About the artist
Alvaro Neder, Rovi
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The band was formed in Brasília, DF, in 1982 by Renato Russo, vocals and guitar; Marcelo Bonfá, drums; and Dado Villa-Lobos, guitar. Guitarists Iko Ouro Preto and Eduardo Paraná were also invited into the group, but the first had a serious case of stage fright and the second was adept at guitar soloing, a sophistication that had no place in the band's straightforward sound. In 1983, the band opened in Rio and São Paulo, with the support of the Paralamas do Sucesso, who recorded "Química" and "O que eu não disse" (songs by Renato Russo) on their first album, Cinema Mudo. At the same time, a demo tape with "Geração Coca-Cola" and "Ainda é Cedo" began to be played on the Fluminense FM show The Maldita. In their initial contacts with EMI-Odeon, the group included bassist Renato Rocha, after Russo slit his wrists in a suicide attempt. Legião Urbana recorded their first LP in 1985, Legião Urbana, soon before the Rock in Rio festival, which troubled its release. After six months, the album became a hit and sold 100,000 copies with "Será" (Renato Rocha), one of the biggest hits of the year. Meanwhile, all of the tracks also became hits. It was followed by the LPs Dois (1986) (which sold 800,000 copies with many hits, especially "Eduardo e Mônica") and Que País é Este? (with "Faroeste Caboclo") (1987), all three having inscribed the band as one of the most important of the decade. Their live shows in Brasília always shared a disturbing propensity for violence, despite the bandmembers' wishes. In December 1986, their show at the Nilson Nelson Gymnasium ended with a girl dead and 20 people injured, and in 1988, playing for 50,000 people, the band had to run after Rocha was physically attacked by a guy who climbed the stage. This was followed by a riot that produced 60 arrests and 385 injuries. In 1988, in Rio, Legião Urbana performed for 20,000 people in the II Alternativa Nativa Festival, also performing in the third edition of the festival in July of the same year. In 1989, Renato Rocha left the band, and they continued as a trio with Renato Russo taking bass. As quatro estações, recorded that year, consisted of re-recordings of the group's songs and sold 450,000 copies. On July 7, 1990, they played for 60,000 people in Rio's Jockey Club. Legião Urbana V (1991), the double-live album Música para acampamentos (1992), Descobrimento do Brasil (1993), and A tempestade (1996) would continue the saga of the band. In that year, Renato Russo died of AIDS and the band dissolved.
The BMG label, interested in releasing a compilation of the new bands of the South, heard of a festival at the Gigantinho stadium in which the Engenheiros do Hawaii were selected to perform. Of the two songs included in the LP, "Sopa de Letrinhas" scored a hit in their region, and BMG decided to dedicate a solo album to them. Longe Demais das Capitais had the hit "Toda Forma de Poder," which was included in a TV Globo soap opera. But at that point, the newly married Pitz left the group. Gessinger took over on bass and invited guitarist Augusto Licks to the band. Their second album, A Revolta dos Dândis, came in 1987, bringing more hits: "Infinita Highway," "Terra de Gigantes," and "A Revolta dos Dândis." On July 16, 1988, the Engenheiros played in the III Festival Alternativa Nativa at the Maracanãzinho (Rio) for 20,000 people, and from then on, concerts for packed stadiums would be a common practice for them.
In 1988, the Engenheiros recorded Ouça o Que eu Digo, Não Ouça Ninguém. The album introduced keyboards in the band's sonority, and had the successes "Ouça o Que eu Digo, Não Ouça Ninguém," "Somos Quem Podemos Ser," "Tribos e Tribunais," and "A Verdade a Ver Navios." At that point, the Engenheiros came to Rio de Janeiro, and in the next year performed in Moscow, the same year in which they recorded their fourth album, Alívio Imediato, live at Canecão (RJ), with hits like "Terra de Gigantes" and "'Toda Forma de Poder" together with a couple of new songs.
Their fifth LP, O Papa é Pop (1990), sold 350,000 copies and had several hits: "Homem só," "Era um Garoto..." (the first non-original), "Pra Ser Sincero," and "Perfeita Simetria." The album included the drum machine and was the first to be produced by the bandmembers. The band also was a success at the controversial Rock in Rio II, being the only Brazilian band positively mentioned by The New York Times.
