People – Ceremony ~ Buddha Meet Rock (1971)


Buddhism is a religion indigenous to the Indian subcontinent that encompasses a variety of traditions, beliefs, and practices largely based on teachings attributed to Siddhartha Gautama, who is commonly known as the Buddha (the awakened one). The Buddha lived and taught in the eastern part of the Indian subcontinent some time between the 6th and 4th centuries BCE.

He is recognized by Buddhists as an awakened or enlightened teacher who shared his insights to help sentient beings end their suffering (dukkha) through the elimination of ignorance (avidyā) by way of understanding and the seeing of dependent origination (pratītyasamutpāda) and the elimination of desire (taṇhā), and thus the attainment of the cessation of all suffering, known as the sublime state of Nirvāṇa!

Gautama Buddha
Gautama Buddha

Two major branches of Buddhism are recognized: Theravada and Mahayana. Theravada has a widespread following in Sri Lanka and Southeast Asia (Cambodia, Laos, Thailand, Myanmar). Mahayana is found throughout East Asia (China, Korea, Japan, Vietnam, Singapore, Taiwan) and includes the traditions of Pure Land, Zen, Nichiren Buddhism, Tibetan Buddhism, Shingon, and Tiantai. In some classifications, Vajrayana, practiced mainly in Tibet and Mongolia (also China and Russia) is recognized as a third branch, while others classify it as a part of Mahayana.

Let’s go to our history:

About 85 million people in Japan, accounting for 2/3 of the population, are affiliated with Buddhism in some way, often nominally 70-85% of Japanese profess no religious membership or personal religion. Most Japanese Buddhists are also similarly affiliated with Shinto, as neither of the two religions demands exclusivity.

Zen Buddhism was brought to China by the Indian monk Bodhidharma in the 6th century CE. It was called Ch’an in China. Zen’s golden age began with the Sixth Patriarch, Hui-Neng (638-713), and ended with the persecution of Buddhism in China in the middle of the 9th century CE. The great Zen masters came from this period.


Zen spread to Korea in the 7th century CE and to Japan in the 12th century CE. The essence of Zen is attempting to understand the meaning of life directly, without being misled by logical thought or language. Its techniques are compatible with other faiths and are often used, for example, by Christians seeking a mystical understanding of their faith. Zen often seems paradoxical, it requires an intense discipline which, when practiced properly, results in total spontaneity and ultimate freedom. This natural spontaneity should not be confused with impulsiveness.

Buddhism’s emphasis on the Middle way not only provides a unique guideline for ethics but has also allowed Buddhism to peacefully coexist with differing beliefs, customs, and institutions in countries where it has resided throughout its history.

Laotian Monks
Laotian Monks

Also, its moral and spiritual parallels with other systems of thought, for example, with various tenets of Christianity have been subjects of close study. In addition, the Buddhist concept of dependent origination has been compared to modern scientific thought, as well as Western metaphysics. (!)

Popularised in the West by the Japanese scholar Daisetz Teitaro Suzuki (1870 – 1966), Zen culture is the Japanese variant of Chán, a school of Mahayana which strongly emphasizes dhyana (concentration/meditation). This gives insight into one’s true nature, which opens the way to a liberated way of living.


In Zen Buddhism, an ensō (円,相) is a circle that is hand-drawn in one or two uninhibited brushstrokes to express a moment when the mind is free to let the body create. The ensō symbolizes absolute enlightenment, strength, elegance, the universe, and mu (the void). It is characterized by a minimalism born of Japanese aesthetics.

The many different schools, such as the Zen Buddhist concepts, practices, and traditions will be left to an expert. This is just a small introduction to the subject, our today’s album has an exploitative side, but it’s the basis for one of the rare fusions between rock and religion, especially in the East!


Let’s go to our album:

People were formed during a short term in 1971 as a (nearly) occasional shooting star project to produce a novel by blending their rock sounds and Buddhist Shomyo (sutra). The album was led by Buddhist poet/songwriter Naoki Tachikawa and was organized by Teichiku Records‘ A&R director Hideki Sakamoto.

