Бразилия рок музыкасының тарихы

Rock music made in or associated with Brazil

Brazilian rock refers to rock music produced in Brazil and usually sung in Portuguese. In the 1960s, it was known as iê iê iê, the Portuguese transcription of the line "Yeah, yeah, yeah" from the Beatles song "She Loves You".

Rock entered the Brazilian music scene in 1956 with the screening of the film The Blackboard Jungle, featuring Bill Haley's "Rock Around the Clock", later covered in Portuguese by Nora Ney. The electric guitar was introduced to Brazil in 1948, specifically in Salvador, by the carnival group Dodô e Osmar. They developed an instrument they called the pau elétrico ("electric stick"), notable for being the first electric guitar designed to eliminate microphonic feedback while producing a characteristic sustained sound. In 1949, Dodô and Osmar pioneered the use of this electric guitar in carnival celebrations, performing songs from an open car they dubbed the Trio Elétrico as they traveled through the streets of Salvador. This innovation has endured, evolving into today's large trucks that continue the tradition of mobile musical performances during Carnival.

In 1957, the first original Brazilian rock and roll song, Rock and roll em Copacabana, was penned by Miguel Gustavo. This pioneering track was recorded by the singer Cauby Peixoto and rose to #52 on the charts that year. During this period, several bands performed songs that were rough translations of English lyrics, though several groups chose to focus on instrumental rock instead. This was in part inspired by instrumental bands such as Duane Eddy and The Champs. In 1958, this inspiration led to the release of the first Brazilian instrumental rock song, "Here's the Blue Jean Rockers" by The Blue Jean Rockers [pt]. Later the same year, Bolão & His Rockettes went on to record the country's first purely instrumental LP. These developments were crucial in establishing rock as a popular genre among Brazilian youth. Following these pioneering efforts, a wave of new bands emerged, including The Avalons, The Clevers [pt], The Rebels, The Jordans [pt], The Jet Blacks, The Pops, Os Populares, The Bells, The Lions, and The Youngs, further solidifying rock's place in Brazilian music culture. 1958 marked a watershed moment for Brazilian rock, witnessing the meteoric rise of several artists and bands. Notable figures such as Nora Ney, Nick Savoia, Celly Campelo, Tony Campelo (Celly Campelo's brother), , , Cinderella, Regiane, Ronnie Cord, and Hamilton di Giorgio achieved rapid success, establishing themselves as prominent names in the music scene virtually overnight. Additionally, instrumental groups such as the aforementioned Avalons, Tte Rebels, the Jordans, and Os Incríveis also gained widespread popularity, contributing to the vibrant and diverse landscape of Brazilian rock during this pivotal year.