In 1991, the Engenheiros recorded Várias Variáveis, which, with its green cover, completed the trilogy of the basic colors of the Rio Grande do Sul flag. The album was also self-produced and had success with "Piano Bar," "Ando Só," "Muros e Grades," and "Herdeiro da Pampa Pobre." In 1992 came the seventh album, GLM. With an English progressive rock bend to their sound, the band produced two hits with that album, "Ninguém = Ninguém" and "Parabólica" (written for Gessinger's daughter, Clara).
At the Hollywood Rock festival in early 1993, the Engenheiros opened for Nirvana and were booed by Nirvana's fans, who obviously didn't want to listen to the Brazilian band.
Their eighth album, Filmes de Guerra, Canções de Amor, was recorded live at the sophisticated Cecília Meireles (Rio). The album had arrangements by Wagner Tiso and the participation of the Orquestra Sinfônica Brasileira. The album was divulged in tours through Japan and the U.S.A., during which a home video was made that was also released. In late 1993, Lick left the band and was replaced by Ricardo Horn, with the band continuing to tour in support of the new album. Guitarist Fernando Deluqui (former RPM) and accordionist/keyboard player Paolo Casarim also joined the group.
In late 1995, a new album, Simples de Coração, was released, produced in Los Angeles by Greg Ladany. They also recorded an English version of the album. The album had the hits "A Promessa," "A Perigo," and "Simples de Coração."
In 1997, Carlos left the band. With guitarist Luciano Granja, drummer Adal Fonseca, keyboard player Lúcio Dorfman, and Gessinger as the new formation of the Engenheiros, the band recorded Minuano, which had the hits "A Montanha" and "Nuvem."
In 1987, keyboardist Bozzo Barretti, who had played on the album, joined the band to record a second LP, Independência. With a pop-based sonority, it sold half as many units as the first. In November, the band opened for Sting at a packed Maracanã.
In December 1988, the group released their third LP, Você Não Precisa Entender, which was rift with commercialism. The album sold only 50,000 copies. Understanding that they were losing their punk rock fans and weren't gaining pop fans, their fourth album, Todos os Lados (1990), found them replacing replaced standardized keyboards with aggressive guitars. But the change of direction came too late. The album sold little more than 30,000 copies, and their fifth LP, Eletricidade (1991), barely sold 20,000 copies. This crisis provoked the departure of Barretti and Preto (who formed the band Vertigo) and the acquisition of a new vocalist, Murilo Lima, with whom their sixth LP, the independent Rua 47, was recorded in 1994. In 1996, they recorded the live album Ao Vivo (Rede Brasil), and in 1998, Lima left the band. The band enjoyed a modicum of success well into the next century, releasing a string of well-regarded albums including Atrás dos Olhos (1998), Rosas e Vinho Tinto (2002), Gigante! (2004), Eu Nunca Disse Adeus (2007), and Das Kapital (2010).
Influenced by João Gilberto, Luiz Gonzaga, and rockers Bill Haley and Elvis Presley (whose albums were lent to him by some friends who worked at the American Consulate in Salvador), Seixas formed a band called the Panthers (later Os Panteras) in 1959. The rock quartet (guitar, bass, drums, lead vocals by Seixas) was the first to utilize electric instruments in Salvador, playing a crazy mixture of rock and baião, with interpretations of Luiz Gonzaga tunes. The surreal performances were felt as a real danger to parents who prohibited their children from attending. The band translated the Jovem Guarda feel in Bahian terms, but Seixas didn't take it too seriously, enrolling in college courses of philosophy, law, and psychology. He took contact with anti-psychiatry, abandoned all those courses, and married an American girl who was the daughter of a Protestant preacher. His wife used to be the head of the family, teaching English for a living while he used to run Salvador in the dawn on a motorcycle bought with the money saved by her to buy an apartment, since they had to live with Seixas' family. In 1967, Jerry Adriani did a live performance in Salvador, at which he was accompanied by the Os Panteras. Loving the group's sound, Adriani convinced them to move to Rio, where they recorded through Odeon their first LP, Raulzito e os Panteras, where Seixas explored metaphysical