All the members were renowned and talented Japanese session musicians: Kimio Mizutani (Masahiko Satoh & Soundbrakers, Love Live Life), Yusuke Hogushi (Sound Ltd.), Hideaki Takebe (Yosui Inoue), Kiyoshi Tanaka (Zuno Keisato), and Rally Sunaga (Hiroshi Yasukawa). They released a solemn and mysterious rock Lp, an album with a vision which slowly unfolds in a zen way.

Kimio Mizutani
Kimio Mizutani

Through most of the album is a mood of improvisation build around some fundaments of Buddhist prayers with a psych-rock band playing a mostly droning. With clear organ, slowly rhythmic bass, wooden block, wah-wah guitar, drums, and acoustic guitar, temple cymbals, and an occasional sitar played in Japanese mode.

Curiously, the album starts and ends with a sample from David Axelrod’s Holy Thursday, being one of the first unauthorized uses of a song in rock history. The ‘IM’ highlights are for the entire album, this rite soundtrack captures the beauty of an ancient religion with tinges of modernity, fake orgasms and lots of fuzz. 良い旅を!

Tracks Include:

A1 プロローグ (Prologue)

A2 声明 Part 1 (Shōmyō Part 1)

A3 讃歌 (Sanka) [Gatha]

B1 切散華 (Kirisange) [Flower Strewing]

B2 声明 Part 2 (Shōmyō Part 2)

B3 祈り Part 1 (Inori Part 1)

B4 祈り Part 2 (Inori Part 2)

B5 エピローグ (Epilogue)


  • Bass: Hideaki Takebe
  • Drums, Percussion: Kiyoshi Tanaka
  • Electric Guitar, Guitar (Slide), Acoustic Guitar, Sitar: Kimio Mizutani
  • Organ, Guitar, Vocals: Yusuke Hoguchi
  • Percussion, Gong: Larry Sunaga
  • Vocals: Akemi Tomura, Goro Inoue, Kyo Shibata, Maiya Sugihara
  • All songs by Naoki Tachikawa and Yusuke Hogushi
  • Arranged by: Yusuke Hoguchi
  • Engineer: Tatuo Kawabe
  • Producer: Naoki Tachikawa

Recorded at: Teichiku Suginami Studios, Tokyo

Original 1971 Lp on Teichicku Records

Tokyo Glance
Tokyo Glance

He 6 (히식스) – Go Go Sound ’71 Vol.1 & 2


Korea. After the formation of Add4 by Shin Jung-Hyun in 1962, Korea saw the development of Rock music, obviously thanks to the world entrance of The Beatles. 1964 would mark the very birth of K-rock, bands like Key Boys and He 5 turned into a national success, the images seen in A Hard Day’s Night became a common point between these bands. The ’60s was presented with dozens of records, tours, television appearances and mass hysteria by the legion of fans avid for the Korean Beatles!

The leader and guitarist of He 5 was Kim Hong-Tak, one of the predecessors of the electric guitar alongside Shin Jung-Hyun; after the triumph of Merry Christmas Psychedelic Sound in 1969, including famous covers and versions of traditional songs, with the turn of the decade, the group decided to add flute and clarinet to their sound, thus He 6 was formed. Predicting this success formula, Korea would saw a definitive entrance of psych, garage, and soul in its musical charts.

1972 Promo
1972 Promo

Let’s go to our history:

Since the late ’60s they played hard psychedelic songs on live shows (At Seven Club in I-Tae-Won, a small quarter of Seoul which is now well known even internationally for its diverse markets, restaurants, and bars) but they couldn’t make this music style on albums because of record company’s pressures. They gave them some discretionary power to have them created the results which they had first on Merry Christmas Psychedelic Album and later on (fabulous) He 6 Vol. 1 and Vol. 2.

But most their fans couldn’t understand the tracks of these albums, so they were forced to change to more popular styles, like trots and romantic ballads. (!)

At least they had their chances to make some albums with the music style they wanted after they became a nationally recognized pop-rock group. The band throughout their career launches only 8 albums, with the aforementioned difficulty to moving on after 1975 (second last Lp) and the definitive end in 1980.

