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Saravá – Camarão Special w/ Pedo Knopp & DJ Paulão

Mar 4, 2018

Brazil Brazil

The first half of the show is dedicated to Pernambuco legend Camarão. Pedo recorded some of his favourites from his early Œuvre – mostly instrumental Forró music with occasional vocals, heavy Accordion riffs, sophisticated triangle and zabumba rhythms and a rich and mellifluous brass sound. The mix accompanies the release of Analog Africa’s Camarão compilation “The imaginary Soundtrack to a Brazilian Western Movie“

For the second half DJ Paulão put together a meticulously curated Brega/Bregroove mix. Combined with the explanation below it’s the perfect introduction into the Brega universe. So you might want to take a few minutes time to read it while listening.

“The first thing to understand about Brega music is that it’s not a rhythm or a dance, but a cultural judgement. It doesn’t involve musicians from the same scene but rather gathers artists that were not interesting to the mainstream.”

Late 1960s in Brazil. Politically under a heavy dictatorship, the country was in a musical frenzy, with the TV music festivals introducing plenty of musicians and styles. Important contemporary movements were losing momentum: while Bossa Nova saw Eumir Deodato, Sérgio Mendes, João Donato and others leaving Brazil, protest songs became marginal due to censorship. In addition to that the Jovem Guarda movement fell apart when the eponymous TV show with Roberto and Erasmo Carlos plus Wanderléa was terminated. As a result many of the groups who were influenced by American rock n’ roll of the late 1950s, British Invasion bands of the 1960s and the Motown sound, became “orphans“ and the careers of most of the movements protagonists began to decline.Bossa Nova was a movement from (and for) the upper classes, whereas protest songs were more linked to students and the politically engaged citizens. But Jovem Guarda reached all parts and communities of the country and was accordingly rooted in the mainstream. In every small town there was a rock band dreaming of becoming famous. When the Jovem Guarda show was terminated in 1968 it left behind a generation of musicians willing to enter the show business… while the main door was closing.These young talents were in search of other opportunities and door openers. There were famous artists selling records to the lower classes on a huge scale, and stars like Teixeirinha sold millions of copies every year. Thus it seemed worth trying to gain a foothold into showbusiness. Each and every day lots of emerging artists with a rock background tried to score a hit. Some of them went big, for example Reginaldo Rossi.

And once they were looking for a sound to fit their new standards and audience, lots of other influences where put in the mix, including american soul and caribbean rhythms. That continued until the late 1970s, when the disco wave would change everything.

For this set I selected some of my favorite brega tunes. For the main part i wanted to bring groovy underrated tracks to light. In addition to it, I wanted to show that, despite all the nuances, Brega has a certain sound – recurring elements that bring all variations together in the end. Brega still has its primary meaning, something considered of bad taste in the culture. It can refer to clothing, musical taste or lifestyle, and it usually implies some kind of racism. But that aside, it refers to a big variety of musicians and their dreams and it made the 70s in Brazil much more interesting.“

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