|Os Mutantes — Fool Metal Jack (2013)|
Os Mutantes — Fool Metal Jack
Brazilian rockers who blended pop packaging, avant-garde experimentation, and an irreverent attitude during the late-'60s tropicalia movement.
Location: São Paulo, Brazil ~ Las Vegas, Nevada
Album release: April 30, 2013
Record Label: Varese Sarabande
01. The Dream is Gone 2:50
02. Fool Metal Jack 5:23
03. Picadilly Willie 4:43
04. Ganja Man 3:34
05. Look Out 3:49
06. Eu descobri 3:06
07. Time and Space 3:58
08. To Make It Beautiful 3:26
09. Once Upon a Flight 4:01
10. Into Limbo 3:38
11. Bangladesh 4:08
12. Valse LSD 3:12
◊ Sérgio Dias — vocals, guitars
◊ Ani Cordero — drums, percussion
◊ Esmeria Bulgari — vocals, percussion
◊ Vinícius Junqueira — bass, piano bass
◊ Amy Crawford — keyboards, piano, organ
◊ Vitor Trida — vocals, keyboards, guitars
Press: BRASIL: / www.nistico.com.br / Telefones: 11 3845 4999 e 11 999 283848
Agent: The Agency Group / Val Wolfe , world () Exept South America and Brazil Marcus Nisticó ( ), Paul Boswell Europe ( )
◊ Highly anticipated 2013 album from the influential Brazilian Psychedelic band. When the members of the legendary Tropic lia band Os Mutantes took the stage before an audience of thousands at the Hollywood Bowl a few years back, it seemed one of the greatest secrets in modern music was finally out. The seminal band whose ethereal absurdist pop music had inspired so many prominent musicians since their breakup decades before, were back. This time the world seemed ready. Luz Railway Station in São Paulo — Brazil/Estação da Luz em São Paulo — Brasil
Review by Fred Thomas; Score: ****
◊ When tropicalia legends Os Mutantes re-formed after over 30 years dormant in 2006, many fans of their classic early albums weren’t sure what to expect. Absent was iconic singer Rita Lee, and by that point their legacy was so foundational to a lot of music that came afterwards, improving on it or even continuing it respectably seemed like a daunting task. However, the reunion shows went well and 2009′s Haih…Ou Amortecedor…, an album that included collaborations with big names like Tom Zé and Jorge Ben, met with some positive reviews, though it was clear the band wasn’t attempting to pick up where it left off. With Fool Metal Jack, the stylistically varied follow-up to Haih…Ou Amortecedor, they continue the task of climbing out of the shadow of their own history, offering all manner of sounds puzzling, sublime, and still incredibly psychedelic. Oddball psych moments like the helium-voiced chorus and mosquito fuzz guitars of “Look Out” recall some of the band’s late-’60s glory and weirdness, as do druggy synth touches on “Time and Space” and the acoustic mind trip “Valse LSD.” Songs like these keep Os Mutantes cemented in the contemporary psych scene that their earlier records helped influence, and would sit nicely alongside tracks by Ghost, Six Organs of Admittance, or Acid Mothers Temple. Gentle tracks like “To Make It Beautiful” and “Eu Descrobi” blend soft psychedelic touches with elements like gliding Brazilian flute or distant electronics, creating a vivid sonic picture as bright as any of their earliest experiments. The album (which includes the most dabbling with the English language the usually exclusively Portuguese-singing act has ever engaged in) goes wrong only in its most far-reaching moments. Heavy-handed rock numbers like the almost sickeningly plodding antiwar sentiments of the title track and the downright befuddling Bob Marley-styled reggae flavoring of “Ganja Man” derail the otherwise cohesive album. Despite a few moments of inconsistency, Fool Metal Jack fares far better than most records from bands returning to form after decades of silence, and in its best moments highlights the brilliance of a group that never lost its unique voice. (http://www.allmusic.com/)
◊ Fernando Bispo Mastering
◊ Frank Blasucci A&R
◊ Lourdes Dias Photography
◊ Sérgio Dias Composer, Design, Main Personnel, Mixing, Producer
◊ Gilberto Gil Composer
◊ Vinicius Junqueira Composer, Main Personnel
◊ Beta Klein Photography
◊ Dinho Leme Main Personnel
◊ Frank Liwall Executive Producer
◊ Bia Mendes Main Personnel
◊ Eric Mendes Photography
◊ Henrique Peters Main Personnel
◊ Sam Spiegel Composer
◊ Vitor Trida Composer, Main Personnel
Artist Biography by John Bush
◊ Though rarely heard outside their Brazilian homeland (especially during the first phase of their career), Os Mutantes were one of the most dynamic, talented, radical bands of the psychedelic era -- quite an accomplishment during a period in which most rock bands spent quality time exploring the outer limits of pop music. A trio of brash musical experimentalists, the group fiddled with distortion, feedback, musique concrète, and studio tricks of all kinds to create a lighthearted, playful version of extreme Brazilian pop.
