In the late 1960s, as Brazil was controlled by a military junta, a group of musicians, calling themselves Tropicálistas introduced leftist politics and hippie counter culture to the pop music of South America. Musically they combined psychedelic rock with urban bossa nova and rural folk, on top of African based rhythms. The lyrics are mostly political but satirical and surreal, sung as fun pop not didactic anthems. Today Tropicália is considered one of the most impressive movements combining popular culture and politics, especially for the enduring quality of the music.
Tropicália: Ou Panis Et Circencis
Released in 1968, this compilation of songs by the movement’s most prominent artists, serves as the movement’s manifesto. Gilberto Gil, Caetano Veloso, Os Mutantes, Nara Leão and Gal Costa contributed and collaborated on songs that became recognized classics. Most tracks feature sonic experiments including found sounds(sirens, cannons), random noise and feedback and well as orchestral fanfares and gentle acoustic interludes. Panis et Circenses, Parque Industrial, and Baby each satirize the modernization and “North Americanization” efforts by the ruling and upper classes. Others like Três Caravelas and Hino do Senhor Do Bonfim are older songs given a psychedelic treatment. Gil Gilberto’s Bat Macumba embraces the African origins of Brazilian music within the tropicália aesthetic. A year later most of these performers were forced into exile by the military. This collection is essential for anyone interested in Brazilian music and culture.
Here are Gil Giberto and Os Mutantes performing Domingo No Parque in 1968. This song is not on this album but gives an idea of the style and performances of the Tropicálistas at the time:
Gal(1969) – Gal Costa
The next year Gal Costa produced her second album that has just been released in the United States this year. On Gal(1969), the previously sweet and demure singer of bossa nova lets loose with a full on psychedelic freak out. It still has some orchestrated pieces woven in, but its mostly acid rock with brazilian rythms. She covers songs by Jorge Ben, Veloso, and Gil among others (Veloso and Gil join her on Ben’s Pais Tropical). Costa’s voice ranges from blues wails and howls to sweet whispers to jazz scatting. In many ways the album very reminiscent of those by her contemporary Janis Joplin. Another essential from this period.
Here is Costa performing the song Divinho Marvilloso in 1968, like above, the song isn’t from the album but a great performance from around the same time:
