Raul Seixas was a simple rocker in Brazil. Together with his expressive discography, whose strikes continue being re-recorded by Caetano Veloso, Margareth Menezes, among others, Seixas’ part in continuing the task of establishing the building blocks of Brazilian rock and roll was of 1st importance. Affected by João Gilberto, Luiz Gonzaga, and rockers Expenses Haley and Elvis Presley (whose albums had been lent to him by some close friends who worked in the American Consulate in Salvador), Seixas created a band known as the Panthers (later on Operating-system Panteras) in 1959. The rock and roll quartet (acoustic guitar, bass, drums, lead vocals by Seixas) was the first ever to utilize electric devices in Salvador, playing a crazy combination of rock and roll and baião, with interpretations of Luiz Gonzaga music. The surreal shows were experienced as a genuine risk to parents who prohibited their kids from going to. The music group translated the Jovem Guarda experience in Bahian conditions, but Seixas didn’t consider it too significantly, enrolling in university programs of philosophy, legislation, and mindset. He took connection with anti-psychiatry, forgotten all those programs, and wedded an American lady who was simply the daughter of the Protestant preacher. His wife utilized to be the top of the family members, teaching British for a full time income while he utilized to perform Salvador within the dawn on the motorbike bought with the amount of money preserved by her to get an apartment, given that they needed to live with Seixas’ family members. In 1967, Jerry Adriani do a live show in Salvador, of which he was associated with the Operating-system Panteras. Caring the group’s audio, Adriani persuaded them to go to Rio, where they documented through Odeon their 1st LP, Raulzito e operating-system Panteras, where Seixas explored metaphysical questionings as well as the seven Aristotelian queries. Obviously, the recording was completely overlooked by the general public. Adriani after that got Seixas to CBS, where Seixas created albums by Trio Ternura, Osvaldo Nunes, Renato e seus Blue Hats, Adriani, Wanderléia, and all of the iê-iê-iê (the nickname of British rock and roll in Brazil, after “She loves you, yeah, yeah”) gang. It had been when Seixas employed two relatively brand-new Brazilian music artists, Sérgio Sampaio and Edith Cooper. As well as Miriam Batucada, they documented an album known as Sociedade da Grã-Ordem Kavernista Apresenta a Sessão Das Dez. The record, highly experimental, fused jazz and marchinhas and dealt philosophically with chaos, was retracted by CBS soon after its discharge and Seixas was instantly terminated. The firing was also because of Seixas’ highly important efficiency on the 7th International Tune Festival (FIC) in 1972 with “I WANT TO Sing, I WANT TO Sing” and “European union Sou eu, Nicuri é o Diabo.” CBS didn’t want a producer who was simply also a superstar. But the efficiency ingrained Seixas within a focal placement regarding rock and roll & roll completed in Brazil, both because of its fans and detractors. That same season, he was employed by Philips, documenting the LP Operating-system 24 Grandes Sucessos da Period do Rock, getting credited just as manufacturer and arranger. In 1975, when Seixas had been famous, the recording was re-released as 20 Anos de Rock and roll, right now with Seixas’ credited credit like a performer. For this period, Seixas became close friends with internationally effective esoteric article writer Paulo Coelho, following a vision of the flying saucer within the Barra da Tijuca distributed by both. Coelho would take part in the majority of Seixas’ long term strikes. In 1973, the next LP, Krig-ha, Bandolo, brought Seixas’ 1st big strike as interpreter, “Ouro de Tolo.” The recording also had additional important songs, such as for example “Al Capone,” “Mosca na Sopa,” and “Metamorfose Ambulante.” The duo also created one strike after another with “Gitâ” (from your eponymous LP from 1974), “Tente Outra Vez” (from Novo aeon, 1975), “European union Nasci Há dez Mil Anos Atrás” (1976), “Maluco Beleza,” and “O Dia Em que a Terra Parou” (the second option two from your first WEA recording O Dia Em que a Terra Parou, 1977, the second option getting the anthem of hippiedom in Brazil). His eight following LPs, stressed by his regular changes of documenting labels and health issues due to participation with alcohol and drugs, had the strikes “Como Vovô Já Dizia” (1975), “Rock and roll Das Aranha” (1980), “Cowboy Fora-Da-Lei” (1987), “Capim-Guiné,” and “Carimbador Maluco” (1983, the second option having been contained in the children’s musical Plunct, Plact, Zuum of Television Globo). In 1989, Seixas became partner of Marcelo Nova, a longtime admirer and disciple who experienced shaped and dissolved the punk rock and roll group Camisa de Vênus. The record Panela perform Diabo, released that season through Warner, brought a weakened Seixas, who be significantly debilitated by the next tour. His loss of life in August of the same season hadn’t reduced the fervor of his legion of enthusiasts. He was the very first Brazilian artist with an LP arranged and released by way of a fan membership, the 1985 compilation I WANT TO Sing My Rock-and-Roll was of uncommon recordings (that was afterwards re-released by Polygram as Caroço de Manga). His tracks had been re-recorded by, amongst others, Caetano Veloso (“Ouro de Tolo”), Irmãs Galvão (“Tente Outra Vez”), Margareth Menezes (“Mosca na Sopa”), Deborah Blando (“A Maçã”), and RPM (“Gitâ”). In commemorating the 50-season wedding anniversary of his delivery in 1995, the reserve O trem das Sete (Nova Sampa) premiered and his initial LP, Sociedade Grã-Kavernista Apresenta Sessão das Dez, was re-released in Compact disc format.