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QUARTETO 1111

Eclectic Prog • Portugal


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Quarteto 1111 biography
The original formation, made up by Miguel Artur da Silveira (drums), JOSÉ CID (vocals and keyboards) and brothers António Moniz Pereira (guitar) and Jorge Moniz Pereira (bass guitar), began work as a garage-band. In 1967 they get radio airplay with the theme "A Lenda d'El Rei D. Sebastião". Shortly after they launched their first EP.

The time spent between their first EP and their first LP was spent producing other EP's and singles, as well as taking part in a national Song Contest.

1970 sees the launch of the band's homonymous debut album, a psychedelic-pop conceptual piece dealing with racism and emigration. The dictatorship's censoring machine has the album withdrawn the very same week of its launch. After this event, the band lauched further singles, this time sung in English as to better evade censorship. After a great commercial success with the singles "Back to the Country" and "Ode to The Beatles", they are asked to appear on the first edition of the now famous Vilar de Mouros music festival, along with popular names from the Portuguese traditional music scene, such as Amália Rodrigues, but from the international scene as well, such as Elton John and MANFRED MANN It was in this encounter with Manfred Mann that Cid first got to know the Moog.

After a few changes in line-up, the band, still under the eye of the censorship, records it's second LP with a popular Portuguese singer, Frei Hermano da Câmara. Cid decides to leave the group after the album, but reunites with the band after the revolution that reinstated democracy in Portugal and marked the end of the censors. With the new line-up of José Cid (vocals and keyboards), Guilherme Inês (drums), António Moniz Pereira (guitar), Mike Sergeant (guitar) and Tó Zé Brito (bass guitar), they record QUARTETO 1111's magnus opus, the two-piece symphonic album "Onde Quando Como Porquê Cantamos Pessoas Vivas". This was to become the last LP by the band, as Cid abandoned the group to pursue a very successful solo career that began with an adventurous but ill-received incursion further into Progressive Rock.

In mid eighties the original band got together for a few performances and managed to put out one final single in 1987, "Memo".
QUARTETO 1111 have a short but varied career. The began by playing a kind of psychelic pop in the vein of Brazilian acts like Ronnie Von and Os Mutantes, while their later work is closer to Symphonic Rock and the path JOSÉ CID would follow with the sing...
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QUARTETO 1111 discography


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QUARTETO 1111 top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.16 | 12 ratings
Quarteto 1111
1970
2.33 | 3 ratings
Quarteto 1111 & Frei Hermano da Câmara: Bruma Azul Do Desejado
1973
4.42 | 51 ratings
Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas
1974

QUARTETO 1111 Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

QUARTETO 1111 Videos (DVD, Blu-ray, VHS etc)

QUARTETO 1111 Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 1 ratings
A Lenda de El-Rei D. Sebastião
1996
3.00 | 2 ratings
Singles and EPs
2006
3.12 | 6 ratings
A Lenda do Quarteto 1111
2008

QUARTETO 1111 Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.00 | 2 ratings
A Lenda De El-Rei D. Sebastião
1967
2.05 | 2 ratings
Balada para D. Inês
1968
0.00 | 0 ratings
Dona Vitória
1968
0.00 | 0 ratings
Meu Irmão/Ababilah
1968
0.00 | 0 ratings
Génese/Os Monstros Sagrados
1969
0.00 | 0 ratings
Nas Terras Do Fim Do Mundo/Bissaide
1969
0.00 | 0 ratings
Back To The Country/Everybody Needs Love, Peace And Food
1970
0.00 | 0 ratings
Todo O Mundo E Ninguém/É Tempo De Pensar Em Termos De Futuro
1970
3.00 | 1 ratings
Domingo Em Bidonville
1970
3.33 | 3 ratings
Ode To The Beatles
1971
0.00 | 0 ratings
Memo
1987

QUARTETO 1111 Reviews


Showing last 10 reviews only
 A Lenda do Quarteto 1111 by QUARTETO 1111 album cover Boxset/Compilation, 2008
3.12 | 6 ratings

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A Lenda do Quarteto 1111
Quarteto 1111 Eclectic Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nº 107

"A Lenda Do Quarteto 1111" is a compilation of Quarteto 1111 and was released in 2008. It has songs released by the band on EP's, singles and also on their eponymous debut studio album, Quarteto 1111, released in 1970.

As I wrote before, the presence of Quarteto 1111 in the end of the 60's in Portugal represents the birth of progressive rock music in my country. Nothing was the same after them. They were a breath of fresh air in Portugal, at the time. Quarteto 1111 was a band strongly influenced by the British music of those days, mainly The Beatles, despite their lyrics were almost in Portuguese. They made music influenced by the British music with typical Portuguese features.