When rock and roll took America by storm, Bill Haley and Elvis Presley also became liberating icons for Brazilian youth, who felt that they were under sexual and educational oppression, as Brazilian society had been based on the standards and rules of the Catholic church after colonization. Some movie theaters were wrecked during the showing of rock and roll movies. Some radio disc jockeys and recording companies set out to find new talents that could not only sing, but could also do it in perfect English. Raul Seixas formed the first rock band from Salvador in 1965, the Panthers, which soon changed its name to Raulzito e os Panteras. Seixas was influenced by Luiz Gonzaga. In 1963, Roberto Carlos had two hits: "Splish Splash", a Bobby Darin cover with Portuguese lyrics by Erasmo Carlos, and "Parei na Contramão" (I stopped at the wrong way), the first collaboration between Erasmo and Roberto Carlos. Roberto and Erasmo created Jovem Guarda. The beginning of the Jovem Guarda, with Roberto Carlos, Erasmo Carlos and Wanderléa, was a kind of Brazilian version of the North American garage bands in the 1960s but with a bit of influence from artists like Otis Redding. Ronnie Von started his career with the garage influence of Jovem Guarda, and his work unleashed the psychedelic style and he was who suggested the name of the band Os Mutantes. Jerry Adriani is identified with the Jovem Guarda too, but his influence on Brazilian rock is greater with his Italian rock/pop style: he brought Raul Seixas from Salvador to success afterward in Rio de Janeiro, allowing for his widespread national success and influence to future generations. Other artists and bands associated with the Jovem Guarda include Eduardo Araújo (and his late wife, pt), pt, pt, pt, Golden Boys, pt, Vanusa and The Fevers. Jorge Ben Jor (then known only as Jorge Ben) had several hits and transited between Jovem Guarda and a new form of playing guitar, with a rhythmic form that he invented. This new style was named Samba rock, a style which would be followed by Banda Black Rio, Trio Mocotó, pt, lt=Bebeto, pt and Wilson Simonal, among others. The band The Bubbles, formed in 1965 in Rio de Janeiro, along with pt, who released his first album in 1966, served as a bridge between psychedelic rock and the garage rock of Jovem Guarda. In São Paulo Os Baobás made their mark by recording cover versions of songs by The Kinks, Love, Turtles and the Rolling Stones, during the beginning of their activities. From the 1960s, Os Primitivos, hailing from Brasília, blended traditional folk rock (reminiscent of the Byrds) with Brazilian Northeastern folk music such as baião. Other bands that straddled the line between garage rock and Jovem Guarda, while also hinting at the beginning of psychedelia, were: pt, pt and pt. In the legendary show named lt=Opinião, in 1964, the first Brazilian genuine musical, pt represented the black people, pt, the people from the Northeastern region, and Nara Leão (then substituted by Maria Bethânia) represented the woman from the Brazilian high society. The innovative proposal of this show changed Brazilian music forever from the post Bossa Nova period because it introduced other Brazilian genres to popular music. Sometimes, with the protest characteristic, the MPB base was formed: Chico Buarque, Edu Lobo, Geraldo Vandré, Sérgio Ricardo, João Donato, Eumir Deodato, Roberto Menescal, MPB4, Quarteto em Cy, Francis Hime, and Joyce, arising from Bossa Nova, despite the music is not rock, their collaboration is important on almost all popular urban genres, including the rock. In 1969, Marcos Valle, who belonged to the second generation of the Bossa Nova, changed his style to a psychedelic rock and soul music Brazilian concept, and his brother Paulo Sérgio Valle went in a similar way. lt=Sidney Miller is a very important musician for the MPB transformation process because he included rock and the 60s and 70s international pop in his music. From this post bossa nova time, Tuca, a female singer/songwriter, traveled to Europe in 1969, settling in Paris for six years (she has performed for several countries including Spain, Italy, and Holland) when in 1971 Françoise Hardy released the album "La question", the result of a close partnership between both and thereafter, her performance turned more rocker. The Tropicália movement turned the psychedelic rock and the use of electric instruments more popular in Brazilian music. Some tropicalistas were: Caetano Veloso, Gilberto Gil, Tom Zé, Gal Costa, Rogério Duprat, Torquato Neto, Nara Leão, and others. The seminal "tropicalista" Os Mutantes influenced and tended the psychedelic rock and roll and is one reference for several relevant bands and musicians in the world. Clube da Esquina, a group of friends from Minas Gerais, one of the most culturally prolific regions of Brazil, was joined with the Tropicália and Jovem Guarda responsible for the diffusion on a bigger scale by the electrification of the pop and rock music, with a universal, but Brazilian proposal. Some musicians from this group are: Milton Nascimento, Lô Borges, Toninho Horta, Beto Guedes, pt, pt, pt and the band pt.