Album Booklet
Album Booklet

Let’s go to our album:

This amazing set shows an excellent mixture of psychedelicblues-oriented hard rock and soul in a very laid back improvisation feeling. Kim Hong-Tak’s heavy fuzz guitar all-over the set with best funky rhythm set (Cho Yong-Nam and Kwon Yong-Nam, later entered in SJH & Yup Juns!) and beautiful flute passages.

The ‘IM’ highlights are Running Man, a furious 9-minute track coming out of a Blaxploitation movie, with tons of fuzz, swinging guitars, breakbeats, percussion and flutes in a variety of moods. A psychedelic shell! And In-A-Gadda-Da-Vida, the cover from Iron Butterfly’s megaton hit stands out to be a better version than Shin Joong Hyun’s live album, including the whole drum solo! Kim Hong-Tak’s abilities at guitar must be heard, this is no ordinary beat sound and deserves respect.

תיהנה בטיול!

Tracks Include:

Vol.1 Grand Records (GH-00020)

A1 Introduction Music

A2 4/4 For Guitar

B1 Running Man

B2 Percussion Theme

Vol.2 Grand Records (GH-00021)

A1 The World of 6/6

A2 The Storm

A3 Come On A Baby

B1 In-A-Gadda-Da-Vida


Kim Hong-Tak: guitar

Hun Choi: vocal

Kwon Yong-Nam: drums

Cho Yong-Nam: bass

Yoo Sang-Yoon: flute, organ, clarinet

Lee Young-Deok: guitar, piano

Released in July 1971, Limited Press (300)


Telegraph Avenue – Telegraph Avenue (1971)

capa cópia

Presently, there is a great demand and worldwide interest on foreign Latin-rock releases, these obscure gems, made with crude recording equipment, amateur techniques, and with pressings done, most of the time were on recycled vinyl.

The Peruvian Rock music scene (Inca Rock), initially was basically influenced by Rockabilly and later on by the tidal waves created by Elvis Presley and The Beatles. Peruvians groups played in the musical styles of Elvis, Bill Haley, Buddy Holly, throughout the ’50s and early ’60s. Later on, the mid-sixties saw the influence of Surf, Go-Go, The Beatles and some of the first Mersey Sound groups inspired the new generation of rock musicians. During the unrest cauldron that Latin America was, over the period, the country would face two subsequent military coups and its losses.

The first, led by Juan Velasco Alvarado in 1968, self-proclaimed the Armed Forces Revolution, tried and managed to overthrow the aristocratic republic with nationalist and anti-imperialist ethos. Infamous actions as the confiscation and prohibition of rock music through the national broadcasting services, the increased price for importing sound equipments and instruments and its pinnacle on the cancellation of Santana’s concert, in 1971, who was already at the Airport, in Lima; the government alleged the possession of marijuana by its band members and the fear of crescent youth riots, merged with a discourse of alienation music and maintained order. (!)

1968 Coup d'État
1968 Coup d’État

The imminent economic fiasco, made the military junta exchange its key figure, thus, Francisco Morales Bermúdez inaugurated the second phase government in early 1975. With more conservative guidance, opening Peru to foreign capital and multinationals, the Inca inheritors would only saw a new constitution in 1979 and their first elections after thirty years in 1980.

By the end of the decade, the psychedelic scene and its bands changed to the ‘new’ Progressive, Punk Rock and Heavy Metal aesthetics.

Let’s go to their history:

Peru. The year of 1969 saw the development of the most interesting era from the Lima musical scene, groups like Laghonia, Traffic Sound, Black Sugar, Pax, El Alamo, Gerardo Manuel & El Humo, Tarkus and Telegraph Avenue popped through a context of repression, poor technical conditions and radio boycotts. Peruvian rock only stands behind by Brazilian and Argentine scenes, with beautiful melodic textures and balanced blends of folklore and western influences!

Special note by the legendary Mag label, they recorded 80% of the material from all these bands and certainly deserves a dedicated post.