"A Lenda Do Quarteto 1111" has twenty tracks. The first track "Os Faunos" was released on their debut EP. It's a song about fauns, which was a rustic Latin god or goddess of Roman mythology. The second track "A Lenda De El- Rei D. Sebastião" is the title track of their debut EP released in 1967. It's about a Portuguese king who disappeared during the battle of Alcácer-Kibir, in Morocco, and Portugal lost its independence to Spain in the XVII century. The third track "Balada Para D. Inês" is the title track of their second EP released in 1968. It's about the tragic love of infant D. Pedro, the future king of Portugal, with D. Inês de Castro, a noble Galician, which was executed by order of the father's king, D. Afonso IV, the king of Portugal, in the XIV century. The fourth track "Partindo-se" was also released on their second EP. It's about anguish and sadness in our eyes when we see our beloved family depart to distant places in search of a better life. The fifth track "Dona Vitória" is the title track of their third EP released in 1968. It tells us about the contrast between those who lived well and had a good job and those who lived in the suburbs and had no job. The sixth track "Meu Irmão" was released as a single in 1968. It's a psychedelic song that speaks about love, solidarity, friendship and brotherhood among men. The seventh track "Dragão" was also released on their second EP. It's about the sad, dull, hard and routine life of any working man. The eighth track "Os Monstros Sagrados" was released on their single "Génese" in 1969. It's about the purity of nature against the human technology and its industrial applications. The ninth track "Génese" is the title track of a single released in 1969. It's about the beauty of nature in contrast with people that suffers because the different colour of their skin. The tenth track "Bissaide" was released on their single "Nas Terras Do Fim Do Mundo" in 1969. It's a very simple instrumental song. The eleventh track "Nas Terras Do Fim Do Mundo" is the title track of a single released in 1969. It's about one of the most brilliant chapters of Portuguese History, the Portuguese discoveries, released in the XV century. The twelfth track "Domingo Em Bidonville" was released on their first studio album in 1970. It's about Portuguese emigrants who left their country in search of a better life, and leave their country, family and friends. The thirteenth track "João Nada" was also released on their debut album. It's about emigration. It's about a man who returns to his homeland, at the end of his hard working life, and he has nobody waiting for him, except his coffin. The fourteenth track "As Trovas Do Vento Que Passa" was also released on their first album. It's a cover of a song of Adriano Correia de Oliveira with a poem of Manuel Alegre. It's a song of the resistance of Portuguese University students against the dictatorship regime. The fifteenth track "Maria Negra" was another song released on their first album. It's an anti-racist song about the women with black skin, which are often viewed and treated as inferior human beings. The sixteenth track "Todo O Mundo E Ninguém" is the title track of a single released in 1970. It's a song with intimate and symbolic lyrics about life and dead. The seventeenth track "É Tempo De Pensar Em Termos De Futuro" was also released on their single "Todo O Mundo E Ninguém". It's another song with intimate lyrics. It tells us that it's now time to think about to build a better world, uniting races and breaking down the barriers. The eighteenth tack "Back To The Country" is the title track of their single released in 1970. It's a song that appeals to men to the return to the fields. It represents the first attempt to internationalize the band singing in English. The nineteenth track "Ode To The Beatles" is the title track of a single released in 1971. It's represents homage to The Beatles. It represents also the second attempt to internationalize the band singing in English. The twentieth track "Uma Nova Maneira De Encarar O Mundo" was released on their single "Sabor A Povo" in 1972. It's a song, as its name indicates, which makes an appeal to a new way of seeing the world. This is a way of seeing it with more peace and love.

Conclusion: "A Lenda Do Quarteto 1111" is the third compilation of Quarteto 1111. The others are "A Lenda De El- Rei D. Sebastião" and "Singles And Ep's". Like the other two, it's also a very interesting and important compilation with many similitude with the other two. After reviewing the other two compilations, I can say that "A Lenda Do Quarteto 1111" is a better option, because is the biggest and most complete of the three. If you want to have on a single album many of the songs released by the group and dispersed on so many singles and EP's, this is the right place to have it.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Singles and EPs by QUARTETO 1111 album cover Boxset/Compilation, 2006
3.00 | 2 ratings

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Singles and EPs
Quarteto 1111 Eclectic Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nº 106

"Singles And EP's" is a compilation of Quarteto 1111 and was released in 2006. It has songs released by the band on EP's, singles and also on their eponymous debut studio album, Quarteto 1111, released in 1970.

