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SECOS & MOLHADOS

Prog Folk • Brazil


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Secos & Molhados biography
SECOS & MOLHADOS is probably one of the better known rock bands in Brazil. Their first two albums include classics that still resonate in today's youth and in the music scene; countless artists were inspired by this musical phenomenon. Founded in the early 1970s by the composer and leader of the group JOÃO RICARDO, the classic lineup included the singer NEY MATOGROSSO and fellow singer-songwriter GERSON CONRAD. The trio was augmented with a competent team of musicians in its first two and best remembered studio albums, notably WILLY VERDAGUER and SOM IMAGINÁRIO's ZÉ RODRIX.

The first album of the band was a landmark in the history of Brazilian music, attaining impressive sales and establishing an image that would capture the imagination of the whole nation during the military dictatorship: androgynous men with makeup and tropical costumes singing songs ranging from psychedelic to Brazilian popular music. The lyrics were adapted from major poets such as Manuel Bandeira, Vinicius de Morais and the Portuguese João Apolinario (father of João Ricardo).

After several tours and concerts in Brazil and the world, the second studio album followed the path blazed by its predecessor and was also commercially successful. However, fights about the management of the band's profits made one of the biggest phenomena of Brazilian also one of its most short-lived: exactly one year after the release of the first album, SECOS & MOLHADOS were no more.

Of the band members, just NEY MATOGROSSO has maintained a successful solo career. Still, after initially striking out on his own, João Ricardo decided to resurrect the band name, recording a third album in 1978. In 1980 and 1988, still new attempts arose, all with different musicians from different musical backgrounds, but none attracted the attention of the public or the media. In 1999, João Ricardo decided to release an album featuring only his voice and guitar, entitled Teatro? In 2011, together with Daniel Iasbeck, he released a new album with more contemporary music, including intimate poetry more spoken than sung. Sporadic live presentations of this new dual SECOS & MOLHADOS followed.

Even with all the attempts at recognition by Joao Ricardo, it remains that in in the minds of the Brazilian public is the trio that, like a comet, for only one y...
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Wea Brazil 2006
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SECOS & MOLHADOS discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

SECOS & MOLHADOS top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.85 | 17 ratings
Secos & Molhados
1973
4.95 | 10 ratings
Secos & Molhados (II)
1974
3.09 | 5 ratings
Secos & Molhados (III)
1978
3.40 | 5 ratings
Secos & Molhados (IV)
1980
3.00 | 3 ratings
A Volta do Gato Preto
1988
4.00 | 4 ratings
Teatro?
1999
3.85 | 4 ratings
Chato-Boy
2011

SECOS & MOLHADOS Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.91 | 2 ratings
Ao Vivo no Maracanazinho
1980

SECOS & MOLHADOS Videos (DVD, Blu-ray, VHS etc)

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

0.00 | 0 ratings
O Melhor de Secos & Molhados
1976
5.00 | 5 ratings
Dois Momentos: 1973 / 1974
1999

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

SECOS & MOLHADOS Reviews


Showing last 10 reviews only
 Secos & Molhados by SECOS & MOLHADOS album cover Studio Album, 1973
4.85 | 17 ratings

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Secos & Molhados
Secos & Molhados Prog Folk

Review by Luqueasaur

5 stars The supernova that destroyed, reshaped, shone impossibly bright, and died right after: 10/10

(note: SECOS & MOLHADOS = album, SECOS E MOLHADOS = band)

I want to clarify that I the album and its context are deeply intertwined, it is impossible to evaluate the first without the latter. How the music sounds and what it represents are fruits of its setting. Of course, without knowledge of its background the album will still be enjoyable, but perhaps not nearly as fascinating as it truly is.

And so, to claim SECOS & MOLHADOS is a revolutionary album is an understatement. Released in 1973, during the worst period of the military dictatorship in Brazil, its eclectic variety and daring nature captivated Brazilians in a way never seen before; they became a hit so monstrous they threatened to dethrone the nation's Elton John, Roberto Carlos, from the top. The album's style was built over the structure of the psychedelic "subversive" (but culturally enrichening) Tropicália movement. Nurtured by those roots, SECOS outputted something equally meaningful and audacious. Rather than doing so through a multifaceted effort that required numerous artists, all SECOS needed was thirty minutes, androgynous makeup, and lush songwriting. After those thirty minutes, the deed was done: they defined the direction of a nation's pop music on a way done before only by Sgt. Peppers, and broke so many paradigms - musical and socially speaking - that the Brazilian society would never be the same anymore. The album (& band) name is a term used to define bazars that sell all sorts of stuff. Alternatively, as spoken by bandleader João Ricardo, "a name that doesn't determine anything, [a name] which is open to all genres". He believes (rather fairly) the album is engrained on popular music, and consider the band (but not its music) rock - their libertarian, paradigm-breaker attitude.

