SOM NOSSO DE CADA DIA

I.A. REMASTERS LPS SOUND OUR EVERY DAY (Snegs 1974-2023)

Here after 5 years of the last official Remaster of SOM NOSSO DE cADA DIA(Snegs) a new remaster (track by track), with a different sound for the fans. .Listen and enjoy.You'll hear much more vocals, amazing drums and keyboards! In Memoriam to national rock from half a century ago. For 7 years I have been researching remastering systems with track separation by Artificial Intelligence that includes a series of complex digital programs for this purpose. To rescue LPS and K7 as well as CDS with low recording quality lost in the immense ocean of time. Including WORKS work with ALPHA III/ACRON/SPECTRO ,etc... I got a surprising final sound from Internet files, Sites, Blogs and old LPS or CDS. I have made countless albums and authors out of personal passion and made them available for free on my SITES. Also as a musician, I make my living from art. And some works I charge by commission. In particular, I've done most within Progressive Rock and, Fusion, Electronic and Classical Music, where my ears are more attuned. 01 - Sign of paranoia (Cimara - Pedrão) 02 - Wild Animal (Gastão Lamounier Neto) 03 - Our everyday sound (Paulinho - Pedrão) 04 - Biufrais Snegs (Paulinho - Pedrão) 05 - Massavilha (Paulinho - Pedrão) 06 - Directed by Aquarius (Paulinho - Pedrão) 07 - The other cheek (Pedrão - Pedrinho)

Musicians: Manito - synthesizers, violin, flute, sax and vocals Pedrinho - vocals, drums Pedrão - bass, viola, vocals Marcinha - chorus

The first thing it's possible to notice is how influenced by the Italians they are. Most songs are driven by keyboards and moogs with sections that vary between the psychedelic and the symphonic. Apart from this, there is a very "bluessy" feel in the album. Various songs have drums or guitars that resemble the genre apart from the vocals, which sometimes evoke some "Classic rock" spirit. In the middle of the disc we see influences of South American folk music, with some parts singed in Spanish and even English.

As you can see, there is a grand list of influences and the label "Eclectic prog" is very suitable for these guys. These influences are primarily in the instrumental sections, there are various during the album and are very long but never boring, because the band always introduces to us some surprises that go from violins, to saxophones, to twists in the music rhythm or just incredible skill show-off.

As everyone pointed out, the vocals are bad. Unfortunately, "Pedr'o" could not deliver most of the lyrics in a good way, always sounding a little out of tune. This is sad because the lyrics are good and the songs have choruses that could be better exploited by a finer vocalist. One thing I should note is that the vocalist has a very northeastern accent, something that only Brazilians will notice, is very charming although not being technically impressive.

The debut of Som Nosso de Cada Dia is a great album with excellent moments that should be appreciated by most progressive rock fans, especially those of the "classic era", apart from its minor problems the creativity, and good songwriting is enough to make this a delightful experience. 4 Stars

"Homem Vibora" begins with a nice, hard rocking song with a lot of guitar and organ driving the music and a good, heavy bass. However, the music is quite straightforward with a few progressive traits thrown in to the standard meter. "Ficou no Ar" is more laid back but with a funky and jazzy undertone. Even though it's not credited, there is some brass added in there also. Not bad with a great latin jazz flavor, but its also very accessible. "Tempos Dificeis" is quite pop oriented and also includes a light funk sound and more brass. The music lends itself to the pop sound of Chicago in their later years, but with a Latin flair. It's very polished and corporate sounding. "Black Rio" continues with the funk-pop sound, adding an r&b vibe and looking for a sound similar to Earth, Wind and Fire".

"Mais um Dia" slows things down for a mellow tune with some Santana-like guitar impressions. The music here continues to emulate EW&F, but with a more ballad style. Halfway through the track, the rhythm picks up quite a bit adding in brazilian percussion styles and poppy brass, then a guitar plays a short solo then giving way to a call and answer session with the brass section before it all slows down again for when the vocals come back in. The interplay with the guitar and horns is a nice touch for this track. "Firmeza Total" continues with the jazz-funk-pop sound, remaining as accessible as always. It all ends with sound effects of phones ringing and a helicopter in the last track "Lixo per Capita". The sound is a little more solid and guitar driven like the beginning track, but with a moderate beat and some good guitar work, but still remaining radio friendly (at least for Brazilian radio). However, this track is probably the closest thing to being progressive, though it is quite lite.