The 1970s started with progressive rock, hard rock, and glam rock, but was a period of mutual interference between Brazilian pop music MPB and rock. Rita Lee (former Mutantes vocalist) started her own work with her band Tutti Frutti, with glam rock like aesthetics. Other bands from this period include Casa das Máquinas with its music between glam hard rock and progressive, pt (also formed by a former Mutantes member, Arnaldo Baptista) between progressive and Hard rock, lt=Made in Brazil with its hard rock (but in some songs already with the minimal characteristic of punk rock), the pure hard rock of Bixo da Seda, pt, with his pure glam rock and the proto metal band pt. There were many progressive rock bands in Brazil, such as O Terço, Mutantes (without Rita Lee), A Bolha (Hard rock with Progressive mix), pt, pt which made the remarkable album with Olivia Byington Corra o Risco, pt, Bixo da Seda, lt=Vímana (in which Lulu Santos and Lobão started their musical careers), lt=Moto Perpétuo and Bacamarte, some of which have become well known in Europe and the US by progressive fans. The progressive rock band pt had an experimental characteristic: jazz, bossa nova, contemporary music, impressionist music with the traditional folk and baroque from State of Minas Gerais resulting in a kind of a Brazilian art rock version, and with renowned musicians: Wagner Tiso, Zé Rodrix, pt, lt=Luiz Alves, pt. Lula Côrtes and Zé Ramalho with their album Paêbirú that was originally released in 1975 (see 1975 in music), despite representing very well the Brazilian psychedelic movement of the 1960s and 1970s, it can also be considered like an experimental mix of progressive rock and Brazilian northeast folk music certainly. Another band with only one album, but today considered a classic of Brazilian rock is lt=Karma with the work of the same name released in 1972: a forceful melodic Brazilian folk music with a vocal that remember The Byrds, and a bit of progressive rock and jazz, consistent orchestral arranges, and the famous Jorge Amiden's tritarra (a guitar with three arms). From that period, a genre known as "pt" emerged, blending Brazilian folk music with rock. Notable artists in this genre include Zé Rodrix, Ave Sangria, Sá & Guarabyra, lt=Ruy Maurity Trio, pt This movement also saw a radical form of Brazilian folk music, which sometimes overlapped with rock, significantly influencing Brazilian rock at the time. Artists like pt, pt, lt=Xangai, Sérgio Reis, pt led this trend, followed by Almir Sater and Renato Teixeira in the 1980s. Marlui Miranda, known for her expertise in Brazilian indigenous music, represents an even more radical departure. Though her music is not traditionally categorized as rock, her innovative folk compositions contributed to the alternative aesthetic. The "carioca" (from Rio de Janeiro city) Azymuth, was formed in 1969 and is the Jazz rock side of this generation, but is responsible for the Brazilian pop music development too. There are great musicians that can add up here Jazz rock influence: Airto Moreira, Raul de Souza, Flora Purim, Hermeto Pascoal, Naná Vasconcelos, Arthur Verocai, André Geraissati, Egberto Gismonti, Grupo D'Alma, Eumir Deodato, and Sérgio Mendes (with Funk influence too). This higher mix between rock and Brazilian pop music resulted in several famous musicians and bands: Secos & Molhados (identified as glam rock too), Raul Seixas, Novos Baianos, A Cor do Som, Robertinho do Recife and a union of Caetano Veloso, Gal Costa, Maria Bethânia and Gilberto Gil in the show named Doces Bárbaros. After the end of Secos & Molhados, lt=João Ricardo continued his career, and his first album was all glam, Ney Matogrosso continued with great success and pt was constructing an alternative career. Other musicians that helped to turn the traditional Brazilian music more flexible, with powerful rock or pop influences were a relative hit too, like Elis Regina, Alceu Valença, Geraldo Azevedo, Belchior, Gonzaguinha, Zé Ramalho, Raimundo Fagner, Luiz Melodia, pt, pt, Luli e Lucina and after the end of Novos Baianos, Baby Consuelo (then Baby do Brasil), Pepeu Gomes and Moraes Moreira, but there were musicians that made a more experimental mix, who didn't have the same good luck in their careers and access to the media, and because of this are known as "malditos", the darns, but at a later time they will be an important reference for the second Brazilian alternative scene they are: pt, Walter Franco, Jorge Mautner, Jards Macalé, Taiguara, Arnaldo Baptista (Mutantes) and Sérgio Sampaio. Marku Ribas is the side more Black music of this group and was Bob Marley's friend in the 1970s, Jamaica, where he lived. On the other hand, Tim Maia, directly influenced by Soul music side of the Jovem Guarda, made several hits, and his style influenced bands like pt and pt in the 80s. In the 1970s, several attempts were made to organize festivals in Brazil. The "Festival de Verão de Guarapari" (Guarapari Summer Festival) in 1971 aimed to be a significant hippie gathering but faced organizational issues. Despite this, it remains a historic event, featuring performances by Milton Nascimento and pt, A Bolha, Novos Baianos, Luiz Gonzaga and Tony Tornado. Another notable effort was the Primeiro Festival de Iacanga (First Iacanga Festival) in the State of São Paulo in 1975, held on a large farm with improved infrastructure. This festival became a landmark of the Brazilian underground, showcasing such bands as Jazzco, Apokalypsis, pt, pt, Ursa Maior, Rock da Mortalha, Orquestra Azul among others. The first Hollywood Rock festival took place in Rio, 1975 too, featuring performances by Raul Seixas, Rita Lee, O Terço, lt=Vímana and others. Additionally, the 1970s saw two major international concerts in Brazil: Alice Cooper (1974) and Genesis (1977). In the late 1970s, the progressive reference was still felt in Guilherme Arantes and 14 Bis (band).

