Vímana wasn’t typical with regards to discographical creation or high product sales. In the band’s brief profession of four years they just recorded an individual, and their primary visible achievement was to back again Patrick Moraz (previous Yes keyboardist) within an ephemeral task. The need for Vímana, a reliable rock-band with solid musical options, resides in it being truly a hyperlink in the elaboration of Brazilian rock and roll, a method that surfaced in the ’80s, and in addition having been the departure stage for expressive music artists of that motion, like Lulu Santos, Ritchie, and Lobão. Because the past due ’60s, Operating-system Mutantes became the primary reference for fresh bands attempting to play rock and roll inside a Brazilian method. The picture of Rio and São Paulo was packed by a variety of organizations which emulated the seminal rock-band, alongside the heroes from overseas. In 1974, some music artists left previous tasks and come up with the group Vímana, a Sanskrit term for the open fire chariot utilized by the gods to descend to Globe. Luiz Paulo Simas (keyboardist) and Candinho (drummer) arrived of Módulo 1000, a Dark Sabbath-influenced music group, while Luís Maurício Pragana dos Santos (Lulu Santos, guitarist, vocalist, composer), and Fernando Gama (bassist) had been in the the Rolling Rocks clone music group Veludo Unétrico. Using the afterwards addition of Ritchie (the British Richard David Courtroom, composer, vocalist, flutist) the group appeared ready because of its start, but drummer Candinho still left, because of a mystical revelation. At that time, Vímana was employed to execute in the play A Feiticeira, on the Teatro Casa Grande (Rio), when Lobão (João Luís Woerdenbag, drummer, vocalist, composer) was presented to the music group by Inácio Machado. The full of energy and rebellious drummer was employed immediately, plus they departed because of their solitary discharge, the one “Zebra” (Som Livre). They documented also a 24-monitor tape at Estúdio Level with the American engineer Don Louis and by manufacturer Guto Graça Mello, which continued to be unpublished. In those times, Vímana made significant success within their shows at the present day Artwork Museum, Teatro Tereza Rachel, and Teatro Galeria (all locations situated in Rio). In 1977, Swiss keyboardist Patrick Moraz, who acquired still left Yes after documenting the LP Relayer, made a decision to make Vímana his helping music group, rehearsing within a Brazilian tour for the Western european one. The Vímana associates thought a big break was arriving, but the outcomes from the association had been disappointing. Moraz begun to disagree with Lulu Santos, as well as the music group finally expelled Santos beneath the fake accusation that he didn’t learn how to play. The cooperation of Vímana with Moraz continuing until 1978, when the collaboration and the music group had been completely dissolved under a cloud of scandal. Lobão allegedly experienced an affair with Moraz’s wife. Moraz returned to Europe, becoming a member of the Moody Blues, as well as the Brazilians and Ritchie departed for his or her solo careers.