Album Insert
Album Insert

In the mid-’70s, Telegraph Avenue was formed after the lead guitarist Bo Ichikawa returned to Peru, after having stayed half a year in San Francisco, he had been exposed to the vivid local hippie rock culture. The crazy chain of events from the ’60s and ’70s had made Telegraph (a real avenue), as well as Berkeley, a symbol of the Counterculture of an era, attracting a diverse audience of visitors, including college students, tourists, artists, street punks, eccentrics, and homeless.

There are some brilliant photos from that era by Nacio Jan Brown and Joe Samberg, for you to understand the outlook of an epoch, check it!

On its return, he assembled all kinds of American influences, in a very powerful way, with English lyrics, and unlike ideas for the main arrangements. The band was finally formed with Bo Ichikawa and Chachi Luján on the guitars, Alex Nathanson on bass, and Walo Carrillo on drums and percussion; the only four-piece band that included melodic vocals and a mixture of psychedelic rock with Latin rhythms. An interesting fact is the multi-instrumental ability of all its members, too.

Telegraph Avenue
Telegraph Avenue

Later, the band would see a two-year hiatus after their first release, with Carrillo and Nathanson forming Tarkus on 1972. Then, the group reunited for its second and final release Telegraph Avenue Vol. 2 in late 74′ early 75′, shortly after, they were disbanded and the album became one of the lasts from the Peruvian psychedelic scene, much persecuted by the military dictatorship (sic).

Nevertheless, since 2008 the band gather together once again, much influenced by the rediscovered and re-press of their first album. As if not enough, they also released a third Lp with inedited material on 2011, called Telegraph Avenue III!

Let’s go to our record:

Before publishing its first album, the group was known from playing at parties in Pueblo Libre, the majority of these being graduation parties. There were also appearances at celebrations for the Club de Leones, Club Yugoslavo, Club Hebraica, and the Galaxy Discotheque, including a time were Telegraph Avenue played in the interior of an empty swimming pool! One of the most exciting concerts was at the University of Lima in November of 1970, the group was asked to play every weekend, and had bookings on Friday, Saturday, and Sunday almost all year round.


In June 1971, the band published their first self-titled Lp, which contained eight songs, it reached great sales during that year, and was well recognized throughout Peru. With more than 50 performances, they decided to take a break at the year’s end.

With styles very varied, ranging from Californian feelings, soul, blues, and sixties flavored rock styles, the psychedelic element is rather unique and can only be heard in other Peruvian acts, such as Black Sugar. The ‘IM’ highlights are for: Happy, an ultimate ballad that makes me long for a time that I didn’t live, with heavenly guitars, tuned chorus, and sweet naïve lyrics. An instant hit! And Let Me Start, a hard punch one with colorful fuzz, swinging bassline and nice uptempo mood. If on one hand, the band doesn’t have much-engaged lyrics, the harmonic parts are over the psych average, don’t miss this Inca Rock memento. Yaxşı Səyahət!

Telegraph Dreamers, 1972
Telegraph Dreamers, 1972

Tracks Include:

A1 Something Going

A2 Happy

A3 Sweet Whatever

A4 Lauralie

B1 Sungaligali

B2 Let Me Start

B3 Sometimes In Winter

B4 Telegraph Avenue


  • Recorded At – Estudios Mag


  • Acoustic Guitar, Percussion (Gemelas), Congas (Tumbas), Vocals – Chachi Luján
  • Acoustic Guitar, Clavichord, Bass, Alto Vocals – Alex Nathanson
  • Maracas, Tambourine (Pandereta), Percussion, Drums, Vocals – Walo Carrillo
  • Xylophone, Acoustic Guitar, Harmonica, Guitar (1a), Vocals – Bo Ichikawa
  • Written By – Nathanson (tracks: A1, A3, A4), Ichikawa (tracks: A2, B1 to B4), Luján (tracks: A2, B1 to B3), Carrillo (tracks: A3)


Grabación: Hecha en Los Estudios Mag de Lima, Perú en 8 Canales.

  • Design (Diseño) – Ichikawa, Carrillo
  • Design (Diseño), Photography By – Mario Acha

Gracias Joe.

Mag LPN-2404


Alma y Vida – Alma y Vida (1971)


Argentina. Today’s album got a minor size text, compared to previous posts, because our friends from Cabeza de Moog already made a dossier about Alma y Vida, don’t forget to check it, as the whole blog as well!

On mid’s ’60s, Carlos Mellino had been, along with Alejandro Medina, future bassist from Manal, a member from The Seasons, one of the first beat bands from Argentina. Gradually, he was contacting with jazz musicians, meeting the trumpeter, Salvador, and the guitarist Barrueco. Soon after, as an arranger and musician, he was leading the band for Leonardo Favio, a national star. Bernardo Baraj recalls his entrance on the future band as a so-called millionaire football transference:

‘I was playing with Sandro and the rivalry at the time between Sandro / Favio, was like Boca / River; actually, its was a change, Ricardo Lew went with Sandro and I passed to Favio’s group. I remember when Leonardo finished singing, we always kept it playing, a non-stop thing, you know? The band sounded so tuned that when Favio really quite, we became an independent group. Thus was born Alma y Vida‘.

Leonardo Favio: Singer, Composer, Actor & Director
Leonardo Favio: Singer, Composer, Actor & Director

Let’s go to their history:

In 1970, Leonardo Favio told them he would stop singing for a while, instead of separating they choose to build your own project, beginning to play under its own name, under a jazz-rock influence. Their first public performances took place in the cycle of Opera Theatre of Buenos Aires, sharing the stage with no less than Manal, Arco Iris, and Vox Dei, on every-Sunday mornings. (!)

Salvador: ‘We always were the first ones to play and people used to whistle, we actually heard some buzz in the very beginning, because see and hear a saxophone and a trumpet at the time was very rare. However, amidst the whistles, some part of the audience stood up and yelled to another, Shut up, deaf!’

Mellino: ‘Imposing a formation with so many kinds and totally different styles, adapting it to our reality was a terrible challenge. We were out of the acoustic or drums, bass, guitar formula, add it that we behave well and were good professionals.’


The impact of these performances leads them to record a single with the legendary short-lived label Mandioca (we’ll have a dedicated post for it), with the songs Niño Color Cariño and He Comprendido. The participations on the mega festival B.A. Rock prompted them to record the first plate in 1971 for RCA Argentina. Shortly before, Mario Salvador left the group and was replaced by Gustavo Moretto. In its first studio album, classics like Mujer, Gracias Por Tu Llanto and Hace Tiempo achieved regular success. With Moretto’s entry, Alma y Vida found their best form among all audiences, not only Argentine Rock gigs and crowds. Thereby establishing itself as a regular entertainer in the mythical La Cueva on Pueyrredón Avenue.

Based on a solid live performance and creativity for hits, such as, Hoy Te Queremos Cantar and later Del Gemido de un Gorrion present on their second (Volumen II), and third (Del Gemido…) albums (respectively), the band reaches its pinnacle on musical charts, playing throughout the country, Uruguai and TV appearances.


In late 1974, Gustavo Moretto leaves the band to move into more complex music, he founds the prog trio, Alas. His departure accelerated a process of internal crisis, that not even the entrance of Osvaldo Lacunza couldn’t save. In 1975 Alma y Vida recorded its fifth and last Lp (Vol. 5), after a year the group finally broke up.

Let’s go to our album:

This is without any doubt an underestimated band, practically unknown outside Argentina, this superb super-group became certainly one of my personal faves, aside Spinetta, Serú Girán, Arco Iris, Fito Páez, etc. Firstly, there is no comparison to any other rock acts in the ’70s, compared to Argentina and Brazil, for instance, their spectacular jazzy sound, outstanding (!!) Mellino’s voice and lyrics that alternate on beautiful poetic love themes or social/political criticism, are a welcomed surprise.

The band completely leaves the commonplace psych-folk, prog or blues that was being made at the time, such as La Pesada, Pappo’s Blues, Sui Generis, Manal, Color Humano, Los Gatos, etc. Although Alma y Vida had never been an instrumental jazz band only! Inspired by Blood, Sweat and Tears and Chicago, the had the vision to introduce new aesthetics, solos, and colors to Argentine Rock.

Carlos Mellino
Carlos Mellino

Mellino: ‘We had a very large range because all came from different extractions, Bernardo and Juan were jazzists, Carlos a rock musician, Mario a scholar one, and I a Beatlemaniac. A mixed salad that made Alma y Vida a well-defined group.’

The ‘IM’ highlights are Mujer Gracias Por Tu Llanto, a ravishing sentimental ballad with melodic horn, smooth pace, reeds and some outstanding dramatic vocals from Carlos Mellino, creating a unique atmosphere. A statement about love and solitude for any woman! And: Realidad de Sentir, with a crazy drum solo intro, this jazzy uptempo, invites us to enter in another reality, with metaphysical lyrics about our human senses, god, nature and the universe. There are some woodwind attacks and this exciting melodic vein that are responsible for an album hard-to-describe.

A truly original approach, you do not want to miss this journey, Buen Viaje!

Tracks Include:

A1 Mujer Gracias Por Tu Llanto (Bernardo Baraj, Carlos Mellino, Ricardo Lew)

A2 Me Siento Dueño del Mundo (Bernardo Baraj, Carlos Mellino, Juan Barrueco)

A3 Hace Tiempo (Bernardo Baraj, Carlos Mellino)

A4 Realidad de Sentir (Bernardo Baraj, Carlos Mellino)

A5 La Morada (Gustavo Moretto)

B1 Veinte Monedas (Carlos Mellino, Esteban Mellino, Gustavo Moretto, Juan Barrueco)

B2 Lagrima de Ciudad (Carlos Mellino, Esteban Mellino)

B3 Y Esto? (Gustavo Moretto, Juan Barrueco)

B4 La Gran Sociedad (Bernardo Baraj, Carlos Mellino)


Alberto Hualde: drums

Bernardo Baraj: sax

Carlos Mellino: keyboards and voice

Carlos Villalba: bass

Juan Barrueco: guitar

Mario Salvador: trumpet

RCA Vik LZP-1196

Novos Bahianos + Baby Consuelo – No Final do Juízo (1971)

capa cópia

Brazil, 1969. After the infamous AI-5 (institutional act #5), the dictatorship that was ruling entered in a new phase, seeing its 5th birthday, with an urban guerrilla and a mass wave of protests throughout the country. The most reactionary group made a coup inside the coup. From that moment the previous censorship was installed on every layer of the society, no civil guaranties at all, any manifestation was a subversive act, elections/congress suspended, as the unions and student leadership.

The terror against anyone contrary to the order was real. Many people were persecuted, arrested, tortured, killed and buried as indigents under the iron tutelage of the State, and the connivance from big entrepreneurs, media groups, multinational companies, industrial bourgeoisie and CIA (Torture expertise). (!)

100.000 March, 1968
100.000 March 1968

The only thing that this tropical, multicultural and joyful society could vote and participate, was the emblematic Festivais (music festivals), liberated by the junta. Created in 1965, aired and transmitted live by multiple broadcasters, always held by the end of the year, it was the greatest musical event from the time; eagerly awaited, with mass media coverage, the crowds could boo and cheered to death in a collective catharsis, revealing new national superstars or villains!

Renowned artist like Elis Regina, Geraldo Vandré, Edu Lobo, Nara Leão, Chico Buarque, Caetano Veloso, Gilberto Gil, Gal Costa, Tom Zé, and many others was revealed there. However, due to the turbulent development in 1968 festival, the dictatorship decided to prune and systematize the spectacle. There was a strict preoccupation to show an ordained happily country to the world, the festival would be transmitted on early January to Europe, via Rede Globo (sic), in a 3-hour special.

At the end of the year, most mentioned artists were exiled by solidarity or not, Tropicalism was dead, Marighella too; inside this turbulent musical void, Os Novos Bahianos (first graphed with H, after without) emerged and caused a fuss.

