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Recordando o Vale das Maçãs

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Recordando o Vale das Maçãs As Crianças Da Nova Floresta (aka 1977-1982) album cover
3.67 | 23 ratings | 2 reviews | 30% 5 stars

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Studio Album, released in 1977

Songs / Tracks Listing

1. Ranchos, Filhos e Mulher (3:08)
2. Besteira (4:05)
3. Olhar de um Louco (3:53)
4. Raio de Sol (6:08)
5. As Crianças da Nova Floresta (18:10)
a. A Luz Da Natureza
b. A Visão Da Consciência
c. O Caminho
d. As Crianças Da Nova Floresta

Total time 35:24

Bonus tracks, 1982 singles, on "1977-1982" CD:
6. Sorriso de Verão (3:00)
7. Flores na Estrada (2:34)

Line-up / Musicians

- Fernando Pacheco / electric & acoustic 12-string guitars
- Fernando Antônio Motta / acoustic and 12-string guitar
- Ronaldo Mesquita (Gui) / bass
- Miltom Bernardes / drums (1 - 5), percussion (1 - 5), vocals (1 - 5)
- Lourenço Gotti / drums (6 - 7)
- Moacyr Amaral Filho (Moa) / flute, vocals
- Eliseu Filho (Lee) / keyboards, vocals
- Luiz Aranha / violin

- Eduardo Assad / keyboards (1 - 5)
- Cristina Lobão / vocals (4, 5)

Releases information

LP GTA GTA LP 029 (1977, Brazil)

CD Rock Symphony ‎RSLN 058 (2002, entitled "1977-1982", with 2 bonus tracks, different cover)

Thanks to ProgLucky for the addition
and to NotAProghead for the last updates
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RECORDANDO O VALE DAS MAÇÃS As Crianças Da Nova Floresta (aka 1977-1982) ratings distribution

(23 ratings)
Essential: a masterpiece of progressive rock music(30%)
Excellent addition to any prog rock music collection(39%)
Good, but non-essential (26%)
Collectors/fans only (4%)
Poor. Only for completionists (0%)

RECORDANDO O VALE DAS MAÇÃS As Crianças Da Nova Floresta (aka 1977-1982) reviews

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Collaborators/Experts Reviews

Review by Prog-Brazil
4 stars "Recordando o Vale das Maçãs" (Remembering Apples Valley) is a brazillian band from seventies. It is destinated for symphonic and folk progressive fans. According their website, this album is called "As Crianças da Nova Floresta II" (The children of the New Forest). It is first edition (1977) plus two singles from 1982. The music sounds like country- rock sometimes with violin and flute, but always progressive. Hear the second track, for example, I do like that song. The lyrics talk about country life, simple way of life to find freedom and happiness, and you will find humour sense there too. The longest track (As Crianças da Nova Floresta) is very close to another brazillian band in the begginig, Azymuth, but soon comes a long flute solo until keyboards, violin and others instruments are added. This song talk about introspective feeling, child vision. In the end, the lyric is sung something like this: "unam suas maos e venham conhecer essas crianças porque essas crianças são vocês" (join your hands and come to know that children, because that children are you), and a female vocal is na nanananana... beautiful! I didn't hear their second album yet. But I know it is more instrumental than this one. Three and half or four stars to this album!
Review by kenethlevine
3 stars Latin America in general, and Brazil in particular, sported its own back to the earth young folks back in the early 1970s. The vicissitudes of communal life and the music industry being what they were and are, their ideas often were not committed to vinyl until later in the decade or beyond, at which point their sunny optimism was swallowed whole by the prevalent cynicism of the time. One must be careful to judge the whole of the effort independent of its time while still acknowledging the conditions that inspired the artists on their quest. RECORDANDO O VALE DAS MACAS (Memory of Apple Valley) only produced one album in their day, to which several later tracks were added on the CD reissue currently under discussion. It's assuredly a trip back to an era long past, but with timeless virtues to be appreciated in any era - acoustic instrumentation and occasional flourishes, sprightly melodies, and gentle harmonies.

The centerpiece here is "As Crianças da Nova Floresta" which closed the original album, and might be of greatest interest to readers here. However, while it is often brilliant, it is also a bit too much of a collage rather than a suite or an epic, and accentuates how the group was first and foremost a more simple folk/country act with progressive touches. The flutes of guest Domingos Mariotti are worth highlighting, as are the jointly shared vocals, which are lovely in both genders. While linguistically apart, this work recalls the Argentinian 1970s group MAGMA in its deceptive gentility.

The band's strength lay in the less brocaded material, especially the stunning "Besteira", apparently rescued from a trash bin after a moment of frustration. Its twists and turns, flutes, fiddles, and arresting chorus come closest to capturing the coda to a generation. I even hear some Eastern European rhythms. It is the only cut that fully works for me, although everything but the rather disinterested "Olhar De Um Louco" is worth hearing, and the flourishes of a Brazilian country music style in the album opener and the closing bonus track work well. Keyboards generally represent background accompaniment but are clearly informed by the progressive rock of the day.

Recommended for prog folk fans and gentle Latin tinged world music fans, Recordando is a thankfully resurrected memory worth retaining, even if it might not be as essential as your daily apple.

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