As we can attest, SECOS E MOLHADOS' manifesto was indeed to be open to all: ranging from glam rock to Brazilian folk, from Latin to Portuguese folklore and music. This eclecticism was a way to be appealing & please all distinct tastes: [politically] engaged would enjoy Primavera nos Dentes and Mulher Barriguda; Rosa de Hiroshima would become pacifists' anthem; Prece Cósmica was rapidly adopted by hippies; Rondó do Capitão pleased the infant public; Vira was a sensation to the massive public of the radios, and lastly, the music poems brought a (non-pompous) erudite tone for the delight of the scholarly. Highly emblematic, the lyrics (especially the music poems) are more often than not vastly lavish, "offering a lyrical richness seldom seen in Brazilian popular music (MPB)". João Ricardo's songwriting skills are laudable, especially if you consider he composed roughly all songs. Ney Matogrosso's feminine, delicate tenor vocals fascinate listeners from its first appearance. The musicianship isn't in any way excelling (aside from Ney), but the innovating blend of electronic devices (such as distortion or synthesizers) with traditional instruments to play folksy Brazilian music makes up for that.

Some tracks deserve highlight. Sangue Latino (Latin Blood) opens with a bassline whose arrangement "is marked by the characteristics of the epoch's pop music" whilst the lyrics alluded to "the Latin American condition of waywardness and resistance". Nonetheless, the way they used rattles and guitar makes it an allegoric Brazilian folk song. O Vira (The Turn) refers to the Portuguese folkloric choreography dance with the same name, except that on SECOS E MOLHADOS' version it has an electronic and distorted rock sound, which later changes to traditional accordion-driven melody of the gaúchos or nordestinos, (regional) peoples from Brazil. O Patrão Nosso de Cada Dia ("Our Everyday Employer") is a melancholic acoustic song, with a strong performance by Ney and sweet pastoral flutes sweeps that reminds me of STORIA DI UN MINUTO. Assim Assado is the "progressive rock" properly said, using heavy guitar distortion, 7/8 time signatures and generous amounts of bongo and flutes. The title and lyrics feature wordplay between the words "Assim Assado", which is a popular term that means "like this and that", but if taken literally, can mean "Cooked like this" as "assado" means cooked. Last and not least is Rosa de Hiroshima ("Hiroshima Rose"), acclaimed poet Vinicius de Moraes' poem, musicalized. The title might be self-explanatory: an antiwar, anti-nuclear cry, "The Hiroshima rose / the hereditary rose / the radioactive rose / stupid and invalid / the rose with cirrhosis / the atomic anti-rose".

SECOS & MOLHADOS' biggest achievement was not flirting with various genres nor its beautiful lyricism, though; it was slipping through violent censorship. Their creativity and insolence managed to overcome repression and signified a scream of victory for freedom. Inadvertently, they reinvented how music would sound like in the future, a reason that makes it an authentic progressive record.

Rather obviously, the only way they could influence society as profoundly as they did was if they harnessed immense support - which they did. Although slightly popular since its roots, their devastating fame was achieved after appearing on national television. Used to the same-old musicians, the masses were enthralled, to say the least, when they first watched the trio, ornate with profligate face paint, playing that strange uncommon music. Dumbstruck, then, when they watched Ney Matogrosso's sweetly feminine vocals singing Sangue Latino while rhythmically belly dancing. On the following days, curious hundreds of thousands checked vinyl stores looking for those weird "Secos e Molhados" dudes, who then sold almost 300,000 albums in 60 days, setting a record for the Brazilian phonographic industry.

I always dismissed Brazilian music as "too folksy" or "uncreative", while praising other nations' folk bands? after meeting SECOS & MOLHADOS I realized how wrong I was. Brazil offers true masterpieces just like any country. For me, the album is an illuminating epiphany, in a certain way similar to what it originally was forty years ago for so many others. For as much as I recommend this to everyone (check YouTube for a sneak peek), from folk lovers to prog lovers to Brazilian music lovers, I need to warn you: this is not your average progressive rock, as it lacks rock. This is just progressive. Pure, distilled, progressive.

