.

Ainda em 1986 Ronnie grava o tema de abertura da novela SINHÁ MOÇA (TV GLOBO), – “Sinhaninha”.

Para comemorar os seus 20 anos de carreira artística, Ronnnie inicia em 18/11/1986 uma temporada de shows no ESPAÇO ELIS ARTE & RESTAURANTE.

Em 1987 Ronnie lança mais um LP, desta vez pela gravadora 3M, entitulado Vida e Volta.

Em 06/06/1987, nasce Leonardo, seu 3º filho, o primeiro com sua atual esposa Cristina.

Nesse mesmo ano de 87 Ronnie participa do Filme “A FILHA DOS TRAPALHÕES”, ao lado de Myrian Rios, Renato Aragão, Dedé Santana, Mussum e Zacarias.

Em 11/12/1988, Ronnie, emocionado, leva sua filha Alessandra ao altar.

Já na gravadora RGE, em 1989 Ronnie lança mais um LP, onde a música “Eu Amo Amar Você” e “Sinal de Vida” ganham grande destaque.

Março de 1991, Ronnie estréia um Talk show na TV RECORD que recebe o nome de SINAL DE VIDA, voltando a alegrar seus fãs com um programa semanal noturno.

1992 – Ronnie escreve seu primeiro livro: MÃE DE GRAVATA pela Editora Maltese. Uma autobiografia, cujo objetivo foi passar para os outros a experiência, a vivência, os acertos e os erros cometidos por ele.

A proposta desse livro era levar o conhecimento que adquiriu ao assumir a guarda de seus filhos, quando da sua separação, onde assumiu os dois papéis (pai e mãe), com êxito. Seus filhos aí estão, como um exemplo vivo de que o homem é capaz de educar e formar as crianças, mesmo com a ausência da mãe.

Em 1996, Ronnie lança seu primeiro CD pela gravadora PARADOXX MUSIC, intitulado “ESTRADA DA VIDA”.

Em 24/05/1999, Ronnie estréia pela CNT GAZETA o programa “MÃE DE GRAVATA”, um programa diário, dedicado em grande parte ao público feminino mas que acaba conquistando também o público masculino.

Em 05/03/2001 Ronnie é contratado pela TV MULHER onde continua a apresentar o programa “MÃE DE GRAVATA” e ganha o seu primeiro site na internet:

Desde o dia 03/05/2004, Ronnie Von voltou a apresentar um programa na TV GAZETA intitulado “TODO SEU”, onde vem conquistando grande audiência, recebendo muitos elogios pela beleza do cenário, o bom gosto musical, pela sua simplicidade, e pela maneira carinhosa com que recebe a todos os convidados. Um momento de destaque do programa é o quadro “Visão Masculina” onde mulher não entra, e os homens debatem assuntos sobre as mulheres.

Este é apenas um resumo da carreira linda desse nosso ETERNO PRÍNCIPE RONNIE VON.

in 320kbs em pé tré


Jorge Ben – Salve, Jorge! Inéditas e raridades (2009)

Finally, here it is — The grand finale, the 2-CD ‘bonus’ of the Jorge Ben boxset. Two discs of material that is either unreleased or only available on rare compilations or on B-sides, all from Ben’s golden years of genius and productivity. For Ben fans this is the most anticipated part of the box, since he has never had any similar releases of rare stuff. My only gripe is the FUGLY packaging (*for non-native English speakers, that is Fucking + Ugly). With all this rare audio, there is not a single rare photograph in the booklet, no real liner notes, and the graphic design gives me a migraine headache.

I am cranky and curmudgeonly today. I am blogging on autopilot this week and I don’t like it. I had hoped to post this when I had some pithy remarks and observations. I moved recently (for the third time in as many years) and had managed to prepare the rest of this box before the tumult overtook me, while this two-disk set needed a bit more TLC. It’s new enough that the tracklists do not exist in the online databases like freedb so everything had to be manually entered in. Normally I also like to restore the orthographic characters to the Portuguese titles in the ID-tags, so that the proper orthography is visible in your digital music player. I have also taken to putting composer’s names in the ID tags. I am not sure if anyone notices or appreciates this type of obsessive-compulsive fussiness or not, but it keeps me going. However sometimes it, er, holds things up. I have received nearly daily requests for this collection of rarities since the first posts from this box-set appeared at Flabbergasted Vibes. For those who have been patiently waiting, I hope you find it was worth it. I think you probably will.

