Som Nosso De Cada Dia - Snegs (1974)

Artista: Som Nosso De Cada Dia

Álbum: Snegs
Año: 1974
Género: Progresivo ecléctico / Rock sinfónico
Duración: 44:25
Nacionalidad: Brasil

Lista de Temas:
1. Sinal da paranóia
2. Bicho do mato
3. O som nosso de cada dia
4. Snegs de Biufrais
5. Massavilha
6 Direccion de Aquarius
7. A outra face
8. O Guarani (Bonus track)

Alineación:
- Manito / organ, synthesizer, violin, piano, flute, saxophone, chorus
- Pedrinho / vocals, drums
- Pedrão / bass, acoustic guitar, vocals
Guests:
Marcinha, Cynara, Ivone, Tigressa / chorus

Otra de la joyas brasileras progresivas de los setentas. Este es un ejemplo de cómo un buen disco puede ser grabado en una semana.
Proveniente de la explosión de bandas progresivas brasileras de mediados de los setenta, cuando el rock estaba pasando por una metamorfosis, donde aparecían grupos que componían canciones largas denominadas "suites", muchos sintetizadores, juegos con la experimentación. En un momento, el Brasil de Rita Lee, Os Mutantes comenzó a inspirarse en esos grupos que aparecieron y que luego serían legendarios: Yes, ELP, King Crimson, PFM y toda esa onda. Así surgen O Terço, A Barca do Sol, Som Imaginario y también Som Nosso De Cada Dia.
Bastante influenciados por Pink Floyd y el progresivo italiano, este disco "Snegs" de 1974 es una joya, el único del grupo que contó con su fundador Manito (Ex Os Mutantes). Manito tocá casi todos los instrumentos excepto la batería y el bajo. Sintetizadores, teclados, pianos violines, saxofones y flautas, y además barría el piso luego de los ensayos, pero además hacía un gran trabajo de componer casi todas las canciones. Ah!, a la noche hacía la comida también.

O álbum Snegs lançado em 1974 foi responsável por uma metamorfose na maneira de se ouvir e fazer musica no Brasil, uma verdadeira Obra-Prima do progressivo latino, foi gravado em apenas uma semana, o álbum abriu caminho para que a banda realizasse 5 shows de abertura da turnê de Alice Cooper no Brasil em julho de 1974.
Com Alice no auge de sua carreira, o público presente foi sempre excelente (um total superior a 130.000 pessoas), o nosso representante brazuca obteve incrível sucesso, tendo suas apresentações mais queridas e lembradas até mesmo que o próprio astro principal. Com o legítimo multi-instrumentista espanhol Manito no piano, órgão, moog, flauta, sax e violino, Pedro Baldanza, o baixista e vocalista gaúcho já havia sido membro das históricas bandas “Novos Baianos” e “Perfume Azul do Sol”, além de Pedrinho Batera um dos mais brilhantes bateristas do Rock Nacional, faleceu precocemente em meados dos anos 90.

Pierre Oack

Lamentablemente sus producciones posteriores no tienen nada que ver con este magnifico disco, salvo quizás el segundo, pero posteriormente caerán en un pop comercialón que no vale la pena escuchar.
Pero esto que traemos ahora, llévenselo sin ningún miramiento, porque les va a gustar seguro seguro.

Formado nos anos 70 em São Paulo, o grupo adotou o estilo rock progressivo, com elementos de psicodelismo. Com integrantes diversos (Manito, Pedrinho, Marcinha, Egídio, Dino Vicente, Rangel), atuou como trio na maior parte do tempo. Um deles, o virtuoso Manito, fazia parte nos anos 60 da banda Os Incríveis, uma das mais populares da Jovem Guarda. O primeiro dos dois discos lançados pela banda é o mais famoso. "Sneg", de 1974, é considerado um dos clássicos do rock brasileiro dos anos 70.
O Som Nosso de Cada Dia inicialmente Cabala, era formado por: Pedrão (contrabaixo, viola e vocal), Pedrinho (bateria e vocal) e pelo virtuoso Manito (órgão Hammond, Mini Moog, piano, violino, flauta, e sax). Além dos músicos, a banda tinha como letrista o poeta Paulinho Mastrote Machado, que assinava suas colaborações com a banda sob o pseudônimo de "Capitão Fuguete", uma vez que na época trabalhava na Editora Abril, situação essa que impedia sua vinculação com bandas de rock. A banda pode ser considerada a primeira banda a fazer rock progressivo no Brasil, uma vez que esse novo estilo que começava a dominar o cenário externo ainda era uma novidade por aqui.
Como o Brasil vivia sob um forte clima de repressão imposto pelo regime militar, a banda enfrentou sérios problemas com a censura, sofrendo patrulhamento ideológico, sendo freqüente a presença da polícia federal em seus ensaios e shows, uma vez que eram considerados um grupo de postura contestatória e subversiva. A barra começou a pesar cada vez mais. A primeira apresentação da banda aconteceu no show organizado pela TV Bandeirantes, seguindo-se a esse participações no "Kohoutek Festival" em 1973.No mesmo ano, a banda grava em apenas sete dias o lendário álbum Snegs, considerado por muitos como sendo o melhor disco de rock progressivo já lançado por uma banda brasileira.
Tudo isso se deve ao altíssimo nível técnico dos músicos, bem como pelas belíssimas e complexas composições, aliadas às letras ao mesmo tempo poéticas e densas, de conteúdo filosófico, existencialista e contestatório, convidando as pessoas a pensar e se rebelar contra a repressão política e a alienação mental impostas pelo governo e pela mídia. O disco contém verdadeiros hinos, como "Sinal da Paranóia", "Bicho do mato", "Snegs de Biufrais" e "Massavilha", soando de maneira geral como um encontro do Emerson Lake & Palmer com Clube da Esquina. Após o lançamento de Snegs em 1974, a banda é convidada a abrir os shows da primeira grande turnê internacional a passar pelo Brasil: Alice Cooper.
Os shows da banda são tão impactantes que era comum ouvir gritos para que a banda voltasse ao palco durante todo o show de Alice Cooper! Apesar de todas essas coisas boas rolando, no ano seguinte o tecladista Manito resolve sair, indo substituir Arnaldo Batista nos Mutantes, mas acaba permanecendo pouco tempo com eles. A banda prossegue, sendo que, no ano de 1976 lançam o disco Sábado/Domingo, que tem o lado A voltado para black music, e no B sua sonoridade característica, devido a pressões da gravadora. Apesar dessa concessão, podemos ver que a banda mostra uma competência ímpar até mesmo quando é obrigada a tocar um estilo completamente diferente do progressivo que a consagrara.
Logo após do lançamento de um compacto com as músicas "Black Rio" e "Identificação", a banda se separa em 1977. Após anos tocando com vários artistas brasileiros de renome, os músicos do SNCD voltam a se reunir em 1994 para uma série de shows comemorativos. Pouco tempo depois vem a falecer o baterista Pedrinho.

Luiz Carlos Menegon

Listening "O Som Nosso de Cada Dia" (something like "Our Everyday Music") you will find Space Rock, Folk Progressive and Symphonic Progressive. All songs are sung in portuguese, except the instrumental "O Guarani". Sorry guys, I didn't like it too much. Other people can enjoy, but I don't. However, synthesizer, saxophone, vocals are great and accompany this album all the time. I give it three stars because the great "O Guarani", from Carlos Gomes's Opera. This song rescues this album! You have to listen that one.

Flávio Zimmermann

This is one of my favorite brazilian prog album. The music presented here is actually a kind of mixture of Italian symphonic prog and (south)-american jazz with some influences by English space rock. Very original in fact and it's almost impossible to give a direct reference. Manito's keyboard play is quite reminiscent of Keith Emerson, especially on "Massavilha" which is a real highlight of the album. But overall their music does not sound like ELP with portuguese vocals at all. A song like "Direccion de Aquarius" could be found as well on an album of any italian prog band. "A outra face" starts with a bit more heavy and aggressive sound with great organ play and drums then becoming bluesy, jazzy in the middle part, the type of vocals remind me a bit to early CHICAGO in fact. It finishes in a very jazzy vein with great sax playing. The CD bonus track is not really essential I've to say.It's starting in a very spacey vein reminding a bit of early HAWKWIND or some KRAUTROCK, but then changing to a quite ordinary keyboard playing like in a dancehall with some Kongas in between, there are even bits of Rock'n'Roll. Rather strange mixed medley this track. As a summary "Snegs" is an excellent recommendation for any prog collection. Just forget about the bonus track. Absolutely worth 4 stars!

Dieter Fischer

Here we have yet another gem of the brazilian progressive rock back from the 70's. This album is lucky to have so good dongs, because it suffer from a number of problems, being the two biggest problems the singer and the technology used when they where recording the album. I'll start talking about its problem and then later i'll talk about its good points.
Well, the vocalist of Som Nosso de Cada Dia, though being one of the main composers of the band, is a very bad vocalist. I mean, his voice is OK, but when he does the damn vibrato he screws up BIG time. The other problem, still in the vocal category, is that the backing vocals sometimes just can't get in tune with the main vocals and that cause a major discomfort, at least for me.
The other problem is one that they just could not deal with. There are technological limitations in the record. The drums are not as bright as they should be just like the rest of the instruments in general lack brightness.
Now lets talk about the many good points of the album! The songs, overall, are very, very good: they are very balanced and very well worked by both the composer and the musicians. The highlights go to Sinal da Paranóia, O Som Nosso de cada Dia, Massavilha (awesome solo by Manito) and A Autra Face, but the album deserve to be listened as a whole because it is very good.
Although there were technological limitations with the recording, mixing and mastering, the instrumental work is amazing, specially the drum and the organ / synthesizer / piano work. The bass mostly support the band and, though being nicely played, do not do anything exceptional. The acoustic guitars also do its job very well, like the flutes and the sax, but the main characters of this album are the organ / synthesizer / piano.
Grade and Final Thoughts
Snegs is a very important progressive rock release from the 70's and it is a very good album overall and although it has some problems, the qualities surpass the problems by far. The thing is that this album could have a better without those problems, but it is still a very good album.

Caio "Dot" César

One of the most important albums to appear in Brazil at the early 70´s, O Som Nosso De Cada Dia ("Our Everyday Music") was one of the first symphonic prog bands to actually have a record out by a major label. It was very well received by critics and the prog fans at the time, even if the production was quite disappointing. Fortunatly for today´s audience, the remastering done by Progressive Rock Worldwide records solved much of the problem, and also includes a new track, recorded around 1993, when the original trio reunited for this occasion.
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 instrumentist Manito (from 60´s legendary beat band Os Incríveis) is the main figure here, playing not 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 spanich, 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 exemple 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 prowness 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.

Tarcisio Moura

This is an essential record if you're a true progressive rock fan. This is a very underrated trio in which the drummer and bassist share the vocals and the third guy, a multi-instrumentalist flies high improvising on many different instruments but specially keyboards and saxophone. Unfortunately the CD reissue has sub-par sound and an atrocious bonus track recorded in the 90's. But don't let that stop you from getting this CD if you find it.

cottoncasino

Esta banda representa una de las bandas brasileras de los 70s que logró mejor sonido.
Discazo muy recomendado.