questionings and the seven Aristotelian questions. Needless to say, the album was completely ignored by the public. Adriani then took Seixas to CBS, where Seixas produced albums by Trio Ternura, Osvaldo Nunes, Renato e seus Blue Caps, Adriani, Wanderléia, and all the iê-iê-iê (the nickname of English rock in Brazil, after "She loves you, yeah, yeah") gang. It was then when Seixas hired two relatively new Brazilian musicians, Sérgio Sampaio and Edith Cooper. Together with Miriam Batucada, they recorded an album called Sociedade da Grã-Ordem Kavernista Apresenta a Sessão Das Dez. The album, strongly experimental, fused jazz and marchinhas and dealt philosophically with chaos, was retracted by CBS shortly after its release and Seixas was immediately fired. The firing was also due to Seixas' highly influential performance at the 7th International Song Festival (FIC) in 1972 with "Let Me Sing, Let Me Sing" and "Eu Sou eu, Nicuri é o Diabo." CBS didn't want to have a producer who was also a star. But the performance ingrained Seixas in a focal position regarding rock & roll done in Brazil, both for its lovers and detractors. That same year, he was hired by Philips, recording the LP Os 24 Grandes Sucessos da Era do Rock, being credited only as producer and arranger. In 1975, when Seixas was already famous, the album was re-released as 20 Anos de Rock, now with Seixas' due credit as a performer. Around this period, Seixas became friends with internationally successful esoteric writer Paulo Coelho, after a vision of a flying saucer in the Barra da Tijuca shared by both. Coelho would participate in most of Seixas' future hits. In 1973, the second LP, Krig-ha, Bandolo, brought Seixas' first big hit as interpreter, "Ouro de Tolo." The album also had other important songs, such as "Al Capone," "Mosca na Sopa," and "Metamorfose Ambulante." The duo also produced one hit after another with "Gitâ" (from the eponymous LP from 1974), "Tente Outra Vez" (from Novo aeon, 1975), "Eu Nasci Há dez Mil Anos Atrás" (1976), "Maluco Beleza," and "O Dia Em que a Terra Parou" (the latter two from the first WEA album O Dia Em que a Terra Parou, 1977, the latter becoming the anthem of hippiedom in Brazil).
His eight subsequent LPs, troubled by his frequent changes of recording labels and health problems due to involvement with drugs and alcohol, had the hits "Como Vovô Já Dizia" (1975), "Rock Das Aranha" (1980), "Cowboy Fora-Da-Lei" (1987), "Capim-Guiné," and "Carimbador Maluco" (1983, the latter having been included in the children's musical Plunct, Plact, Zuum of TV Globo). In 1989, Seixas became partner of Marcelo Nova, a longtime admirer and disciple who had formed and dissolved the punk rock group Camisa de Vênus. The album Panela do Diabo, released that year through Warner, brought a weakened Seixas, who would be increasingly debilitated by the subsequent tour. His death in August of the same year hadn't diminished the fervor of his legion of fans. He was the first Brazilian artist to have an LP organized and released by a fan club, the 1985 compilation Let Me Sing My Rock-and-Roll was of rare recordings (which was later re-released by Polygram as Caroço de Manga). His songs were re-recorded by, among others, Caetano Veloso ("Ouro de Tolo"), Irmãs Galvão ("Tente Outra Vez"), Margareth Menezes ("Mosca na Sopa"), Deborah Blando ("A Maçã"), and RPM ("Gitâ"). In commemorating the 50-year anniversary of his birth in 1995, the book O trem das Sete (Nova Sampa) was released and his first LP, Sociedade Grã-Kavernista Apresenta Sessão das Dez, was re-released in CD format.
In the late '70s, Fromer, Belotto, and Melo were the Trio Mamão. Four other musicians joined, and the new group formed was called Maldade. Reis and Miklos were in the group Sossega Leão. Reis also played with the Camarões, while Miklos also worked with the Bom Quixote. Paulo Miklos and Arnaldo Antunes also played in the Aguilar & Banda Performática. Melo, Pessoa, and Charles Gavin were the Jetsons. Gavin, who would later join the group, was playing with Ira.
In that period, a group of composers with popular inclination (like Arrigo Barnabé, Grupo Rumo, Itamar Assumpção, and Premê) constituted a core of vanguard musicians who became known as Vanguarda Paulistana (São Paulo city vanguard). They met at the Lira Paulistana theatre. In this encouraging atmosphere, new bands were formed and presented their works.