As I wrote before when I reviewed their debut compilation "A Lenda De El-Rei D. Sebastião", the importance of Quarteto 1111 to Portuguese popular music is completely undeniable, especially for the birth of Portuguese progressive rock music. The band was formed in 1967, in Estoril, a place near Lisbon, and can be considered the father of Portuguese progressive rock music. They opened the door for some excellent albums made by great progressive bands in Portugal.

"Singles And EP's" has fifteen tracks. The first track "A Lenda De El-Rei D. Sebastião" was their first song and was recorded on their debut EP, with the same name, released in 1967. It's a song based in a Portuguese legend and is about the missing of El-Rei D. Sebastião, a Portuguese king, allegedly killed in the fields of Morocco during the battle of Alcácer-Kibir. The legend said that he should appear again on a foggy morning to help Portugal to recover its independence lost to Spain in the XVII century. The second track "Os Faunos" was also released on their debut EP. It's a song about fauns, which was a rustic Latin god or goddess of Roman mythology often associated with enchanted woods and the Greek god Pan and his satyrs. The third track "Gente" was another song released on their debut EP. It's a song about anonymous poor persons abandoned in the world, without having home, care and love of someone. The fourth track "Balada Para D. Inês" was released on their second EP, with the same name, in 1968. It's a song about a famous and very popular episode of the history of Portugal, in the XIV century, the tragic love of the infant D. Pedro, heir of Portuguese throne and future king D. Pedro I with D. Inês de Castro, a noble Galician, which was executed by order of father's king, the king of Portugal D. Afonso IV, because he felt their love immoral and illegitimate. The fifth track "Partindo-se" was also released on their second EP. It's a sad song about emigration. It's about the anguish and the sadness in our eyes when we see our beloved family depart to distant places in search of a better life. The sixth track "Dona Vitória" was released on their third EP, with the same name, in 1968. It's about the big difference that separated the rich from the poor in those times in Portugal, in the dictatorship regime. It tells us about the contrast between those who lived well and had a good job and those who lived in the suburbs and had no job. The seventh track "Nas Terras Do Fim Do Mundo" was released as a single, with the same name, in 1969. It's a song based in one of the most brilliant chapters of the Portuguese History. It's about the deeds of the heroic Portuguese navigators, who in the XV century, discovered new lands, "giving new worlds to the world". The eighth track "Meu Irmão" was released as a single in 1968. It's a psychedelic song that speaks about love, solidarity, friendship and brotherhood among men. The ninth track "Domingo Em Bidonville" was also released on their first album. It's a song about the Portuguese emigrants who left their country in search of a better life, but who still miss their country, family and friends. The tenth track "João Nada" was released on their first album. It's another song about emigration. This is a very sad song about a man who returns to his homeland at the end of a hard working life far way from Portugal. The poem tells us that he has no longer his family, his friends and his dog waiting for him. Nothing is waiting for him, except his coffin. The eleventh track "As Trovas Do Vento Que Passa" was released on their first album. It's a cover of a song of Adriano Correia de Oliveira with a poem of Manuel Alegre. Originally, it was an important song, a symbol of the resistance of Portuguese Universitary students to the dictatorship regime in Portugal. The twelfth track "Epílogo" was also released on their first album. It's a song with short lyrics and is an ode to the nature and to the men, in their effort to find perfection in the search of God. The thirteenth track "Back To The Country" was released on their single with the same name, in 1970. It's an appeal to men to their return to the fields. It represents the first attempt to internationalize the band singing in English. The fourteenth track "Ode To The Beatles" was released as a single in 1971, with the same name, and represents a homage to The Beatles. It represents the second attempt to internationalize the band singing in English. The fifteenth and last track "Uma Nova Maneira De Encarar O Mundo" was released on their single "Sabor A Povo", in 1972. It's a song, as its name indicates, which makes an appeal to a new way of seeing the world. This is a way of seeing it with peace and love.

Conclusion: Like "A Lenda De El-Rei D. Sebastião", their debut compilation, this is also a very interesting and important compilation released by Quarteto 1111, because it was possible to have in only one album many of the songs released by the group in so many singles and EP's. However, of the fifteen tracks recorded on "Singles And EP's", only six are new in relation to that previous compilation. So, actually it doesn't bring to us practically any new stuff. Anyway, this is perhaps preferable to "Singles And EP's" because it has more three songs than the first one has.

Prog is my Ferrari. Jem Godfrey (Frost*)

 A Lenda de El-Rei D. Sebastião by QUARTETO 1111 album cover Boxset/Compilation, 1996
3.00 | 1 ratings

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A Lenda de El-Rei D. Sebastião
Quarteto 1111 Eclectic Prog

Review by VianaProghead
Prog Reviewer

— First review of this album —
3 stars Review Nº 105

"A Lenda De El-Rei D. Sebastião" is a compilation of Quarteto 1111 and was released in 1993. It has songs released by the band on EP's, singles and also on their eponymous debut studio album, Quarteto 1111, released in 1970.

Quarteto 1111 was a Portuguese band formed in 1967, in Estoril, a place near Lisbon. The story of Quartet 1111 began when José Cid was invited to join the band Mystery, in 1966. Later, they decided to form a new group named "Quarteto 1111, whose name was inspired by the phone number of one of the band's members, since they spent few months working on their music in his garage. It has been suggested to the group to sing in Portuguese, despite the great influence of the British music on the band. In reality, London and Lisbon were the only centres of attraction that guided all the music of Quarteto 1111 during their short life. Their main objectives were to create music influenced by the style of the new British music, marrying it in an intelligent way with some of the main typical Portuguese features of music.

"A Lenda De El-Rei D. Sebastião" has twelve tracks. The first track is the title track, "A Lenda De El-Rei D. Sebastião". It was their first song and was recorded on their debut EP, with the same name, released in 1967. It's based in a very well known Portuguese legend about the disappearing of El-Rei D. Sebastião, a Portuguese king, allegedly killed in the fields of Morocco during the battle of Alcácer-Quibir. The legend said that he should appear on a foggy morning to help Portugal to recover its independence lost to Spain in the XVII century. The second track "Meu Irmão" was released as a single in 1968. It's a psychedelic song that speaks about love, solidarity, friendship and brotherhood among men. The third track "Ode To The Beatles" was released as a single in 1971, with the same name, and represents a homage to The Beatles. It represents also the second attempt to internationalize the band singing in English. The fourth track "As Trovas Do Vento Que Passa" was released on their first album. It's a cover of a song of Adriano Correia de Oliveira with a poem of Manuel Alegre. Originally, it was an important song, a symbol of the resistance of the Portuguese Universitary students against the dictatorship regime in Portugal. The fifth track "Domingo Em Bidonville" was also released on their debut album. It's a song about the Portuguese emigrants who left their country in search of a better life, but who still miss their country, family and friends. The sixth track "Balada Para D. Inês" was released on their second EP, with the same name, in 1968. It's a song about a famous and very popular episode of the history of Portugal, in the XIV century, the tragic love of the infant D. Pedro, heir of Portuguese throne and future king D. Pedro I with D. Inês de Castro, a noble Galician, which was executed by the father's hing, the king of Portugal D. Afonso IV, because he felt their love immoral and illegitimate. The seventh track "Dona Vitória" was released on their third EP, with the same name, in 1968. It's about the big difference that separated the rich from the poor in those times in Portugal, in the dictatorship regime. It tells us about the contrast between those who lived well and had a good job and those who lived in the suburbs and had no job. The eighth track "João Nada" was released on their first album. It's another song about emigration. This is a very sad song about a man who returns to his homeland at the end of a hard working life, far way from Portugal. The poem tells us that he has no longer his family, his friends and his dog waiting for him. Nothing is waiting for him, except his coffin. The ninth track "Dragão" was released on their second EP, "Balada Para D. Inês". It's a song about the sad, dull, hard and routine life of any working man. The tenth track "Nas Terras Do Fim Do Mundo" was released as a single, with the same name, in 1969. It's a song based in one of the most brilliant chapters of Portuguese history. It's about the deeds of the heroic Portuguese navigators, who in the XV century, discovered new lands, "giving new worlds to the world". The eleventh track "Pigmentação" was released on their first album. It's an anti-racist song about the difference of the pigmentation of the skin colour of the black people in contrast with the skin of the white people. It says that both are natural and both have blood with the same colour. The twelfth track "Fantasma Pop" was released on their debut EP "A Lenda De El-Rei D. Sebastião". It's a very nice and simple instrumental song.

Conclusion: The importance of Quarteto 1111 to Portuguese popular music is completely undeniable, especially for the birth of the Portuguese progressive rock music. This compilation, "A Lenda De El-Rei D. Sebastião" is a very interesting and important release of the group, because for the first time it was possible to have in only one album so many songs released by the group, usually separated for so many singles and EP's. This is even more important because, as far as I know and unfortunately, their debut album was never released in CD. Fortunately and lucky for me, I have a vinyl copy purchased in the 70's. My main concern on this review was to focus all my attention in lyrics, trying to explain the subjects covered in each song. I did it because I know the majority of the readers don't know any word of Portuguese, and as we know, music is a universal language. I hope you can enjoy both, the music and the review too.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas by QUARTETO 1111 album cover Studio Album, 1974
4.42 | 51 ratings

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Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas
Quarteto 1111 Eclectic Prog

Review by VianaProghead
Prog Reviewer

5 stars Review Nº 104

Quarteto 1111 is a very special and important Portuguese progressive rock band, and their second and last album "Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas", or third if you also want to consider the album "Bruma Azul Do Desejado" recorded with Frei Hermano Da Câmara in 1973, is, in my humble opinion, a very special album and a truly landmark in the Portuguese progressive rock musical scene. I believe that it's perhaps the best Portuguese progressive rock album of the 70's, even superior to "10.000 Anos Depois Entre Vénus E Marte", the solo work of Cid.

The line up on this album is José Cid, António Moniz Pereira, Mike Sergeant and Vitor Mamede.

As I wrote before, when I reviewed their debut album, Quarteto 1111 was formed in the late of the 60's and included some of the earliest recorded output from Cid. Their music didn't exactly pleased to the Portuguese dictatorships of the time of Salazar and Caetano, and so, a lot of their music was naturally banned by the regime. However, by 1974, the Caetano regime was over and in that year Quarteto 1111 released their final album, "Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas". If you're a fan of Cid's "10.000 Anos Depois Entre Vénus E Marte", you're going to need this album. It's basically the starting point of Cid's exploration of the progressive rock music. Certainly it doesn't have the spacey cosmic overtones of "10.000 Anos Depois Entre Vénus E Marte". This isn't properly a science fiction conceptual album, as the other album is. Anyway, "Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas" is also a conceptual album where the poetic, the musical and the instrumental ideas are totally from Cid. Lyrically, this is essentially an album of poetry. It uses a poem of José Jorge Letria, a Portuguese poet and musician, very well known at the time.

"Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas" is a very different album of their previous eponymous debut, especially in terms of musicality. It tends to more emphasize on symphonic progressive ballads, but not unlike the Moody Blues, with tons of mellotron. And it's the mellotron very much noteworthy on the album. Cid absolutely plasters the entire album with it, more so than on "10.000 Anos Depois Entre Vénus E Marte", tons of mellotron strings and flute. But the mellotron choir so dominate on "10.000 Anos Depois Entre Vénus E Marte" it's not present here. The album is basically one cut that takes up both sides and it goes through several changes, from romantic balladry, to more acoustic passages, and some more rocking passages. The album consists of two short side-long tracks, with side one fading out and the flip fading in at the same point. It would be nice that in the future, on an official CD release, the two sides could be correctly joined. It's precisely the same thing that happened with "Thick As A Brick" of Jethro Tull.

"Onde Quando Como Porquê Cantamos Pessoa Vivas" offers a pretty typical southern symphonic progressive rock music as it was at the same time also produced in Italy and Spain. The album often was compared to Pulsar and other French progressive rock bands of the time, except the vocals which are in Portuguese. Another band that they can be compared with is the German band Eloy, with their similar spacey synthesizers. But the main characteristic of the album is the massive use of the mellotron. Here begins the comparisons with the first phase of King Crimson. Cid goes completely overboard here, with swathes of strings underlain by cellos with considerable quantities of flutes, too. There's a nice moment about a minute into side two, where he suddenly switches from strings to flutes which isn't really a bad moment on the album. The only other keys on the album are an unidentified mono synthesizer which gets used a bit, a smattering of piano on side two, and even less string synthesizers at one point. So, I think it's safe to say, that this is a "mellotron album" in every sense of the word. You really like and want a mellotron? So, you've got it here.

Conclusion: I agree with José Cid when he says that this is an album that represents a rupture and at the same time a leap forward in the work of Quarteto 1111. This is a conceptual album where the poetic, the musical and the instrumental ideas are totally from him. Lyrically, I think this is essentially an album of poetry and musically, it's a symphonic progressive album, essentially "acoustic". Like many, I also think this is probably, in some way, superior to "10.000 Depois Entre Venus E Marte". It's most original, audacious, pure, simple, naïve and poetically superior to that album. I even can see on it, influences from King Crimson, Renaissance and Camel. Anyway, this is mainly an album with Portuguese features. If we could define the Portuguese progressive rock, we could say that their main features are on it. As Erik Neuteboom, I'm also a "tronmaniac". I think that many of us, especially those of my generation, learned to love the sound of the mellotron, especially with the first two albums of King Crimson and even today we are still delighted with the sound of the mellotron, for instance, on the albums of the Swedish band Anekdoten. So, I sincerely think this album is an icon of the mellotron sound and is also one of the best progressive rock albums from the 70's.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Quarteto 1111 by QUARTETO 1111 album cover Studio Album, 1970
3.16 | 12 ratings

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Quarteto 1111
Quarteto 1111 Eclectic Prog

Review by VianaProghead
Prog Reviewer

3 stars Review Nº 103

"Quarteto 1111" is the eponymous debut studio album of Quarteto 1111 and was released in 1970. From the sound of groups inspired by The Shadows, Quarteto 1111 was born. They became a very different case in the Portuguese music, not only due to the use of Portuguese language, which was unusual at the time, but also because musically it was a very different band from the others. They closed themselves in a garage one year and half to make this album.

First of all, before to talk about the album, it's very important to know the conditions of the life in my country in those troubled times to can understand better the appearance of this progressive rock band named Quarteto 1111. Portugal lived a very difficult dictatorial political regime with censorship. One of the main slogans of Salazar's regime was, "orgulhosamente sós" (proud to be alone). This meant that we could live alone and isolated from the rest of the world and that we could be proud of that. We also lived in difficult times because we were in war in our African colonies, Angola, Mozambique and Guinea Bissau, with their liberation movements who claimed for freedom and independence.

So, it was in those troubled times that appeared Quarteto 1111, which was the first progressive rock band in Portugal. It was founded in 1967 in Estoril, a place near Lisbon. It's also one of the most influential progressive rock bands in Portugal. The Beatles and The Shadows were the main inspiration for the most bands and Quarteto 1111 wasn't an exception. The group had many problems with censorship, because of songs that were politically charged and contested. They released their debut work with the same name in 1970. The album was sent off the market by the Committee of Censorship. In 1974 the band released "Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas", an album strongly influenced by progressive rock groups like King Crimson, Renaissance, Yes and Genesis.

So, in the early of 1970, Quarteto 1111 released their self-titled debut conceptual album, which deals with racism issues, immigration and the colonial war. Troubled by the interventionism of the issues to the dictatorial regime, the censorship removed the album from the market in the same week of its release, preventing the contact with what would be one of the best albums of the Portuguese music, in those times, able to compete in boldness, quality and innovation, with what was created abroad at the time, all over the world. Those were really troubled times, indeed. But unfortunately, even today and in some places, we live yet in a world like this. It seems that we aren't able to learn with history.

Lyrically, the album deals especially with three main characteristics. First, all its lyrics are in Portuguese, which is a usual trademark of the group. Later they began to sing in English trying the internationalization with songs such as "Back To The Country" and "Ode To The Beatles", which were released as singles. Second, the usual use of lyrics of some of the greatest Portuguese poets, which is the case of "As Trovas Do Vento Que Passa" with a poem of Manuel Alegre, a great Portuguese contemporaneous poet, which became a very important symbolic song, a kind of a symbol of the resistance of the Portuguese University students against the dictatorship regime in Portugal. Third, the focus of the lyrics in the issues mentioned by me, such as, the immigration with "João Nada", "Domingo Em Bidonville" and "Estrada Para A Minha Aldeia" or the racism issues with "Pigmentação", "Maria Negra" and "Escravatura".

Musically, the album is heavily influenced by the psychedelic and folk styles. However and while retaining the band's initial psych-folk heritage, this album of Quarteto 1111 goes deeper into a psychedelic through magnetic tape experimentation effects, and also a more clear influence from the mid-60's jazz and R&B. The songs range from the folk of "João Nada" or the version of "Trovas Do Vento Que Passa" of Adriano Correia de Oliveira (another great Portuguese poet), through the soul of "Pigmentação", the funk madness of "A Fuga Dos Grilos", the pop of "Estrada Para A Minha Aldeia" or the psychedelia of "Maria Negra". The album represented an escape from the narrowness of a country which was not interested in change, remaining at the same time inextricably linked to it or what it could do.

Conclusion: This eponymous debut album of Quarteto 1111 is a very good album to get where José Cid get started in the world of the progressive rock music. We mustn't forget that Portugal was never a hotbed of progressive rock. So, this album of Quarteto 1111, despite be more a psychedelic and pop album, represents the beginning of the progressive rock in Portugal. We can say that it was a kind of a breath of fresh air in Portugal, at the time. It represents the beginning of the good things that would appear in the next years, after the fall of the dictatorship regime, in 1974, by the revolution that came to be known as the Carnation Revolution. So, this album opens the door to some of the best progressive albums ever made in Portugal in the 70's, like "Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas" of Quarteto 1111, "10.000 Anos Anos Depois Entre Vénus E Marte" of José Cid, "Mestre" of Petrus Castrus, "Dos Benefícios Dum Vendido No Reino Dos Bonifácios" of Banda Do Casaco and "Mistérios E Maravilhas" of Tantra.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas by QUARTETO 1111 album cover Studio Album, 1974
4.42 | 51 ratings

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Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas
Quarteto 1111 Eclectic Prog

Review by Meltdowner
Collaborator PSIKE Team

5 stars To celebrate the 42th anniversary of the event that lead to the creation of Quarteto 1111's final album, the end of the political oppression in Portugal that lasted more than 40 years, I decided to review it.

It has become a tradition for me to listen to this album on this day, since it's the most genuine expression of freedom and what it truly means, unlike the long speeches sketchy politicians give on this day!

Instrumentally, it's a mixture of Symphonic and Folk in a very Italian Prog way, with plenty of Mellotron, Moog, pastoral acoustic guitars and José Cid's voice at its most powerful state. Another curious thing about it is how the drums are in foreground, which sounds surprisingly good with the epicness of the music, I couldn't imagine it any other way. This was due to the fact that Vítor Mamede, the drummer, was responsible for mixing it.

Lirically, it's as beautiful as the music: it was based on a poem by José Jorge Letria which José Cid continued. It speaks about important values, not only freedom but also education, equality, tolerance and respect for others (and maybe nature, since it's so frequently mentioned). It also gives the idea that the struggle didn't end with the revolution of 1974, that the country should be built anew with these ideals in mind and people should be simple and honest (as the compositions and cover suggest) in order to live in harmony as a community. It's too bad the message of this album was ignored.

Maybe the importance of this day faded in the memory of people but the feeling was immortalized on this record. It is one of my all time favourites and I can't rate it with less than five stars.

 Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas by QUARTETO 1111 album cover Studio Album, 1974
4.42 | 51 ratings

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Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas
Quarteto 1111 Eclectic Prog

Review by Dário Soares

5 stars Composed Between April and May of 1974, this album talks about the fall of the dictatorship in Portugal That Ruled For 41 years, and the years that would follow. The Lyrics are based in a poem From José Jorge Letria. In This Symphonic Prog Album, The Mellotron Is The Most Predominant Instrument. It has only Two tracks(part 1- 16:42m and part 2- 13:10) that are combined by a guitar solo, ending in the beginning of part 2. This one is undoubtedly one the best ever recorded in Portugal and it was composed mainly by José Cid. This Album Was the Last with originals that Quarteto 1111 Recorded.
 Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas by QUARTETO 1111 album cover Studio Album, 1974
4.42 | 51 ratings

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Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas
Quarteto 1111 Eclectic Prog

Review by Guldbamsen
Special Collaborator Retired Admin

4 stars Listen up RPI fetishists!

This album might feature the beautiful Portuguese language, but it shares a lot of similarities with the symphonic Italian scene. From the classical piano playing, that emulates the same sort of feel you get from Banco - the dramatic and slightly operatic touch that sounds so bittersweet, - to the lush and creamy surroundings here, this album just might be the equivalent of pouring maple syrup into your ears.

I personally know of Jose Cid from a record he did called 10.000 anos, which in all fairness is pretty close in sound to this album, if it wasn´t for one thing: It´s from 78 and it occasionally shows signs of disco and funk, - and especially the last number the mini-epic Vida is momentarily marred by this tendency. Onde, Quando... however, has that 70s sound, that I absolutely adore - those natural timbres of the instruments and a love for analog equipment, which emanate a warm, vibrant and sensual aura.

I hear no jarring bits - no scenes where the instruments assault each other and propel the song into some freaky semi jazz cacophony, like many other artists did at the time - especially when they were doing long pieces. Yes, King Crimson, Genesis all did this to some extent (some more successfully than others) and hell even Floyd went a little mad on Atom Heart Mother, much credited to Ron Geesin. Here however, there are no distracting and discordant aspirations. It´s pretty much all smooth and silky like flying a condor covered in vaseline, apart from a few rocking climaxes, where a seldomly heard electric guitar sweeps across the symphonics like a wild firestorm. These moments really feel like a healthy dosage of salt and pepper to the dish - transforming what could have been mildly interesting - to a masterly spiced serving from the Portuguese riviera.

The album is comprised of 2 long tracks, that share a red thread musically, but as I found out also lyrically. The album evolves around the newly formed freedom - emerging from the rubble of the 1974 revolution in Portugal. Now I can´t tell what Jose Cid is singing, but I can feel him right down in my toes no matter the lingo. He has a very original voice that flows from this raw and big booming lumberjack voice - to fragile and tender phrasings that at times invoke the balladry side of Italian singer Lucio Battisti.