 Secos & Molhados (II) by SECOS & MOLHADOS album cover Studio Album, 1974
4.95 | 10 ratings

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Secos & Molhados (II)
Secos & Molhados Prog Folk

Review by Tarcisio Moura
Prog Reviewer

5 stars The sudden, unexpected and immense success of their first album brought as much fame and fortune as greed, jealousy and power struggles within the original trio. So much so that Secos & Molhados had decided to break up the band even before their sophomore work was release. That decision limited very much the impact it could have made if properly promoted. Thus all was limited to a recording of two promo videos for a prime time TV show. And that was it. Which is really a pity for the songs and performances themselves have almost the same quality and power as their debut, showing they still had a lot to offer if their differences were worked out, at least for a while. But, alas, that was not to be.

Anyway, their legacy remained. Their second CD proved to be as interesting, bold, varied and powerful as the first. It was, deservedly, quite a big hit, with Flores Astrais and Tercer Mundo reaching the top of the singles charts, although never as much as if they had stayed together long enough to tour and let people get to know some of the other tracks. It was soon forgotten and the group left a void in the brazilian music scene that was never filled again. Lead singer Ney Matogrosso would go on to become one of the most successful acts to appear by 1975, with a long solo career that goes on to this day. Gerson Conrad worked with singer/actress Zezé Motta on one album before disappearing into oblivion. João Ricardo did have some success as a solo artist before trying to revive Secos & Molhados with different line ups several times in the following decades. But that magic could never be revived again.

If you liked their first CD, chances are you´ll probably enjoy this one just as much. The overall sound is a little more sophisticated, as it shows the inclusion of Spanish music in the mix (Tercer Mundo was a poem written by famous Argentinean writer Julio Cortazar, with music by Joao Ricardo and sung entirely in spanish). But all the remaining songs were equally good, with its unique mixture of brazlian folk and rhythms with rock and poetry. A real worth follow up to one of the biggest and more groundbreaking albums in Brazil´s music history.

Rating: even without the benefit of novelty of the first, it is still a masterpiece of prog music, a real classic. 5 stars.

 Secos & Molhados by SECOS & MOLHADOS album cover Studio Album, 1973
4.85 | 17 ratings

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Secos & Molhados
Secos & Molhados Prog Folk

Review by Tarcisio Moura
Prog Reviewer

5 stars It�´s hard to picture nowadays the impact this album had in Brazil�´s music scene at the time. The mix of rock music to brazilian rhythms and styles were not exactly a novelty: Tropicalia is a good example of giving a modern and psychedelic treatment to MPB (the letters standing for brazilian popular music, in portuguese), but it didn�´t reach a big audience at the time. Secos & Molhados debut album, on the other hand had an immediate and profound impact. The mix of national folk music and rhythms with rock, blues and prog was so perfect, seamless and subtle no one dared call it a sell out to "american music", like all the other attempts up till then were. And their visual was extremely bold for the time, even dangerous: three androgynous men with heavy make up and outrageous clothes, making provocative poses at the height cold war and military government. It certainly appeal to the "glam"youth, but to a lot of people they just looked like a bunch of weirdos (or worse). Yet, their music captivated just about everybody: from hippies to squares, from adults to children. It was the bestselling album of the decade and one the biggest musical and cultural phenomenons in the brazilian music history.

Looking back, some details can be seen more clear: they had the songs (Jo�£o Ricardo was a gifted songwriter), an excellent and fluid backing band and, more than anything else, an extraordinary singer in Ney Matogrosso. His unique vocal style made many people think it was a woman singing. Small wonder he is regarded as one of MPB�´s living legends with an ongoing solo career after all these years. The lyrics were a novelty too: they actually chose to put music into already written poetry, some of it penned by Jo�£o Ricardo�´s father, portuguese poet Jo�£o Apolin�¡rio. The result was some of the most intelligent and poignant words to be put into music at the time, like Rosa de Hiroshima (Hiroshima�´s Rose), a well known poem about the effects of the atomic bomb on Japanese people written by famous poet Vinicius de Moraes.

