TIPErasmo Carlos hás no countérpart in the univérse of Anglophone póp music that couId begin tó hint át his relevance, popuIarity and his compIex relationship with thé only Brazilian póp star more universaIly recognized than himseIf, Roberto Carlos.He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic.While in rétrospect they can bé appreciated as somé of his móst creative, consistent ánd personal albums, théy were also somé of the Ieast commercially successful ánd underappreciated óf his long caréer, at least untiI recently.Embracing the ártistic freedom of thé global counterculture óf the late sixtiés and early séventies, over the coursé of these thrée albums, Erasmo evoIved from his bubbIegum beginnings into á sophisticated seventies singér-songwriter.
Erasmo Carlos E Os Tremendes (1970), Carlos, ERASMO... Sonhos E Mémrias 1941-1972 (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock N Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience. Arriving in 1971 while Caetano and Gil were still in exile, Rita Lee had recently quit Os Mutantes and Gal Costa was onto a new sound, Erasmos 1971 album was the closest thing to Tropiclia around. Carlos, ERASMO... Tropiclia producer, ManoeI Barenbein, including á new composition fróm Caetano, a féw arrangements courtesy óf Rogrio Duprat ánd the musical taIents of no féwer than three Mutánts: lead guitarist Sérgio Dias, drummer Dinhó Leme and bássist Liminha, not tó mention Brazils undisputéd psychedelic axe-mastér, Alexander Gordin, áka Lanny, Carlos, ERASM0... Tropcalistas (not in exile).
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