So, the music isn't bad at all. The vocals are decent, the guitar work is pretty good, the production is slick and the use of brass in most of the tracks is a great sound. The music is way too commercial and poppy however to really be considered progressive at all. If you love the latin pop/jazz sound, you will enjoy this, as it has that retro feel that brings back the more pop style of Santana, Chicago and Earth Wind & Fire. But, keep in mind that it is also as accessible and as light on prog as the poppiest versions of those bands. It's good, but definitely non-essential.

"This obsession of arriving... The terror of not being what expected

The eternal thinking in eternal things that won't last more than one day

The torture seeking for the essence The noise terrify, close, shut the chest

Paranoia sign"

Sounds like Symphonic Progressive Rock with Brazillian regional influences. Highly recommended for those that, doesn't feel too compeled by Os Mutantes or Bacamarte.

The group cover a lot of ground alone in six minutes of opener `Sinal da paranóia'. It's a plodding rocker powered by churning Hammond organ, jangling acoustic guitars and spirited group vocals with moments of sweeter falsetto in the lead, before the piece not only drifts into a spacey interlude but straight into a frantic searing violin thrash over chugging upfront bass, wild rattling drumming and plentiful synth wig-outs! `Bicho do mato' is an infectious Birth Control-like Hammond organ dominated gutsier pop-rocker that bounces along with a boisterous vocal and a foot-tapping momentum with an early Eloy-like spacey finale, and `O som nosso de cada dia' is unpredictable and darts in several directions at once, offering everything from delirious keyboard bombast, softer dreamier passages and treated wafting sax in the final minutes.

The lovely and deeply dreamy `Snegs de Biufrais' opens the second side with chiming guitars, soft flute and soothing group vocals, but `Massavilha' dials the prog up to eleven with a extended intro of bubbling Moog explosions and cascading synth spirals along the lines of Rick Wakeman's first solo disc `The Six Wives of Henry VIII' before it settles into a more romantic tune with soothing harmonies. The melancholic and mysterious `Direccion de Aquarius' swaps the energetic instrumental moments for ambitious multi-part harmonies and murky ringing electric guitars that retain a darker grit and unease overall, and closer `A outra face' fuses lengthy bouts of mellow Hammond-flecked jazzy sauntering ala Atomic Rooster, drifting mellow bluesy reflective guitar soloing and Raw Material-like billowing sax.

So the vocals can be a little unlovable in a few spots, and in some parts the playing is more exciting and memorable than the actual tunes, but `Snegs' has a melodic toughness without being obviously radio-aimed, and is overloaded with endless spacey keyboard colour, making it an attractive yet overlooked little obscurity with so much going for it from a cool band. Definitely one for those prog fans looking to fill their collection with rarer and underappreciated efforts that often slip through the cracks, and the recent Moshi Moshi Produtora reissue from this year means the album has never sounded better!

Three and a half stars rounded up.

In all seriousness there are quite a few killer bits here and maybe these old ears have just heard way too much vintage stuff to make an objective judgement on the Brazilian trio. But it is rock; you gotta give us something that's .. well .. spectacular. There was just too much else going on in music not to. The croons of Pedrão support slow but well-chorused 'Sinal da Paranoia' which has a neat synth wormhole ribboned through the center and features Manito's drunken fiddle, but 'Bicho do Mato' is a blues-rock shuffle that doesn't quite work unless you're playing Jabba the Hutt's palace. The very nicely counterpointed namesake cut is a keeper, has excellent chord progressions and fine keyboard leads, and six-minute 'Massavilha' steals the thunder with its Emersonian leanings. Spaced-out 'Direccion de Aquarius' is what may be a bad Beatles impression circa Abbey Road, hard to say, but luckily 'A Outra Face' saves us from taking a nice nap and is a mostly well-conceived funk/rock fusion bit with big funereal 'O Guarani' to finish.

A take-it-or-leave-it record, and with the incredible other music that was being issued in their time, this debut simply didn't rise to the challenge. Neither very good nor very bad, most assuredly.

Snegs mark another album on a great year for progressive music in Brazil. Their sound is more tighter and together than Terreno Baldio and the great achievement is to have few band members playing a lot of instruments, which made the "guest" appearances of violin and others a complement.

Sadly, the vocals are a little too simple, in comparison, for example, with Terreno Baldio more ecletic and poetic approach. Nevertheless, a great album, full of lot good melodies and arreangements.

Solid 4 stars.

Live ´94 is like a condensed version of A Procura Da Essência (only 54 minutes of music instead of the two and a half hours of the latter). Although it is much better recorded, it is still far from perfect. I really expected something quite superior after all these years, and I was hoping they would play the complete ´Amazonia suite´, their album rejected by all recording companies in 1975 for being not commercial enough. But again it was not to be: several songs from that project are played, but they all had already appeared in A Procura Da Essência.