As almost anything that arrived too much too soon, it would not last long: the band dissolving about an year latter, among bitter fights regarding money, jealousy and bloated egos. But their legacy was a lasting one. And their music still stands as one of the best to ever grace popular radio and the charts. For once quality music, with sophisticated lyrics, was a big hit, both with intellectuals and the common men. A rare feat indeed. But it did happen. And I still love this CD to this day.

Rating: for all the sheer quality, groundbreaking novelty and historical importance, anything less than five stars would be criminal. Liking it or not. A real classic of the 70�´s.

 Chato-Boy by SECOS & MOLHADOS album cover Studio Album, 2011
3.85 | 4 ratings

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Chato-Boy
Secos & Molhados Prog Folk

Review by GKR

4 stars Not exactly the "came back", but yeah, kinda.

Chato-Boy marks the return in the last chapter (so far ...) of the SECOS & MOLHADOS's history. And then, it return's to the exact part where JO'O RICARDO had stopped on the last album "Teatro?": The intimate perspective. "Little Jo'o Ricarido eat your soup or the bogeyman will come to get you. Oh, puto!" (puto = kid in portugal's portuguese). The album begins with this phrase, in a recited poetry (the whole album will feature one lenght poem recited), probably remembering the first words that Jo'o Ricardo should have in early childhood in Portugal. In 29min to go by, the memories are placed and replaced, its story of this Chato-Boy (boring child), that also gain the meaning of "flat", "short", since its a whole life resumed in less than half a hour. As the music itself, the inclusion of a younger musician, Daniel Iasbeck brought to the compositions of Jo'o Ricardo an incredibly fresh and current air, while some nostalgic features of a good and old sounds a la 70s, and 80's can be found. And we progheads know what we like!

It's pop with quality, it is rock with poetic and artistic air. It's SECOS & MOLHADOS with quality and insight. It's full 4 stars.

 Dois Momentos: 1973 / 1974 by SECOS & MOLHADOS album cover Boxset/Compilation, 1999
5.00 | 5 ratings

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Dois Momentos: 1973 / 1974
Secos & Molhados Prog Folk

Review by Tarcisio Moura
Prog Reviewer

5 stars Longtime drummer for the 80´s rock band Titãs. Charles Gavin did some invaluable for the brazilian music at the late 90´s and early 2000´s rescuing several forgotten gems and even masterpieces that were either not available on CD or were badly transferred to the compact disc format (some could not be found at all, being out of print for years) and doing a terrific job of remastering original tapes with enormous respect for the music. He also restored, as much as he could, the artwork, sleeve notes, lyrics or anything else that came with the LP package when it was put out at the time of its release. So I was very lucky to get this CD containing no less than the complete stuff recorded by the original trio that made such revolutionary music in Brazil in 1973 and 74. And the sound quality is simply perfect. (I´ll write a more complete review of both CDs separately soon)

If you want to get those two CDs in one low priced package, this is the one.

 Teatro? by SECOS & MOLHADOS album cover Studio Album, 1999
4.00 | 4 ratings

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Teatro?
Secos & Molhados Prog Folk

Review by GKR

4 stars After intermittent years between solo carrier and reconstructions of the band (which originated in the two albums with the most pop vein impossible to be reviwed!... at least by me!), JOÃO RICARDO finally bet... on himself.

Teatro? Its great for its minimalistic work. Good, because pretentious only in the realm of what is, after all, the biggest composer of SECOS & MOLHADOS - even when the classical line-up of 1973-1974. Recorded with only himself as a musician, with many short tracks, this album has the influences of rock derived from poetry, that has always been the strongest of the group in the past, minimalistic guitar that function sometimes as folk and in other moments evokes something close Velvet Underground-ish and it goes along very well with the voice of a singer already in the range of its 50's.

Within the highlights, "Tom de Dó", the title track, the both very short "Zanzibar" and "SIDA", besides the great closing track "Dura aquilo que passar pelo tempo que durar". Teatro? is a greatly intimate album with observational poetry of places, people around the singer-songwriter besides the time that passed for himself, João Ricardo. Released with the logomark of SECOS & MOLHADOS, it gain the dimension of time, as both a perspective and also from foreclosure - after all, as a THEATER... as life is, after all (oh, how I wish to see some conection here with Jethro Tull's Skating Away and perhaps A Passion Play...).

Good album that deserves something more. Would be 3.5 - deserving something more, let us close the note at 4.

