silktempest's Full Review: Arquivo II-1991-2000 by Os Paralamas Do Sucesso
Once upon a time in the 80s, they were THE POLICE from Brazil (regarding sales and critical appraisal). Since the early 90s, OS PARALAMAS DO SUCESSO ("mudguards of success") have become some kind of middle ground between aging, mature rockstar STING and SANTANA's Latin guitar-ladden pop. They were no longer critics bread and butter - audiences loved them, anyway.
Three distinctive talents coalesced to form the melting pop of OS PARALAMAS: Herbert Vianna – JIMMY PAGE's neighbor in England and a great semi-acoustic guitar player on his own; Bi Ribeiro, the bearded prophet providing the rhythmic foundation; and drums prodigy João Barone, more than worthy of comparisons with his idol Stewart Copeland. Then, what follows is a seamless mix of Latin Rock, odds and sods of Samba, JORGE BEN’s version of Funk, New Wave harmonies, echos of GILBERTO GIL’s appropriation of the Reggae and Ska-inflected brass sections.
Arquivo II (“Archive II”) is their second Brazilian compilation, presenting 12 songs of latter-day OS PARALAMAS – some of them classics, some great songs and some bothering stuff as well. Old compilation Arquivo I managed to gather 16 great songs in an impressive 6-year spam. That says a lot about this band’s creativity. Even though the outcomes are not remotely as impressive as their 80s work, Arquivo II remains a steady collection of singles.
Between 1991 and 2000, OS PARALAMAS released six records: the earnest 1991’s Os Grãos (“The Grains”), the experimental 1994’s Severino, the half live-half studio powerhouse 1995’s Vâmo Batê Lata (“Let’s bang the can”), the poppy benchmark 1996’s Nove Luas (“Nine Moons”), the mature 1998’s Hey Na Na and an unusual MTV Acoustic in 1999. Here in Arquivo II we have songs representing three out of five – Severino and MTV Acoustic are absent, for no apparent reasons, given the former was their commercial suicide and the latter, a best-seller.
Os Grãos was regarded as a lackluster release in 1991. OS PARALAMAS were on the heels of three classic records in a row and there’s noting here that resembles their 80s stuff – at that time, it was regarded as a sign of decadence; nowadays, we can trace back their more mature works to this much-maligned release. The band was treated as “has-beens” by the media; they soon embarked on a Latin American long-lasting journey of rediscovery. The songs present here, curiously, are not much representative of the somber MPB sonority of Os Grãos.
Trac Trac (“Track Track”) opens the compilation with unbridled, tense Latin Rock courtesy of OS PARALAMAS’ Argentinean friend and idol FITO PAEZ. It is a recording of its era – Brazil was amidst the chaotic government of ultra-liberal Fernando Collor de Mello (in the end, impeached). The outcome is their ultimate statement on disillusion.
Tendo a Lua (“Given the Moon has…”) is the perfect letdown, a low-fi ballad about resignation and soul-searching in the aftermath of a love gone horribly wrong. Lovely, tenderly achy, a rough gem completely obliterated at the time of its release.
Mensagem de Amor (“Love Message”) is a bonus track, a Latin-tinged remake of their poppy 1984 hit. OS PARALAMAS needn’t this facelifting of an old hit for this compilation, I mean, there were other 1991-2000 songs that could have been included without harming the timespan and their reputation as hitmakers. Not bad (the original was plaintive New Wave, now we have sheets of sound) but sad, really.
An abrupt turn and we are in 1996. OS PARALAMAS, now the biggest Argentinean band from Brazil, were out to save their homeland reputation. Nove Luas was regarded as a return to form after popular live recording Vâmo Batê Lata (with an studio EP included as a taster, and what a monstruous one). This time unafraid of their pop chops and riding on the successful “Real” economic plan of Fernando Henrique Cardoso’s first government, the band was renowned with their first million-plus record (probably, the last one). Suddenly people forgot about the 80s. MTV embraced the many hits of this band once again. And all the more relevant – the record is a terrific minor gem.
Another version bridged the gap between Brazil and Argentina, with LOS PERICOS’ Parate Y Mira (“Stop and See”) providing the foundation for Lourinha Bombril (“Bombril Blonde”). The original Pop-Reggae is infused with Mariachi brass and percussion, apart from (acute) Portuguesish lyrics. Barone leads the whole stuff to bold heights, with frantic pace. It is a lively statement, bringing back the joy of riding on a simple, overbearing melody. Herbert, in particular, is set alight.
Leading single of Nove Luas, La Bella Luna (“The Beautiful Moon”) presents a Spanish title and lyrics in Portuguese – no problem for this cross-cultural band. It is a lovely acoustic ballad spreading Brazil for all pores. The intro presents a moving, bone-dry, simple acoustic weep, followed by a barrel organ (a traditional Northeastern instrument) building the sunny melody until the Latin brass sections and Barone cracks on. Herbert follows with his flawless delicate licks as the rhythm (lead by Bi) grows steadier, but keeping subtlety, paving the way to even more delicate love lyrics (in traditional passionate Brazilian way). And the track goes on to no solos at all, recurrent in his 4-minute delight, like a mantra. A perfect pop gem and for sure, one of the very best offerings in Brazilian music ever.
Keeping the pop groove locked in, OS PARALAMAS bring some THE BEATLES mellowness for another pure pop offering, Busca Vida (“Life-Searching”). Simple, but effective vocal harmonies and humble acoustic licks lead to serenity. It is the sound of a great band maturing with ease.
Back to 1995, back to the moment OS PARALAMAS were born-again Brazilian superstars. The live record Vâmo Batê Lata sold 16 times what Severino did just months before. Old hits revamped for hungry teens? Not exactly, what mattered was the unreleased bonus EP. That comprised whay would be the blueprint for OS PARALAMAS late-day career.
A huge hit not only at home, but in Latin America and Spain as well, Uma Brasileira (“A Brazilian”) presents the threesome joining forces with MPB households DJAVAN (vocals on choruses) and CARLINHOS BROWN (odd, but melodic, lyrics). The outcome was much better than even the band (and collaborators) could have imagined. No-holds-thrilled Pop, glossy arrangements, but full of tight band interplay and those knacky, impenetrable lyrics; once again OS PARALAMAS were the leaders of the pack. And Herbert showed he could sing well, well, sometimes.
Luis Inacio (300 picaretas) is a (then) homage to lef-wing Labor Party leader Luis Inacio Lula da Silva, who affirmed back in 1993 that Brazilian Congress was a “nest filled with 300 ravens”. Nowadays, as President, he is currently accused of resorting to the worst practices and support from those same 300, so this song didn’t age quite well. Musically, it is by far the most experimental attempt here, fusing Northeastern Baiao rhythm (akin to Rock, believe it) with Raggamuffin. Herbert is no toaster, however. Mixed results abound.
Saber Amar (“Knowing How To Love”) is the sappy moment on this compilation, with interesting lyrics (“knowing how to love/is knowing how to let someone/love you”) but counting on a not particularly inspired delivery. Nonetheless, OS PARALAMAS followed on this vein for their forthcoming releases, eager for teeny girls applauses and pockets (they had just trespassed the 40-year mark).
Again forth, in 1998 we see Hey Na Na (don’t ask me about the title, I still didn’t get it) understendably walking on Nove Luas’ shoes, with improved production chops (from Brazilian King MidasLiminha) and a handful of collaborators. This is the closer OS PARALAMAS got to a PAUL MCCARTNEY record – the pleasure of this record is pure craft. No masterpieces, no stinkers. A solid, if conservative, release.
Ela Disse Adeus (“She Said Goodbye”) is a immaculate Pop-Reggae gem (to the point of excessive restraint). With its humorous videoclip (the bandmembers posing as 1930’s characters of a black comedy movie) MTV gates were flooding with airplay. This time Herbert, Bi and Barone were not out to prove something – they were that something, and they were quite pleased with it.
O Amor Não Sabe Esperar (“Love Can’t Wait”) presents a MARISA MONTE cameo. OK, MARISA MONTE was still among the living things back in 1998, but one can’t avoid the conclusion her collaboration was the cream of fluff. Softly softly, would say MAXWELL. This lite Reggae (Liminha’s fodder) is quite alluring for a few listenings (and many couples were made during it, as far as I am concerned), but not much lasting power is about to be found here. OS PARALAMAS, in spite of this, gave the people what they wanted.
Last and least, OS PARALAMAS present a new 2000 song, the sole item on this category. Unfortunately, the cheesier material ever recorded by this praiseworthy band. Aonde Quer Que Eu Vá (“Wherever I May Go”) is a boring, bothering slow ballad, recalling the worst egotrips of Noel Gallagher in the lukewarm late-day OASIS. It simply never catches fire and sure, Herbert is out to prove you could have never expected that in the first place. For once, he seems backed by studio musicians. No good. I thought this band would not last much longer, this last long is a disquieting note on the compilation. Prophetically…
Life-changing tragedy would struck Herbert Vianna in 2001, when he fell down the sea with a small airplane (he used to pilot from an early age, the offspring of a military family). His English wife was killed instantly and he was handicapped from hip down. He spent months in coma, but eventually recovered miraculously. OS PARALAMAS were back in town in 2003, with the great and unexpected Longo Caminho (“Extended Way”). Since then, they have released another live album and another studio one just months ago.
This time I knew they were much more resilient than I could even imagine – for my pleasure! Sure, expect Arquivo III for 2010...See ya there!
Tracklist
01 (* * * *) Trac Trac 02 (* * * * *) Tendo A Lua 03 (* * *) Mensagem de Amor 2000 04 (* * * * ½) Lourinha Bombril 05 (* * * * *) La Bella Luna 06 (* * * *) Busca Vida 07 (* * * * *) Uma Brasileira 08 (* * * ½) Luis Inácio (300 Picaretas) 09 (* * * ½) Saber Amar 10 (* * * *) Ela Disse Adeus 11 (* * * *) O Amor Não Sabe Esperar 12 (* *) Aonde Quer Que Eu Vá
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