In August 1982, the Titãs do Lê-iê opened in that theatre (without Jung). Departing from a common background constituted by the Beatles and Tropicalia, they began to write their own material, which was quite strange, beginning with the song titles: "Bichos Escrotos," "Sonífera Ilha," and "Lilian, a Suja." As time passed, they began to incorporate other music into their sound, like funk, new wave, pop, reggae, and disco, always organizing their shows around a dance concept. Their stage presence was marked by an aggressive and rough choreography.
In 1983, the group was already known as Titãs and lost Pessoa, who departed for Cabine C. Before recording their first single, Titãs became regular TV attractions on shows like Chacrinha, Bolinha, Barros de Alencar, Raul Gil, and Hebe Camargo. The contrast of their experimental performances with the middle-class common sense of these shows (except Chacrinha, which can be understood as one of the best proponents of the Tropicalia spirit) made it evident that the group didn't fit -- not even in the Brazilian rock ranks, which were generally quite well-behaved compared to them.
In spite of the demos sent to recording companies, the best offers they received were to record compilations with several artists, but they refused, as they agreed that only one song wouldn't be enough to present the diversity of their work and they would run the risk of being tagged with that song's style. Their first LP came out in August 1984 through WEA. Titãs brought the naïve hits "Sonífera Ilha" and "Marvin," and sold only 50,000 copies. One of the reasons for the bad reception was the release of "Sonífera Ilha" as a single. This was followed by a national tour where the spontaneity of old times was abandoned. The group's choreography was now done by a professional. Before the end of the year, the band participated in a high-audience TV Globo special, and André Jung departed for Ira, at the same time that Ira's Charles Gavin joined Titãs.
In 1985, their second release, Televisão, was recorded. The album, with production by Lulu Santos and artistic direction by Liminha, was released in June. The record sold 100,000 copies and was lauded by critics who approved of their hardcore focus; crude aggressivity blended with corny, brega elements; and pop and contemporary grooves.
On November 13, 1985, Tony Belotto was arrested with 30 mg of heroin, which he confessed to getting from Arnaldo Antunes. The police searched Antunes' apartment and found 158 mg of the drug, arresting him immediately. Belotto was freed by bail as an addicted Antunes remained in jail until December 9. After their condemnations, both served their sentences in liberty. The denunciation, though it didn't provoke the splitting of the band, produced the cancellation of 13 shows. The situation was recorded on Gavin's "Estado Violência" (initially called "A Lei Que eu Não Queria").
In April 1986, the band recorded Cabeça Dinossauro. Under the impact of the police episode, the album brought "Estado Violência" and "Polícia." The songs yielded a generalized criticism against the institutions named in the titles -- "Igreja" (church) and "Família" (family) -- along with other controversial tunes, such as "Porrada" and "Dívidas." "Bichos Escrotos," from their early times, was vetoed by censorship due to its profanity, but circumstance obviously propelled the success of the song, which was soon played on several radio stations in edited versions. The album, released in June, was received as a masterpiece. The album sold 380,000 copies and was elected by the major newspaper Jornal do Brasil (Rio), along with some artists, as the best album of the '80s. In Rio, they played with great success at the Teatro Carlos Gomes, and their trail of aggressiveness followed them there, where their fans destroyed the theatre's seats.
In November 1997, Jesus Não Tem Dentes no País dos Banguelas was released. The album sold 250,000 copies with the introduction of programmable electronics and more sophisticated arrangements. "Nome Aos Bois" lists a row of fascists and "Lugar Nenhum" assaults the notion of a nation. This album was also well-received by critics. The album was presented in Rio on January 6, 1988, and in São Paulo six days later, both during the Hollywood Rock Festival, where they surpassed their competition, who included the Pretenders. This phase introduced packed stadiums in the band's day-to-day life.
On July 8, the band recorded the live album Go back with their hits in a performance at the Montreux Festival, on a rock night shared with T'Pau and 10,000 Maniacs. The show's audience was very cold, but the album sold 320,000 copies in Brazil.
In 1989, the band recorded their sixth album, Ô Blésq Bom, which recovered elements very dear to Tropicalia, mixing a duo of Northeastern cantadores with lyrics about diseases ("O Pulso") and morbidity ("Flores"). The album sold 230,000 copies, and a national tour followed.
