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O Incrivel JUCA CHAVES Ao Vivo Ou Morto

JUCA CHAVES Ao Vivo, 1972

Juca Chaves nasceu no Rio e estudou em São Paulo, se interessando desde cedo por música e poesia. Estudou arranjo, contraponto, piano e teoria musical com renomados professores e na adolescência formou um grupo denominado Seresteiros de São Paulo. Desde os 18 anos fazia sátiras à situação política e econômica do Brasil, por meio de trovas e canções. Começou a fazer sucesso ao mesmo tempo em que estourava a bossa nova, no final dos anos 50, cantando num estilo meio paródico ao de João Gilberto. Sem nunca filiar-se ao movimento, compôs sátiras de sucesso utilizando seus fundamentos, como "Nasal Sensual", "Caixinha, Obrigado" e "Presidente Bossa Nova" (caricaturando/ exaltando o estilo de Juscelino Kubitschek). Auto-exila-se em Lisboa em 1962, onde continuou atuando com seu estilo caricatural de crítica satírica, tendo problemas com a censura, indo dessa vez para a Itália, onde viveu por cinco anos. Voltou ao Brasil em 1969, montando o espetáculo solo "Circo Sdruws". Nos anos 70 seu espetáculo "Vá Tomar Caju" viajou por todo o Brasil e apresentou programas de televisão. Outros êxitos de sua carreira são "Por Quem Sonha Ana Maria?", "Trenzinho Elétrico", "Take Me Back To Piauí", "Dona Maria Tereza" e "Brasil Já Vai à Guerra". Mantendo uma postura independente e combativa em relação não só ao meio político mas também ao mercado fonográfico (montou sua própria gravadora independente, a Sdruws Records e brigou pela numeração dos discos nos anos 80), continua se apresentando em espetáculos pelo país, em que canta modinhas, trovas e serestas, acompanhado pelo violão ou alaúde. (in CliqueMusic)

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THE MOODY BLUES: "Seventh Sojourn"

Original released on LP Threshold THS 7

(UK, October 1972)

Despite the presence of a pair of ballads - one of them ("New Horizons") by Justin Hayward the latter's most romantic number since "Nights in White Satin" - "Seventh Sojourn" was notable at the time of its release for showing the hardest-rocking sound this band had ever produced on record. It's all relative, of course, compared to their prior work, but the music is comparatively stripped down here, and on a lot of it Graeme Edge's drumming and John Lodge's bass work comprise a more forceful and assertive rhythm section than they had on earlier records, on numbers such as "Lost in a Lost World," "You and Me," and "I'm Just a Singer (In a Rock & Roll Band)." The latter, authored by Lodge, was - along with Lodge's "Isn't Life Strange" - one of two AM radio hits that helped drive the sales of this album, issued in early October of 1972, past all previous levels. Indeed, it was with the release of this album that the Moodies achieved their great commercial success in America and around the world, with a "Grand Tour" that kept them on the road for much of the year that followed. The irony was that it was all about to end for them, for years to come, and the signs of it were all over this record - "Seventh Sojourn" took a long time to record, and a lot of the early work on it had to be junked ("Isn't Life Strange" was one of the few early songs to get completed); it was clear to all concerned except the fans that, after six years of hard work in their present configuration, they all needed to stop working with each other for a time, and this was clear in the songs - many have a downbeat, pensive edge to them, and if they reflected a questioning attitude that had come out on recent albums, the tone of the questioning on songs like "Lost in a Lost World," "You and Me," and "When You're a Free Man" had a darker, more desperate tone. Perhaps the group's mostly youthful, collegiate audience didn't notice at the time because it fit the mood of the times - the album hit the stores in America the day before Richard Nixon's landslide presidential re-election victory (the culmination of events behind the scenes that would subsequently drive him from office). But the members were not working well together, and this would be the last wholly successful record - difficult as it was to deliver - that this lineup of the band would record, as well as the last new work by the group for over five years. And oddly enough, even amid the difficulties in getting it finished, "Seventh Sojourn" would offer something new in the way of sounds from the group - Michael Pinder, in particular, introduced a successor to the Mellotron, with which he'd been amazing audiences for six years, in the form of the Chamberlin, which is all over this album. (Bruce Eder in AllMusic)

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JOSÉ MÁRIO BRANCO: O 2º Album

Edição original em LP Guilda da Música DP 020

(PORTUGAL, Dezembro 1972)

PATXI ANDIÓN: "Palabra Por Palabra"

Original released on LP Philips 63.28.090

(ESPAÑA, 1972)

TONY JOE WHITE: "The Train I'm On"

Original released on LP Warner Bros WB 46147

(US 1972, June 15)

Tony Joe White's second Warner Bros. album is an awesome, exquisite musical jewel and a departure from most of the attributes for which he is best known, from songs like "Polk Salad Annie." Acoustic textured for much of its length and built on a close, intimate sound overall, "The Train I'm On" is permeated with the dark side of White's usual swamp rock sound, filled with songs about unsettled loves and lives, and men caught amid insoluble situations. Betraying surprising vulnerability for much of its length, even on songs like "If I Ever Saw a Good Thing" and "300 Pounds of Hongry" (among the few full band numbers here, with a gorgeous sax solo by Charles Chalmers on the former), he shows off an emotional complexity that wasn't always obvious on his earlier work, only really cutting loose boldly on "Even Trolls Love Rock and Roll" and a tiny handful of other cuts. The rest is dark, pensive, soulful bluesy rock, highlighted by some bristling acoustic guitar work (check out "As the Crow Flies") and superb singing throughout ("The Migrant" is worth the price of admission by itself). [The album was reissued in 2002 by Sepia Tone with new annotation, in a beautifully remastered mid-price edition.] (Bruce Eder in AllMusic)

TIMES TO REMEMBER 20

Danse Avec Moustaki

Original released on LP Polydor 2473 017

(FRANCE, 1972)

Rien n'a changé et pourtant tout est différent

Rien n'est pareil et pourtant tout est comme avant

Où es-tu si loin mon amour

Pourquoi es-tu si loin

Au café de nos rencontres je m'assieds à la terrasse

J'y vois les mêmes amis les mêmes gens

Poliment je les écoute je souris à leurs grimaces

Mais c'est toi que je vois c'est toi que j'entends

Rien n'a changé et pourtant tout est différent

Rien n'est pareil et pourtant tout est comme avant

Où es-tu si loin mon amour

Pourquoi es-tu si loin

Je m'arrête à la vitrine de la librairie d'en face

Puis je repars les mains vides nez au vent

Et je continue de vivre parmi les ombres qui passent

Et ramènent mes souvenirs au présent

Rien n'a changé et pourtant tout est différent

Rien n'est pareil et pourtant tout est comme avant

Où es-tu si loin mon amour

Pourquoi es-tu si loin

J'ai fait rentrer quelques bûches j'ai changé le lit de place

Et j'ai fait repeindre les murs tout en blanc

Mais les nuits semblent bien longues la solitude me glace

Et le lit est devenu beaucoup trop grand

Rien n'a changé et pourtant tout est différent

Rien n'est pareil et pourtant tout est comme avant