OS MUTANTES

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Think about it 1: Brazil was totally outside the musical mainstream in the 60s (and still partially is) and basically the only thing gringos knew about us were flamboyant epic sambas like Barroso's 'Aquarela do Brasil' or some jazz-influenced bossa nova.

Think about it 2: Mutantes' core members: Rita Lee and brothers Arnaldo and Sergio Dias Baptista were doing experimental and proto-psychedelic music since they were teenagers in 1964-65 (although with a different band name).

Think about it 3: Mutantes achieved an extraordinary deed of becoming really proto-prog masters. After being discovered in Europe and North America in the 70s they start to shine brilliantly.

The majority of the album songs are now part of the Brazilian imaginary collective, even covers like 'Minha menina' that became much better known through Mutantes version.

Try 'Panis et Circensis', experiment 'Bat macumba', eat 'Ave Gengis Khan', drink 'Trem fantasma' and you'll be entirely satisfied.

A clear 4-star work edging the mastering step!

According to Floco, a fellow reviewer, I quote "anyone who didn't rate this album with 5 stars cannot be said to have any knowledge about overall rock n roll".

First of all, this album has nothing to do with rock'n'roll. And even if I am really looking deep and deeper, I can hardly find lots of psyche mood in this album (even if a short portion of "O Relógio" can be related to this style). Some pleasant Brazilian music ("A Minha Menina"), nice melodies but little to write home about: this is what you can expect from this debut album.

And even if some might be laudatory about a song like "Adeus Maria Fulô", I can't. Below average in terms of prog. Not to mention that psychedelia is absolutely alien to this song. And the syrupy "Baby" is far from my meaning of prog music.

This album might have been a local curiosity at the time of release (1968) but "Senhor F" and its fifties jazzy style doesn't move me at all. Ethnic African rhythms, but so boring, during "Bat Macumba" won't change my opinion about this album. Totally overrated.

This release was not a great experience as far as I am concerned. Just listen to the extremely poor "Le Premier Bonheur du Jour" and its very weak lyrics (in French, so unfortunately I am able to understand) to be convinced. A fantastic press nextT type of song (but "Trem Fantasma" is on par, believe me).

All in all, this is a boring album. Prog sounds are scarce and inspiration is about the same level. I even wonder why I rate this one with two stars. Actually, "Tempo no Tempo" should have prevented me to do so, but I am generous in this case. Even if I "don't have any knowledge about overall rock n roll".

One of the very few (but again poor) psyche song might well be the closing number. But "Ave Gengis Khan" is too much disjointed and isn't really appealing.

What a wonderful, wacky and bizarre album this is. Brazilian folk, psychedelic rock, snippets of avant-garde, traditional Brazilian percussion ensembles and 60s teen pop all come together in an outrageously original mix that is full of surprises and lots of great tunes. If your idea of psychedelic rock is commercialized efforts like Sgt Peppers, forget it, this is the real deal; raw, naïve and non-contrived 60s psychedelicosis.

Like a lot of the more primary psychedelic bands of their era, the Mutantes mix their music their own way and ignore all the standard conventions of the time. Most instruments on here that receive special treatments, such as distortion or tremelo, are turned up high in the mix as if to make sure you didn't miss the 'weird' part. Twangy fuzzed out guitars leap out of the speaker and into your room when they make their bold entrances. Likewise the arrangements of the Mutante's tunes are naively experimental and occasionally complicated as they chop up standard verse/chorus structures with found sounds, avant episodes and excursions that recall theatre or cabaret.

This album is highly recommended for fans of 60s psychedelic rock, this is so much better than all that derivative music that the big labels put out in an attempt to copy bands such as this.