His biggest treat is however the way he plays those synths, and to tell you how they make me feel, and how I think they sound like - fills my head with all kinds of weird images, but none really depicting anything resembling a guy playing keys... Sounds to me like cold margarine hitting a hot frying pan - oozing, melting, covering everything in some sticky coatings. - Or maybe they sound a little bit like hot glue running down surfaces(Don´t ask). Flowing underneath and over this delicious liquid margarine - and pretty much all over the place, are the mellotrons, which sound like gospel choirs consisting only of seabirds. This record should be paradise to the mellotron lovers out there!

To me it feels like the drums together with the bass guitar sums up perfectly the enormous differences between 10.000 anos and this album. Gone is the late 70s production - and everything is much more vivid and natural. The rhythm section here is basically the rock quotient of the band. They cook up an uncanny rock n´ roll element to the music, and are essentially the driving forces of a record, that otherwise would have sounded completely different, and perhaps all too ethereal and pastoral. It´s simple and tight, and covered in a very dry sound to boot - adding a somewhat wooden texture to both the bass and drums. They feel natural and very much in tune with what the album is all about soundwise: Large sonic sculptures that open up like seedlings to the sun - which on this particular release is substituted with the synthesizer, but believe you me, when I tell you that there´s infinite warmth to be found in Quarteto 1111´s third and final album. This album is very much about mixing things up - creating a balance between the high soaring pompous orchestrations to the earthy acoustic guitars that dominate both pieces. Just like the rhythm section, they too work as the earthy and rocking part of the sound - balancing things out nicely.

This is one of those records that immediately feel welcoming and strong, -well at least to me that is. I found it instantly wonderful - and my appreciation has only been rekindled by subsequent listenings. It´s not a grower but a "confirmer" so to speak...

So welcome to this floating and swirling universe, that sounds like it´s wearing wings, and in fact is airborne - basking overhead on gentle mellotron winds. If you´re into the symphonic genre or RPI, then do yourself a favor and listen to this gem - it is a truly wonderful record!

One of its greatest achievements is that, what just as well could have ended up as an oversweetened, buttery and all too creamy affair, - in stead sounds like the cream has been tapped freshly right from the sacred cow´s teat. Uhhhmm fresh and warm...

 Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas by QUARTETO 1111 album cover Studio Album, 1974
4.42 | 51 ratings

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Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas
Quarteto 1111 Eclectic Prog

Review by Evandro Martini

5 stars A Mellotron classic!

I see this album as, to the mellotron, the same as Thick as a Brick to the flute in rock. A single song with developments, recapitulations, changes, everything that a prog epic deserves, and, most of all, a magnificent mellotron from beginning to end. Both the standard strings sound as the less known flute sound of the mellotron are superbly used, so if you, like me, think the mellotron is not an imitation of strings, flute or whatever, but an original instrument with beautiful timbres, you should definitely listen to this album.

The lyrics in Portuguese are quite good, they seem to be based on a poem about the revolution that put end to a long dictatorship in Portugal. Verses like "Because the smile has returned to the face/Of those who were vigilant" and "The forbidden word/The forgotten word/Liberty" (my translation) can be very touching.

The arrangements and the sound, generally, seem to me very much improvised, not contrived at all, with minimalism. (yes, mellotron and minimalism can coexist!)

PS: It's a shame that Brazil and Portugal are so distant culturally. This is the only Portuguese album I've heard, I can't think of a Portuguese movie or TV show I've ever watched, and besides José Saramago, all portuguese writers I can think of have died more than 70 years ago. If there are other bands and writers on the same level of Quarteto 1111 and Saramago, it's a pity that we never hear about them in Brazil

 Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas by QUARTETO 1111 album cover Studio Album, 1974
4.42 | 51 ratings

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Onde, Quando, Como, Porquê, Cantamos Pessoas Vivas
Quarteto 1111 Eclectic Prog

Review by Theriver

4 stars Probably one of the best cd in my collection of symphonic prog. Full of 70's typical keyboards (including a lot of mellotron of course) but as well few really welcome piano part. The guitar is discreet but does its job very well when needed. The voice of Jose Cid is great and suit the music all the way either through the bombastic parts or the more intimates. The lyrics in Portuguese are not a obstacle either and brings a latin touch. This is to finish a very accessible album that i would recommend to lot of people who want to know a bit more about prog or to the already confirmed prog fans. Rating: 4.5
Thanks to Ricochet for the artist addition. and to E&O Team for the last updates

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