Perhaps I will post some of my pithy comments and witty observations about the actual music, sometime in the near future, in the comments section here.

flac button

password: vibes

Gil e Jorge – Ogum Xango (1975)

Jorge Ben & Gilberto Gil
Gil & Jorge / Ogun Xango

Released 1975 Phonogram (9299 453/4)
This reissue: Salve, Jorge! Boxset 2009

LP 1

1 Meu glorioso São Cristóvão
(Jorge Ben)
2 Nega
(Gilberto Gil)
3 Jurubeba
(Gilberto Gil)
4 Quem mandou (Pé na estrada)
(Jorge Ben)

LP 2

5 Taj Mahal
(Jorge Ben)
6 Morre o burro, fica o homem
(Jorge Ben)
7 Essa é pra tocar no rádio
(Gilberto Gil)
8 Filhos de Gandhi
(Gilberto Gil)
9 Sarro
(Jorge Ben, Gilberto Gil)

Since this album was reissued on the Verve label for years, and thus available domestically in the US, it was actually the first Jorge Ben I had ever heard in my life. Note: if you have your 3-D glasses left over from Avatar, the original album cover of this was apparently designed to be viewed in 3-D. Far out.

I remember not knowing what to think the first time I put it on. The songs were so loose, so long and jangly and laid back — just not what I had expected after everything I had heard about Jorge. Also Gilberto Gil is doing his thing and being, well, Gil — his vocal whoops and falsetto vocalizations can be a little weird and grating. In fact in some ways this might possibly the most ‘psychedelic’ album either one of them recorded. I don’t know if I can back that statement up if you haven’t heard this. This has nothing to the production of this record — very straight-forward recording of a jam session with some slight delay and reverb added to the vocals and guitars. Some bass guitar on one track only. But it’s free-flowing improvisational acoustic attack, with little regard for conventional song structures in the commercial sense, this could almost have the same vibe as an Amon Duul (Mach I) album, albeit with actual talent involved. I have said this before and will repeat it here — I wouldn’t recommend this as an introduction to Jorge Ben, or Gil for that matter. Not because it’s bad, just because its well… kind of weird and atypical. But there is a reason why its a classic. There is great music from start to finish, and songs by both artists that don’t appear anywhere else. ‘Filhos de Gandhi’ is one of my favorites, and unique to this record. Essentially a slowed-down afoxé minus the percussion, its title is taken from one of the more famous carnaval blocos of Salvador, Bahia. Gil tells the story himself on his own website, which I will leave untranslated out of pure laziness, for the moment at least:

“Chegado de Londres, em 72, eu fui passar o carnaval na Bahia, e encontrei o Afoxé Filhos de Gandhi sem massa humana na avenida, reduzido a apenas uns quarenta ou cinquenta na Praça da Sé. O bloco, tão vivo na minha memória, tinha sido um dos grandes emblemas da minha infância e era o mais antigo da cidade. Começou a sair em 49, quando eu tinha sete anos; os integrantes passavam pela porta de casa no bairro de Santo Antonio, todos de branco, com turbantes e lençóis, palhas de alho trançadas e fita na cabeça, e com um toque que era diferente do samba, da marcha, do frevo, dando uma sensação de espaço sagrado (depois viemos a saber que o afoxé era mesmo um toque religioso do candomblé). Eu tinha veneração pelo Gandhi, e ao revê-lo numa situação de indigência, me deu uma dor seguida de um arroubo de filialidade, de amor de filho, arrimo de família; resolvi dar uma força. A primeira coisa que fiz foi me inscrever no bloco – para ‘engrossar o caldo’. Depois fiz a música, e continuei saindo – saí treze anos seguidos. As fileiras foram aumentando, e o Gandhi se recuperando. Os jovens ficaram entusiasmados com minha presença, e os velhos se sentiram mais estimulados a trabalhar; enfim, foi um estímulo geral.”

mp3 icon

password: vibes

Album cover from the US release on VERVE RECORDS: