INFLUÊNCIAS

For my 100th review on PA, I´d like to introduce one of Brazil´s best instrumental prog ventures of all times. Marco Antônio Araújo and his band are from my hometown and they played a very unique mixture of progressive, folk, rock and classical music. Araujo, a big Beatles fan, lived in London for a time during the 70´s and when he came back he brought with him all the inlfuences that made him one of the most original and celebrated songwriters of his time. His music is quite rooted in the traditional musical forms of Minas Geraes, a state that was famous for its baroque churchs (therefore the proeminent use of the flute on most of the songs, and also the french horn sometimes).

when the record came out it was hailed as a masterpiece, and it deserved it! It´s difficult to describe the music, since it is quite original, although influences are easy to tag and goes from Jetrho Tull to Beatles, classical music, Brazilian folk and so on. Yet the results are a smooth, well crafted collection of songs. You have to hear it to believe.

He recorded 4 albums of original music and was on his way to become an international successs, when it all came to an end by his tragic death in 1986, of a brain aneuurism. But he left his mark and Influências was his first album, and one of the most celebrated ones, since it was recorded and well received at a time when instrumental prog music was not really in fashion (to say the least!). His band mates are very skilled, most of them did solo works and became much sough after studio musicians in years to come. His brother Alexandre Araújo does some great guitar solos and Eduardo Delgado proves to be one of the best flute players around.

If you like something different, instrumental progressive music, with strong folk and classical influences, this is a must have. Highly recommended!

Influences factor into the best works of even the most innovative composers and musicians, but there is a subtle and critical distinction between influence and inspiration. It separates a technically proficient but cold production from one that becomes an inspiration to the listener, if you will. Unfortunately, in the case of Araujo's debut at least, the title sums up the extent of the accomplishment rather well. In Quebecois French one says "Il parle pour rien dir", which literally translates to "He speaks to say nothing".

The instrumental permutations suggest a better end result, with flutes from Eduardo Delgado and acoustic guitars often stealing the show, but when Araujo's tonally unpleasant leads attempt to wrest control the effect is oppressive. He's like MIKE OLDFIELD at his raunchiest, all the time, without Oldfield's ability to contrast and connect the dots. The buildup in pieces like "Cantares" is wasted by Araujo's interjections time and again, so the listener is left wanting.

Luckily all is not lost. The closer "Folk Song" is by far the best thing here, even if it bears an uncanny resemblance to "Hurtwood Alley" from DAN FOGELBERG and TIM WEISBERG at times. The strummed guitars and flutes dominate, with electric guitar in more of a supportive role. Hand claps and a few shouts paint a picture of a band that is finally allowed to let their hair hand down and show us a little of themselves. The other winner is "Abertura #2" for similar reasons, with both the woodwind and the guitars alternating melodic passages and violoncelo providing support.

In spite of Araujo's obvious talent and his willingness to share the stage with equally competent band mates, I am for the most part unmoved, and I hope I will not be charged with influence peddling for rounding down to two stars.

This striking first album from Marco Antônio Araújo finds him strongly influenced by a range of British prog artists (especially those from the folk-influenced end of the genre) of the sort he'd heard during a long stint living in the UK before returning to Brazil. The obvious touchstone is Mike Oldfield, but instead of acting as a multi-instrumentalist Marco instead brings in a broad variety of artists in order to achieve a big, broad sound. At the same time, there's a raucous edge of things which will remind listeners strongly of Jethro Tull, especially when Eduardo Delgado lets rip on the flute, and there's enough additional ingredients in the mix that the compositions never quite drift into simple imitation of any one artist. Recommended for all fans of instrumental folk-prog.