Disco music, which arrived in Brazil in the 1970s, influenced artists such Rita Lee and Zé Rodrix. As Frenéticas became an instant phenomenon with their mix of Brazilian rock and disco.

The Brazilian punk rock scene emerged in the late 1970s in São Paulo, drawing inspiration from bands such as the Sex Pistols, MC5, Iggy & The Stooges and The Ramones. Douglas Viscaino, a pioneering musician, played a key role in adopting and nurturing punk culture. He united young people in opposition to Brazil's military regime, channeling revolutionary ideas through the politically charged band Restos de Nada, which began performing in 1978. During the late 70s, interest in punk music rapidly expanded across the country. Early bands like AI 5 and N. A. I. (later known as Condutores de Cadáver) emerged in São Paulo, Carne Podre in Curitiba, and Aborto Elétrico in Brasília, marking the nationwide spread of the punk movement. The first records from the end of the 1970s to the 1980s were demo tapes because Brazil had a dictatorial regime until 1985. From its beginnings, the Brazilian punk music style was more reminiscent of Jello Biafra of the Dead Kennedys than the Sex Pistols, that is, more akin to hardcore punk. An independent label named Punk Rock Discos was created at the beginning of the 1980s, which produced the first record of an individual Brazilian punk band, , a six song record released in 1982. By the same label, the first long play by a Brazilian punk band appeared in the same year, the Grito Suburbano album, with three bands from São Paulo city: Cólera, Olho Sêco and the Inocentes. Some of these first records are rare and well paid for by collectors in Europe and Japan. Brazilian punk rock gained visibility in the international media in 1982 with O Começo do Fim do Mundo, a festival that peacefully gathered rival gangs for the first time, and it is one of the biggest punk festivals in the world today. In 1985, a band led by Brazilian musician Supla released its first LP through a major label. In 1986, Inocentes and Replicantes, too, when the Brazilian punk scene was already growing colder. In 1986, Cólera was the first Brazilian punk band to perform internationally, and then Ratos de Porão. In the 1990s, punk returned to the scene. Some examples of bands: , lt=Jailson Jan & Virtual Machine (electronic punk), pt, Ludovic, , Blind Pigs (today Porcos Cegos), , Flicts, Ação Direta, Ack, Gritando HC, Nitrominds, , lt=Dominatrix, Motores, Pastel de Miolos, Sweet Suburbia, Hellsakura, Pupila Dilatada, Dance of Days. pt, former frontman of Replicantes, released his solo debut in 1996 with a creative punk fusion that he named Punk brega. The early Brazilian punk scene was immortalized in the documentary Botinada: A Origem do Punk no Brasil directed by former MTV VJ Gastão Moreira.

Even though the 1960s witnessed the phenomenon of Jovem Guarda and the 1970s saw the appearance of many prolific artists, like Raul Seixas, and bands like Os Mutantes, Brazilian rock's explosion began in 1981 with the Brazilian new wave, later renamed the New Jovem Guarda by the media. Punk rock was already incorporated but ska was new. English new wave, with its surprising variety of styles, arrived in Brazil through groups and personalities such as the Agentss, Blitz, Camisa de Vênus, Barão Vermelho, Kid Abelha, Os Paralamas do Sucesso, Fausto Fawcett, Lulu Santos, Rádio Táxi, Sempre Livre, Marina Lima, Dr. Silvana & Cia., Kiko Zambianchi, Engenheiros do Hawaii, RPM, Metrô, Ultraje a Rigor, Legião Urbana, Ira!, Titãs, Capital Inicial, Nenhum de Nós, Dulce Quental, Biquíni Cavadão, Zero, Violeta de Outono, Fellini, Vange Leonel, Os Cascavelletes, Léo Jaime and João Penca e Seus Miquinhos Amestrados. Rock in Rio took over a million people to "Cidade do Rock" during the 10 days of the event, and established Brazil as a venue for international artists some artists, like Santana and Queen, had come before this event, but the number of international attractions rose abruptly after Rock in Rio. Sepultra was formed in 1984 by brothers Max and Igor Cavalera; the band was a major force in the groove metal, thrash metal and death metal genres during the late 1980s and early 1990s, with their later experiments drawing influence from alternative metal, world music, nu metal, hardcore punk, and industrial metal. From Minas Gerais, the instrumental group Uakti was debuting and despite their music not being rock in the classic meaning, their experimental music with the instruments built by the group (Anton Walter Smetak influence) started a new era in the Brazilian popular music. The underground scene had Post punk with Jazz, Funk, Folk, Rap, Reggae, Art rock, Thrash metal, Dodecaphonic, and Atonal experience experimental bands and musicians such as Arrigo Barnabé, Itamar Assumpção, pt, Robson Borba, pt, pt, pt, pt, Patife Band, Tiago Araripe, Os Mulheres Negras, pt this group was identified as São Paulo Vanguard or "Vanguarda Paulistana", from the beginning of the 1980s. Some "cariocas" (from Rio de Janeiro) representatives of this style are pt and Letícia Garcia. On the other hand, had Hard rock, Punk rock and Heavy metal bands such as Vênus from the State of Piauí, lt=Golpe de Estado, Viper, Korzus, Ratos de Porão, Mammoth and Karisma from the State of São Paulo, pt from the State of Rio Grande do Sul, Sepultura from the State of Minas Gerais, and Dorsal Atlântica from the State of Rio de Janeiro, from the mid to late 1980s this last, the pioneer in the unification of this three styles of hard music. But one of the first bands of extreme metal from Brazil is Sarcófago, also from Belo Horizonte, formed in 1985. The female Thrash metal band Volkana was founded in 1987 in Brasília. This movement is seen as a reflection of the worldview of urban youth who had grown up under a dictatorial regime and faced such processes as industrial expansion. This is the same generation that enjoyed the democratic abertura (opening) and began to absorb rather quickly an infinite amount of new information, previously inaccessible. The universe of that generation appeared rich in diversity, implying a desire to enjoy the present.

Wannabe Jalva is a space groove rock band formed in 2011 by Tiago Abrahão (guitar/bass/seq), Felipe Puperi (vocal/guitar), Rafael Rocha (vocal/guitar/bass) and Fernando Paulista (drums) in Porto Alegre, Brazil.