In 1992, Antunes left the group to follow his solo career. Titãs continued their successful path with the WEA albums Tudo ao Mesmo Tempo Agora, Titanomaquia, Domingo, and Acústico, which sold one million copies.
Cássia Eller's mother was very fond of music and initiated her in this art. At 14, she received a violão as a gift and learned to play Beatles tunes. In 1981, she worked with Oswaldo Montenegro in a musical. Living in Brasília DF, she participated in the first trio elétrico (powerful sound systems built in trucks to animate the Bahian carnival since its inception by Dodô and Osmar) of the Brazil capital, Massa Real. Leaving school before completing high school studies, she was determined to spent her life singing. In 1987, she formed the short-lived band Malas e Bagagens. In 1989, she recorded a demo tape with "Por Enquanto" (Renato Russo) for her first manager, her uncle Anderson, who showed it to Polygram. The song would be her first hit. Signing with the label, she recorded her first album in 1990, Cássia Eller, which included "Rubens," an ambiguous love song (Premeditando o Breque) which had been vetoed by censorship.
The second album (O Marginal, Polygram, 1992) has a bigger São Paulo influence. The third, Cássia Eller (Polygram, 1994), had an approximation with MPB and an interpretation of "Na Cadência do Samba" by Ataulfo Alves. Two tracks made it to the hit parade: "Malandragem" (Cazuza) and "E.C.T." (Nando Reis/Marisa Monte/Carlinhos Brown). Ao Vivo (Som Livre, 1996) is a live recorded album with two other musicians accompanying her on violões/bass (which she also plays). She also recorded Veneno Antimonotonia (Polygram, 1997), Veneno Vivo (Polygram, 1998), and Com Você...Meu Mundo Ficaria Completo (Polygram, 1999) (which was nominated for the first Latin Grammy awards as Best Brazilian Rock Album).
Fascinated by the Beatles, Santos formed his first group at 12, covering their hits. At 19, he began to play in Veludo Elétrico, opening his professional phase. In 1974, he joined Vímana, an important group for the gestation of the Brazilian rock style. Expelled from the group due to disagreements with Patrick Moraz, he hadn't even a place to sleep, since Vímana worked in the communal style so dear to the '70s imagery. It was when Santos met Antônio Pedro Fortuna, a friend and former bassist for the Os Mutantes. In 1978, the two of them, percussionist Reginaldo Francisco, and drummer Hélber Baldaque formed the short-lived light pop/rock band Unziotros. He then wrote the soundtrack for Neville de Almeida's movie Os Sete Gatinhos, based on the work of fundamental Brazilian writer Nelson Rodrigues. Through Polygram, he released the single Gosto de Batom (Bernardo Vilhena/Pedro Fortuna) under his real name Luís Maurício. Being married to a journalist (Scarlet Moon de Chevalier) opened the doors of a parallel career in writing (SomTrês magazine) and, at the same time, Santos became the producer of soundtracks for Rede Globo's soap operas and series. But the murder of John Lennon on December 8, 1980, inspired the composition "Tesouros da Juventude" (lyrics by Nelson Motta). Recording a demo tape with drummer Jim Capaldi (formerly with Traffic), Santos sent them to Warner's artistic director Léo Neto (a friend of Motta's). In 1981, Santos recorded for Warner (already using his pseudonym), and with the fundamental support of hitmaker/producer Liminha, three singles reached expressive selling: "Tesouros da Juventude," "Areias Escaldantes," and "De Leve" (a version of Rita Lee's version of Lennon/McCartney's "Get Back"). Santos began to show his face on TV, receiving a strong impulse on shows hosted by the irreverent and extremely popular Chacrinha. In the same year, he participated with "Areias Escaldantes" at the MPB-Shell 81 festival, with no results. The following year marked the release of his first solo LP, Tempos Modernos, which brought the three singles, along with "De Repente Califórnia" (theme of the film Menino do Rio), "Tudo com Você," "Palestina," and "Scarlet Moon," strong candidates as hits that concretized a respectable selling of 56,000 copies.