 Secos & Molhados (III) by SECOS & MOLHADOS album cover Studio Album, 1978
3.09 | 5 ratings

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Secos & Molhados (III)
Secos & Molhados Prog Folk

Review by GKR

3 stars So, while planning this review, Tarcisio Moura ended up writing his first. For purposes of context and understanding of what was the third album of SECOS & MOLHADOS, take a good read at his right there.

Specifically talking about the music itself, it's funny of how much we have here a complete standardization of the sound of JO'O RICARDO: with a clear mix of pop songs, funk and folk (not in the same vein than the previous works) in a full commercially fashion. His famous debut album in solo carrier (The Pink Album), is far more bold and interesting that the third studio album released by the band's name. However, here lies some very interesting melodies and good compositions, although with too much diversity, that made the album looses a bit of "organic" sense. For me, the major highlights were "Que fim levaram todas as flores" (which had good national impact) and "Cobra Coral Indiana", which highlights the good production of Jo'o Ricardo and great guitar of Wander Taffo.

Although a good album, it is far from essential. But fans of 14 Bis and perhaps even Supertramp should give a spin.

 Secos & Molhados (III) by SECOS & MOLHADOS album cover Studio Album, 1978
3.09 | 5 ratings

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Secos & Molhados (III)
Secos & Molhados Prog Folk

Review by Tarcisio Moura
Prog Reviewer

3 stars Exactly four years after the demise of Brazil´s biggest musical phenomenon of the decade, songwriter and founder member João Ricardo tried to revive Secos & Molhados with a different line up. He chose a singer with a voice striking similar of Ney Matogrosso, which promptly put a lot of people on guard about this "revival". After all, Matogrosso has a very distinctive voice and was already a superstar solo artist. The new S & M were considered a mere cash in operation. At first they were being accepted when the acoustic Que Fim Levaram Todas As Flores? was a sizable hit. But when the band appeared on the next TV show using similar clothes and make up as the original trio, it proved a bad move: the public immediately smelled a sell out and any chances of credibility and recognition were dashed. The band broke up soon after this. Times had changed.

Which is really a pity, since the music inside is very good. It did not reach the quality of their two previous studio works, nor had a fraction of the cultural impact they once possessed, but still the material was strong enough, some tracks even toying with some "modern" arrangements like Insatisfação and De Mim Para Voce. But most of the time they tried hard to diversify their music, some tracks did sound like the old Secos & Molhados, but mostly dipped on other styles. The guitarist of the album was Wander Taffo, a very talent player who would became one of the founder members of Radio Taxi, a pop rock group which had quite a big commercial success in the late 70´s and early 80´s. The new S&M showed great promise musically speaking, but unfortunately they stood little chance after they tried to recreate the old looks with the new guys.

If you liked the first two albums, chances are you might as well appreciate this one too. Not as powerful and unique as the original trio, but still very good. Joao Ricardo remains one of the most underrated songwriters of Brazil. Like the Sisyphus myth, Secos & Molhados became the stone he tried to take uphill again and again for the decades to come.

 Ao Vivo no Maracanazinho by SECOS & MOLHADOS album cover Live, 1980
4.91 | 2 ratings

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Ao Vivo no Maracanazinho
Secos & Molhados Prog Folk

Review by GKR

5 stars For some time I was wondering if it was better to review the third album or this one. By the time this show took place in Maracanazinho, people already knew SECOS & MOLHADOS for several reasons: 1 - the first album had conquered the top of the sales charts, removing ROBERTO CARLOS' place for the first time in ten years! 2 - the then program's prime-time, "Fantástico", had already shown some music videos of them. 3 - the radios, who refused to choose one or another song from the LP, resolved to play in their seasons the entire LP at once. In 1973-1974, SECOS & MOLHADOS were that big. Intense tours in Brazil followed, always selling out. For the show in Maracanazinho it was decided to open the gates. What happened was the full capacity of the then largest venue in Brazil, together with an equally gigantic gathering outside the venue. Approximately 30 thousand people inside and 90 thousand outside (I have some difficulty to believe these numbers, but that's what I found on the internet!).This live album of the classic line up was released by GERSON CONRAD only in 1980 (but apparently some material were released in a compilation, I have to check), and appearently JOÃO RICARDO did not want to see the Maracanazinho tapes released because of the lack of quality. The album is, truly, in several parts, bad recorded. Not only several parts of its lenght the sound strugles to find a way, as in others we can barely hear all the instruments. The incredible flute of SERGIO ROSADAS is, sadly, one of the most affected. As sad as it is: what an album!