Still, I found it very good to hear at least an average to good recording of that stuff. The band lost none of their great musicianship . Pedrinho Batera (drums/vocals), Pedrão Baldanza (bass, vocals), Egídio Conde (guitars), Dino Vicente (keyboards) and Rangel (percussion) are all briliant musicians and the group had a very interesting mixture of symphonic prog and jazz-rock/fusion (with some strong brazilian rhythms and percussions added). Listening to those songs today I can only imagine the impact they could have had in the brazilian prog scene of that time. They were one of the best groups around and this line up was famous for their great live performances. Ok, the vocals are only average, but their tunes were mostly instrumental affairs anyway and in that field they really exceeded in brilliance and creativity.

Conclusion: an overall good live album of one of the most interesting and promising prog outfits from Brazil. It is not as poorly recorded as A Procura Da Essência, even if technical problems do plague this CD too. But the high quality of the songwriting and the outstanding performances make it a worthwhile addition to anyone interested in this kind of music. I really hope one day anyone who has the original tapes will release the complete Amazonia Suite (if such tapes still exist).

Rating: 3,5 stars.

So I was only expecting great things when I heard that this double CD recording would contain only material they were playing live in late 1975/early 1976. Most of it would be of then unreleased tracks intended for their sophomore LP (only Sinal Da Paranoia is from their debut). At the time the group had growth from a trio to a sextet: founder members Pedrinho Batera (vocals, drums), Pedrão Baldanza (vocals, bass) plus guitar virtuoso Egydio Conde, Rangel (percussion) and two excellent keyboards players, Dino Vicente and Tuca Camargo. With such dream team, their shows became legendary, being highly praised by all who had the luck to attend them. Unfortunately, the recording quality were not the best and even with all the technology available in 2004, the sound we get here is little more than of an average bootleg. A real let down considering the wonderful music this group produced live. Some of them appeared on the ´prog side´of their second CD, but in longer and better versions. They did a lot of improvisations live and again I´m very sad that such powerful tunes were never released as they should.

At this phase of their brief career, the band was playing a very interesting blend of symphonic rock and jazz rock/fusion, full of improvisations and long (but never boring) solos, with a few nods to blues (Blues da Gaita, Cuidado Com O Verdi) and even rock´n roll (Improviso) plus some brazilian music influences. They were a tight unit, the arrangements are tasteful and the performances are quite exciting and powerful (technical problems aside). Only the vocals are on the average level.

With more than two hours of playing time, I think this double album is a valid document of a band that never had the opportunity to show their full potential. I really wish they had a better recording of those shows, for it would give them a better rating overall. Most of the songs deserve four or five stars.

Still, a nice surprise. 3,5 stars.

Their sound is hard to define, since they drawn their influences from several different sources, like symphonic rock, jazz-rock/fusion, brazilian and latin folk, psychedelic/space rock, RPI and even blues and hard rock. The resulting songs were quite stunning for the time, with a mature, varied and original songwriting throughout. The celebrated (and recently deceased) multi instrumentalist Manito (from 60´s legendary beat band Os Incríveis) is the main figure here, playing not only heavily Keith Emerson influenced keyboards, but also a few violin and sax parts (traces of early King Crimson can be detected). Bass and drums are quite good and versatile. Vocals, as usual with so many 70´s bands, are only average at best. All tracks are sung in portuguese, except Direccion de Aquarius, sung partly in Spanish, partly in english.

I had the original LP and I can assure that the CD has a much, much brighter and balanced sound than the vinyl counterpart (the bass for instance was almost inaudible, but now can be heard quite clearly). And I was glad to see how good their debut was and how their music stood well the test of time, even if some timbres and lyrics are quite dated. It is only a shame they could not deliver a follow up as powerful and strong as Snegs. However, this CD is one of the few recorded proofs and a very good example that Brazil had its strong own prog scene in the early 70´s. Sinal Da paranoia became a kind of underground classic and Massavilha with its terrific instrumental parts is probably one of the highlights, but in general all the songs are very good.

The bonus track is a version of a very well known theme from Brazil´s most famous classical composer Carlos Gomes, O Guarani. It shows they had lost none of their musical prowess after all those years and it´s a pity they did not ended up releasing a new CD of original material then.

Conclusion: with all the aforementioned faults, this is one of the first and best prog CDs released in Brazil in that decade. At the time it was really hard to record such new and complex music and most groups disbanded after made their names on live shows only. For us, some were lucky enough to leave their mark despite all the technological and financial difficulties. Snegs is surely one of them. A real gem for any symphonic prog lover. Kudos to PRW records for improving the original LP sound so much without losing any of the group´s energy and essence. 4 strong stars.