Early Promo
Early Promo

Let’s go to their history:

It all started at Vila Velha theater (Salvador, Bahia) with the show ‘O Desembarque dos Bichos Depois do Dilúvio Universal’. The members: Luiz Dias Galvão, agronomist, poet, musician, cinema and dramatics enthusiast, 32 years; Antônio Carlos de Morais Pires, 21 years of fiery musical essay at Turiassu, interior of Bahia; Paulo Roberto de Figueiredo, ex-crooner from Orquestra Avanço, 23 years, nicknamed Paulinho Boca de Cantor; Bernadete Dinorah de Carvalho (Baby), from Niterói (Rio de Janeiro), newcomer to Salvador, which commemorate his seventeen years living under the bridge (!); lastly, Jorginho, Carlinhos, Lico e Pedro Anibal de Oliveira Gomes (Pepeu) that formed the backing band, Os Leif’s. With the exception of Bernadette, they were all from Bahia, unheard, strange, radicals and young.

It was the beginning of Novos Baianos, at the tropical chaos of 1969.

Baby, carioca problem-girl, dreamed, like many in its age, being an artist, a singer, the one who deserves posters with your initials. Her baptism name didn’t help too. In an impetus of boredom and freedom, she goes with her friend, Ediane, to Salvador, there she meets Galvão and Moraes at Brasa’s, a unique bar from there. Paulinho (boca de cantor) also met the triad and joins them at Dona Maritó boarding house. The only one with previous musical experience (live shows and recording), were Pepeu (guitar), owner of an unmistakable style, genuinely Brazilian, crossing Hendrix with Choro. (!!)


In the beginning, only a quartet: Moraes, Galvão, Paulinho e Baby (whose new name was born and celebrated from a movie character) which was accompanied by Leif’s. Galvão was the poet and mentor, Moraes the main composer, Galvão’s partner, with a subtle acoustic guitar. Paulinho was the rascal, Lúcifer, and mellow singer. Pepeu the guitar hero. Baby the stoned singer. All, with a Tropicalia pinch in 1969/70.

After the racket from Dilúvio in Salvador, they went to São Paulo, were performed in numerous TV shows always exceeding the expected number of songs and staging absurd expedients. The first manager was Marcos Lázaro, through João Araújo (manager of Gil, Caetano, Gal) they signed with RGE and release their first single:

Yet in 1969: De Vera /// Colégio de Aplicação.

Then in 1970, a caustic, sardonic, threatening Lp (Ferro Na Boneca – RGE) which included tracks from the compact, a cornucopia of styles/titles. They also participate as actors and on the soundtrack from two Underground (Marginal) films of the era: Meteorango Kid e Caveira My Friend. Still, they released a double compact without Baby, who was trying her first steps on a solo foray.

These early albums will have dedicated posts in the near future!


Let’s go to our record:

Today’s album is an incredible double compact, never re-released on Cd, forgotten and hated by the band due to technical aspects. It was the one and only attempt on Phillips, at the time directed by the mighty Nelson MottaOne thing that must be said, was the radical transformation that the band went through after meeting with João Gilberto, he also lived with them for a short period at the infamous apartment in Botafogo. The roots, that were until then based in various styles, such as, rock, baião, soul, tango, turned into samba and choro strictly.

This little revolution happened in late 1971, and it’s well counted in the documentary Filhos de João. So this is their last release without the sound that would be recognized and praised not only in Brazil but worldwide!

Psychedelic Novos
Psychedelic Novos

We go from hippy folk to a Latin brass experience (even sung in Spanish!), passing through some sambas and harsh fuzz rocks sang in an over the top registry by Baby! Special mention lyrics go for Dê um Rolê, a counterculture hymn, that became very (very!) famous on the interpretation of Gal Costa, the song preaches love from head to toe, going completely against the terror that was represented by the military.

Please enjoy this little gem and Jó Utat!

Tracks Include:

Novos Bahianos + Baby Consuelo – No Final do Juízo (1971)

A1 Dê Um Rolê (Moraes Moreira / Galvão) ~ Paulinho Boca de Cantor

A2 Você Me Dá Um Disco? (Moraes Moreira / Pepeu Gomes / Galvão) ~ Baby do Brasil

B1 Caminho de Pedro (Moraes Moreira / Galvão) ~ Moraes Moreira

B2 Risque (Moraes Moreira / Galvão) ~ Moraes Moreira e Baby do Brasil


Production Director: Nelson Motta

Photo: David Drew Zingg

Compacto Duplo – Philips 6245 003

Rio Curves
Rio Curves