To begin with "As Andorinhas" was such an correct choise that this song, full of "closure" meanings, actually found itself to be the starter of the whole experiment. "Rosa de Hiroshima", one of the most waited, for the anti-war message, is (always) one of the most touchable songs. The two Instrumentals tracks are unbelievable PROGRESSIVE tracks. Its exaclty everything that was not developed into the albums (maybe to highlight compositions, and not extended playings), but live has an great spirit. "Mulher Barriguda" and "Primavera Nos Dentes" so different tracks putted side by side gave a good mood set up for the two other different moods that follows the "El Rey" and "Toada & Rock & Tambo & Tango". "Fala" received a more raw approach by NEY MATOGROSSO' vocals and then... it came the highlight: "Assim Assado" is not only a suberb track itself, but, in the way it is played, with its long meddle, it became a progressive masterpiece. I'am exagerating? I dont think so. As I said, sadly, the recording is really really bad, and the final track, to blow everyone's mind, "O Vira", its almost impossible to hear in this album.

The choise of reviewing first this album than the third studio release was also made because this will be the last 5 stars I give to a release of SECOS & MOLHADOS. Even that good music will be produced in the more recent years, their bang was, of course, this live concert. And thats the main reason I gave 5 stars: its an essential album to understand the live appealing to such an unique group in brazilian musical history. The sound is sometimes too injured, I know. But then you do have to understand that Brazil did not have a good structure (at all!). To have a full live recording of 1974 is almost a miracle. And a document for this period.

 Secos & Molhados (II) by SECOS & MOLHADOS album cover Studio Album, 1974
4.95 | 10 ratings

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Secos & Molhados (II)
Secos & Molhados Prog Folk

Review by GKR

5 stars The second album from SECOS & MOLHADOS is not as well known as it should in Brazil. In fact, sales were good (less than its predecessor, of course), but the breakup of the band shortly after its release prevented music videos from the TV shows and the tours to properly disclose its material. Still, as a last album of the classic line-up, it contains everything that had made the first such a gigantic success.

SECOS & MOLHADOS II advances in the idea of a Brazilian and Latin American Rock, while also goes further to the background characteristics of psychedelic, folk and progressive rock than the first album. The first two songs are exemplary: "Tercer Mundo", poem by Julio Cortazar also adapted in a "Latin" fashion, and "Flores Astrais", which brings psychedelia already in the name. "N'o, N'o dias nada" is one of the acoustic songs that again the flute of SERGIO ROSADAS marries perfectly with the voice of NEY MATOGROSSO and the guitar of JO'O RICARDO. "Medo Mulato" shows the most daring and even dark personality of this album compared to the previous. When we think that "Oh, Mulher Infiel" will return to more acoustic and simple, we are graced by the great bass WILLIE WERDAGUER in "Voo", perhaps one of the strongest tracks of the album. "Ang'stia", on the other hand, with its catchy rhythm can also be seen as representative of the virtuosity of the bassist and guitarist, plus the vocals, always in a well aligned choral. "O Hierofante" is one of the few tracks that we see the role of Jo'o Ricardo on vocals, in this boogie-adaptation of a poem by Oswald de Andrade. Three delicate and slowly built tracks follow, with the recitation of beautiful lyrics. The last two songs serve as both closures of the album and as this group itself: "from the fountain of the past, I expect nothing but I want everything" says the lyrics of "Del'rio" while "Toada & Rock & Mambo & Tango & Etc" is exactly the mix that made this an unforgettable album from an amazing band.

As I said in the first album review, SECOS & MOLHADOS was the great unifying of Brazilian popular music, rock, tropicalism and external influences that arived in Terra Brasilis. Unfortunately, it was an aborted experience. As the band then disbanded by infighting, no group could exactly follow the same path right away. 40 years after those first two records, however, we can see that the influence of this band in Brazilian music tends almost to infinity. SECOS & MOLHADOS, in a way, became the core from where the inspiration for new musical adventures came.

Only two albums of this great musical legend. Well, "from the fountain of the past, I expect nothing / but I want everything".

Thanks to kenethlevine for the artist addition. and to NotAProghead for the last updates

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