The second LP aimed explicitly at success through peaceful pop ballads such as "Como uma Onda no Mar," and the melodic tunes "Adivinha o Quê" and "Um Certo Alguém," everything following a simple formula in which the pleasures of an idealized beach culture was sold to the masses of upcountry Brazil. The album reached the goal, selling 90,000 copies. Tudo Azul (1984) still had a good performance through the title track, "O Último Romântico," and "Certas Coisas." In 1985, he participated in the important festival Rock in Rio, which jammed up to 250,000 people in each of its five evenings. Santos played the same nights as Rod Stewart and Queen. But successhad a price and Santos, in the middle of an ego trip, dismissed Liminha and produced Normal on his own, which sold badly and provoked his departure from Warner.
Moving to RCA/Ariola, he returned for his successful formula of pop/rock on Lulu (1986), selling 200,000 copies. Two songs were included on soap opera soundtracks, "Condição" (Corpo Santo, TV Manchete) and "Um pro Outro" (Brega e Chique, TV Globo). Packed house shows throughout Brazil became usual for his presentations; he even crowded the sports stadium in Maracanãzinho. In 1987, Warner released the compilation O Último Romântico, which sold 400,000 copies. That year, the LP Lulu was awarded with a platinum record. In the very ceremony at a packed Maracanãzinho, Santos refused to accept the award because the album hadn't reached the minimum amount of 250,000 copies for that category (making public an old divergence among artists and recording labels about rights derived from obscure ciphers). Toda Forma de Amor (1988) had the hit "A Cura," which was the most spun cut on all Brazilian FMs. The album also tried an approximation with MPB on tracks such as "Cobra Criada" and "Ton Ton." The tour for the release of the album went through 29 Brazilian cities and Montreux (Switzerland), reaching 450,000 spectators. It was so successful that it yielded a live recorded album, Amor à Arte (at the Olympia of São Paulo in August 1988). In the first Hollywood Rock festival that year, Santos played on the same night as Supertramp. On Popsambalanço (1989), Santos was the first to bring back the semi-forgotten figure of the giant Jorge Ben (now Jorge Ben Jor), but the album was received with either indifference or negativity from critics, selling "only" 70,000 copies. Honolulu (1990) was then a return to his easy hits, such as "Papo Cabeça." The LP was released at a live show in the open at the Praça da Apoteose (Rio), where Santos opened for Eric Clapton. In the '90s, Santos recorded three dance music albums with DJ Memê: Assim Caminha a Humanidade, Eu e Memê, Memê e Eu (his best-selling album until then), and Anticiclone Musical. Liga Lá (1997) had the participation of the important conductor/arranger of Tropicalia, Rogério Duprat, and an old partner from Vímana times: Ritchie. The digestible Calendário (BMG, 1999) retakes the winning collaboration with Liminha and the beach pop formula.
He was deeply influenced by rock & roll during his adolescence. At 20, he turned his interest to Northeastern music, interested in fusing the pop and folk genres. His first album (as Zé Ramalho da Paraíba) was recorded through Solar (1975), together with Lula Cortes, with guests Alceu Valença and Geraldo Azevedo. In 1977, he moved to Rio, having his "Avohai" recorded with success by Vanusa. In 1979, Amelinha (then his wife) had a hit with his "Frevo Mulher." In the same year, he released his first solo LP, Zé Ramalho (Epic), which had the hits "Avohai" and "Vila Do Sossego." Peleja do Diabo Com o Dono do Céu had the hit "Admirável Gado Novo," which evidenced social concerns, a theme that, together with his mystical inclinations, predominates his production. In 1996, "Admirável Gado Novo" was included in the Rei Do Gado soap opera's soundtrack. That same year, he teamed with his cousin Elba Ramalho, Alceu Valença, and Geraldo Azevedo for the realization of the Grande Encontro project, which consisted of a series of shows and the recording of two CDs.
In 2000, he released Nação Nordestina, paying a tribute to famous Northeastern names, having the cover being inspired in the Beatles's Sgt. Pepper's Lonely Hearts Club Band.
Paralamas do Sucesso were formed in 1982 by bassist Bi Ribeiro (Felipe Ribeiro, born in 1961, Rio de Janeiro, Brazil), guitarist/vocalist Herbert Vianna (born in 1961, João Pessoa, PB), and drummer Vital Dias, who was replaced the next year by João Barone (born in 1962, Rio de Janeiro, Brazil). The focus of the band was reggae and ska with a rock background.