Tropicália: Ou Panis et Circenses The band was formed by the two Baptista brothers, Arnaldo (bass, keyboards) and Sérgio (guitar), whose father was a celebrated São Paulo concert pianist. In 1964, the pair formed a teenage band named the Wooden Faces. After they met Rita Lee, the three played together in the Six Sided Rockers before graduation broke up the band. Yet another name change (to O Conjunto) preceded the formation of Os Mutantes in 1965, the final name coming from the science fiction novel O Planeta Dos Mutantes. With a third Baptista brother (Cláudio) helping out on electronics, the group played each week on the Brazilian TV show O Pequeno Mundo de Ronnie Von and became involved with the burgeoning tropicalia movement. Mutantes backed the tropicalista hero Gilberto Gil at the third annual Festival of Brazilian Music in 1967, then appeared on the watershed 1968 LP Tropicalia: Ou Panis et Circenses, a compilation of songs from the movement's major figures: Gil, Caetano Veloso, Gal Costa, Tom Zé, and Nara Leão.
◊ Divina Comedia Ou Ando Meio Desligado  By the end of 1968, Os Mutantes delivered their self-titled debut, a raucous, entertaining mess of a record featuring long passages of environmental sounds, tape music, and tortured guitar lines no self-respecting engineer would've allowed in the mix (especially at such a high volume). ◊ After time spent backing Veloso and recording a second LP of similarly crazed psychedelic pop, the band ventured to France and Europe for a few music conference shows. Upon returning to Brazil, they set up their own multimedia extravaganza — complete with film, actors, dancing, and audience participation. Despite distractions of all kinds, the group also managed to record LPs in 1970 (Divina Comedia Ou Ando Meio Desligado) and 1971 (Jardim Eletrico), both of which charted the band's shifting interests from psychedelic to blues and hard rock.
◊ E Seus Cometas No Pais Do Baurets After 1972's E Seus Cometas No Pais Do Baurets, Rita Lee departed or was fired from the band (accounts vary), and resumed a solo career that ran concurrently with Os Mutantes (her debut, 1970's Build Up, had been co-produced by the Baptistas). Later Mutantes LPs displayed influences from prog rock, and after Arnaldo Baptista left the fold as well, the band's LPs included a succession of bandmembers — later-to-be-legendary producer Liminha, keyboard player Túlio, and drummer Rui Motta. Except for a 1976 live record, 1974's Tudo Foi Feito Pelo Sol was the band's final LP. Sérgio later moved to America, where he played with Phil Manzanera, among others. After recording a 1974 solo album, Arnaldo played with a new band (Space Patrol) during the late '70s and spent time in a psychiatric hospital before emerging for his second solo work, 1982's Singin' Alone. Meanwhile, though Rita Lee's solo career began sputtering near the end of the '80s, the band turned down a request for a 1993 reunion show by Nirvana's Kurt Cobain. Six years later, the Omplatten label reissued the first three Mutantes records, and David Byrne assembled the Everything Is Possible compilation through Luaka Bop.
◊ In 2006, the band reunited for a performance in London. Both Rita Lee and Liminha sat the reunion out, however, and newcomer Zélia Duncan handled lead vocals. A year later, the band collaborated with DJ J.D. Twitch for Trocabrahma, a cultural exchange program, and 2008 found Os Mutantes releasing their first new song in three decades, "Mutantes Depois." A full album, Haih...Ou Amortecedor..., followed one year later. In 2013, the rebooted band returned with Fool Metal Jack, another full-length of dire antiwar sentiments and oddball sounds.
◊ 1968: Os Mutantes
◊ 1969: Mutantes
◊ 1970: A Divina Comédia ou Ando Meio Desligado
◊ 1971: Jardim Elétrico
◊ 1972: Mutantes e Seus Cometas no País do Baurets
◊ 1974: Tudo Foi Feito Pelo Sol
◊ 1992: O A e o Z (recorded in 1973)
◊ 2000: Tecnicolor (recorded in 1970)
◊ 2009: Haih Or Amortecedor
◊ 2013: Fool Metal Jack
Sérgio Dias Baptista (b. December 1, 1950 in São Paulo), is a Brazilian rock musician, composer and guitar player. He is best known for his work with the band Os Mutantes in the late 60s and 70s. In 2010 Sergio Dias collaborated with the band Tahiti Boy and the Palmtree Family in a project called "We are the Lilies", which also featured contributions from Iggy Pop and Jane Birkin.
Picture: Sérgio Dias (Sérgio Dias Baptista) brother of Cláudio César Dias Baptista — CCDB, who upoload this file. In his hands, Sérgio has the Golden Guitar number II, which was manufactured by Cláudio César Dias Baptista for him, with the name "Guitarra de Ouro Regvlvs Raphael II". Author: Cláudio César Dias Baptista
◊ Songwriter, keyboardist and vocalist.
Born in Brooklyn, NY
Birth name: Amy Elizabeth Crawford
Origin: Pacific Grove, California
|Os Mutantes — Fool Metal Jack (2013)|
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