Ribeiro and Vianna, who lived in Brasília, DF, were acquainted with each other from a young age. Vianna liked to play the electric guitar, but Ribeiro wasn't a musician at the time. In 1978, at 16, Vianna's family came to Rio with him, and Ribeiro arrived the next year. Vianna insisted that Ribeiro buy an electric bass, inviting a high school mate (at the Bahiense), Vital Dias, for the drums. With the three of them enrolling in college in 1980, their rehearsals became sparse. The end of that year found them disenchanted with their undergraduate courses, and they turned to music, inscribing their trio under the name Os Paralamas do Sucesso at the festival of the Universidade Federal Rural do Rio de Janeiro (were Ribeiro was studying) in mid-1981. "Vital e Sua Moto" was one of the registered songs, but all three weren't classified. Even then, they were allowed to play in the breaks, but drummer Dias had abandoned the scene, leaving room for João Barone, who studied zootechnics there. On September 17, 1982, the trio played the same University again, where Dias and Barone were to take turns at the drums. But Dias, probably believing he was not up for the competition, abandoned the setting and the band after two songs.
In late November, the band opened at the Western bar in Rio. At that time they already had some originals, and included Renato Russo's (a friend from Brasília times) songs, like "Química." The response was good, and they recorded their first demo. After trying some vocalists, Vianna decided to take control of the vocal parts. The demo spun quite a bit on the Fluminense FM program Maldita (a radio program that specialized in rock), and the band yielded a packed house in their second season at the Western and an invitation to open a Lulu Santos show at the Circo Voador the following month.
At that point they received invitations from three recording companies -- Warner, Polygram, and EMI-Odeon -- signing with the latter in April and releasing their first single, "Vital e Sua Moto," in June. The song sold 11,000 copies and before the end of the year, their first LP, Cinema Mudo, was released. The trio later regretted doing the album; at the time, they couldn't fight the producer, who decided to top it with keyboards and guitars. But they went on, opening at the New York nightclub Danceteria in that year. O Passo do Lui, released in August 1984, solidified their connections with the new wave reggae proposed by the Police and the English bands Madness and the Beat, among others. The album had the hits "Óculos," "Assaltaram a Gramática," and "Romance Ideal." The band immediately began to play to larger audiences, like the presentation at Barrashopping's Sextas Musicais when they played for 5,000 people, soon followed by the Rock in Rio Festival (January 1985), an event attended by around 250,000 people on each of its five nights. Here, they performed two shows: on January 13 and 15. On June 15 of that year, they did two performances for 17,000 people each at the Gigantinho, in Porto Alegre, RS, receiving in that night the gold record for selling 100,000 copies of O Passo do Lui. In March 1986, they did the first of many Argentinean tours, playing at the Chateau Rock Festival (Cordoba) and at the Paradis nightclub in Buenos Aires. Selvagem, their next album, was released on July 30, 1986. The album, which had been distributed to stores 45 days before, had already sold 300,000 copies.
The international career of the band, the most expressive until then in the Brazilian rock scene, exploded with another tour to Buenos Aires, Argentina, in the same year, followed by Spain, Paraguay, Uruguay, Portugal, Chile, France, and Switzerland, where, at the Montreux festival on July 4, 1987, they recorded their first live album, D. The album had, along with the keyboard of João "Fera" Gonçalves, George Israel's (Kid Abelha) sax, foretelling a phase where brass sections and keyboard would be incorporated in the Paralamas' sound. The year finished with a prime-time special about the band released by the second largest TV network in Brazil, SBT.
1988 brought an invitation for the band to open a Tina Turner show in Buenos Aires on January 3. Four days later, they opened for UB40 and Simple Minds at Rio's Hollywood Rock festival. In February the band, together with Fera and a brass section (and participation by Charly Garcia) recorded Bora Bora, released on May 27. The band continued to regularly release albums in the late '80s and '90s: Big Bang, 1989; Arquivo, 1990; Os Grãos, 1991; Severino, 1993; Vamo Batê Lata, 1995; Nove Luas, 1996; and Hey Na Na, 1998. In Argentina, the band, highly regarded, released two albums in the '90s which sold very well -- Paralamas and Dos margaritas -- continuing to perform for large audiences there. Vamo Batê Lata, a live CD, sold 800,000 copies in Brazil. In 1997 a box set was released entitled A Pólvora featuring the band's first eight CDs, and a remastering of Abbey Road. Hey Na Na sold one million copies before its release.
Son of the phonographic producer João Araújo and the amateur singer Maria Lúcia Araújo, Cazuza always had close contact with music. Influenced since early childhood by the strong values of Brazilian music, he had a special preference for the sad, dramatic overtones of Cartola, Lupicínio Rodrigues, Dolores Durán, and Maysa. He began to write lyrics and poems around 1965. In late 1974, a vacation in London, England, acquainted him with the music of Led Zeppelin, Janis Joplin, and the Rolling Stones, and he soon became a great fan. Cazuza enrolled in college in 1978, but abandoned the course of journalism three weeks later to work with his father at Som Livre. He moved later to San Francisco, where he came in contact with beat literature, becoming highly influenced by it. In 1980 he returned to Rio, where he worked with the theatrical group Asdrúbal Trouxe o Trombone. There he was noticed by the novice singer/composer Leo Jayme, who introduced him to a beginning rock band that needed a vocalist, the Barão Vermelho. With this band, which would be the first of the Brazilian rock style, Cazuza gained popularity and experience, departing for his solo career in 1985.
Motivated both by his unwillingness to share the success and by the lack of room for his MPB tendencies in Barão Vermelho, Cazuza found freedom in his first solo album Exagerado (Som Livre,1985), where the dramatic influence of Lupicínio Rodrigues is quite evident. "Codinome Beija-Flor," the title track, "Mal Nenhum," and "Só As Mães São Felizas" evidenced enough guts for a successful opening solo album, even if the latter song was censored due to the use of profanity in an openly oedipal context.
In 1986, Cazuza recorded Só Se For a Dois, but in that year Som Livre disbanded its lineup. The album was released in the following year through Philips, having a hit with "O Nosso Amor a Gente Inventa." That same year, Cazuza discovered that he was suffering from AIDS. The next album, Ideologia, revealed aggressive and combative lyrics, like the title track, "Boas Novas," "Blues da Piedade," and "Brasil." The album also had a tune in bossa style (even if harmonically it can't be understood as a bossa) which became a hit, "Faz Parte do Meu Show." "Brasil" remained an important hit, having been re-recorded by many artists, including Gal Costa (in a version which was the theme song of the Rede Globo soap opera Vale Tudo). In 1987, Cazuza appeared in the film Um Trem Para as Estelas (Cacá Diegues).
In October, 1988, Cazuza recorded live at Canecão (Rio) the album Cazuza ao Vivo -- o Tempo Não Pára (Philips). In February of the following year, he was the first Brazilian artist to proclaim his condition publicly. During a period of painful hospital routines, he recorded the depressive double album Burguesia (which was released in August), appearing in the Prêmio Sharp prize ceremony in a wheelchair, where he was awarded with the prizes for the best album, song, and video clip ("Brasil"). In 1990, Lumiar publishing house released the two volumes of Songbook Cazuza. After his death, his mother founded the Sociedade Viva Cazuza in Rio, an organization for the support of children afflicted with AIDS, releasing her book Cazuza -- Só as Mães São Felizes (Globo, São Paulo, 1997). In 1995, Polygram released a four-CD box set containing the Grandes Nomes Series, and in 1997 Cássia Eller recorded an album dedicated to Cazuza's compositions, Veneno Antimonotonia.
Organized in 1982 by amateur musicians from São Paulo to participate in the music festival Festival de Música Popular de São Bernardo do Campo (São Paulo), the group won the competition, repeating the result in the next year. Going pro, the Exaltasamba became Jovelina Pérola Negra's supporting band in the late '80s. Having the song "Deixa Como Está" (aka "Melô da Padaria") included on the Chopapo's compilation, the band gained enough interest to record their first album, Eterno Amanhecer (1992, Kaskata). The album had a hit with "Quero Sentir de Novo." Other successes of that period were "24 Horas de Amor" and "Cartilha do Amor." National popularity was achieved by Exaltasamba with their third album, the first released through a major (EMI Odeon), the CD Luz do Desejo (1996). Their first national hit was "Luz do Desejo," followed by "Telegrama" and "Louca Paixão." Desliga e Vem (1997) sold one-million copies. The group's fifth album, Cartão Postal, yielded two consecutive Crowley Prizes (January/February, 1999) for the nationwide most aired song ("Me Apaixonei Pela Pessoa Errada").