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SOM NOSSO DE CADA DIA

Eclectic Prog • Brazil


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Som Nosso De Cada Dia biography
Founded in São Paulo, Brazil in 1972 - Disbanded in 1977 - Reunited briefly between 1993-1995 and 2008-2010 and again since 2017

This progressive rock group has been formed in São Paulo in 1972 by multi-instrumentalist Manito (former The Clevers and Os Incríveis), Pedrinho Batera (drums/vocals) and bass player Pedrão Baldanza. With this formation they released their excellent debut "Snegs" in 1975. Then the band went through a multitude of line-up changes, launched a self-titled album in 1977, comprising mainly funk music and opened for Alice Cooper at the Maracanãzinho Festival (Rio de Janeiro). Soon after the band has been dissolved.

SOM NOSSO DE CADA DIA Nosso gained their biggest fame not so much with their two studio records but rather with their fantastic live performances. Hence it's most probably very much rewarding to get their live CDs released later on, especially the 2 CDs set "A Procura da Essência" containing lots of unreleased material, amonst others extracts from the ambitious suite "Amazonia", that were unfortunately never recorded in studio. At times their style can be referred to Italian bands like BANCO or PFM, but their music showed as well a strong influence by American Jazz-Rock revealing some hints to English Space-Rock.

: : : Dieter Fischer, GERMANY : : :

See also:
- WiKi
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SOM NOSSO DE CADA DIA top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.01 | 75 ratings
Snegs
1974
2.53 | 23 ratings
Som Nosso [Aka: Sábado/Domingo]
1977
2.96 | 4 ratings
Mais Um Dia
2019

SOM NOSSO DE CADA DIA Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 8 ratings
Ao Vivo no Aquarius
1976
3.11 | 8 ratings
Live '94
1994
3.46 | 23 ratings
A Procura Da Essência (Ao Vivo 1975-1976)
2004

SOM NOSSO DE CADA DIA Videos (DVD, Blu-ray, VHS etc)

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SOM NOSSO DE CADA DIA Reviews


Showing last 10 reviews only
 Mais Um Dia by SOM NOSSO DE CADA DIA album cover Studio Album, 2019
2.96 | 4 ratings

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Mais Um Dia
Som Nosso De Cada Dia Eclectic Prog

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

3 stars SOM NOSSO DE CADA DIA is an Eclectic Prog band from Brazil who has been around, on and off, since 1972. The original line up consisted of multi-instrumentalist Manito, Pedrinho Batera (drums and vocals), and Pedro Baldanza (bass). They have been through several line up changes since then and 46 years later, have released their third full length album "Mais Um Dia" in August of 2019. Pedro Baldanza is the only original member remaining and on this album, continues to provide bass, but also contributes with vocals. Also included on this line up is Pedro Calasso on percussion and vocals, Marcello Schevano on guitars and vocals, Fernando Cardoso on keyboards, and Edson Ghilardi on drums. The album consists of 7 songs and has a total run time of just over 29 minutes.

"Homem Vibora" begins with a nice, hard rocking song with a lot of guitar and organ driving the music and a good, heavy bass. However, the music is quite straightforward with a few progressive traits thrown in to the standard meter. "Ficou no Ar" is more laid back but with a funky and jazzy undertone. Even though it's not credited, there is some brass added in there also. Not bad with a great latin jazz flavor, but its also very accessible. "Tempos Dificeis" is quite pop oriented and also includes a light funk sound and more brass. The music lends itself to the pop sound of Chicago in their later years, but with a Latin flair. It's very polished and corporate sounding. "Black Rio" continues with the funk-pop sound, adding an r&b vibe and looking for a sound similar to Earth, Wind and Fire".

"Mais um Dia" slows things down for a mellow tune with some Santana-like guitar impressions. The music here continues to emulate EW&F, but with a more ballad style. Halfway through the track, the rhythm picks up quite a bit adding in brazilian percussion styles and poppy brass, then a guitar plays a short solo then giving way to a call and answer session with the brass section before it all slows down again for when the vocals come back in. The interplay with the guitar and horns is a nice touch for this track. "Firmeza Total" continues with the jazz-funk-pop sound, remaining as accessible as always. It all ends with sound effects of phones ringing and a helicopter in the last track "Lixo per Capita". The sound is a little more solid and guitar driven like the beginning track, but with a moderate beat and some good guitar work, but still remaining radio friendly (at least for Brazilian radio). However, this track is probably the closest thing to being progressive, though it is quite lite.

So, the music isn't bad at all. The vocals are decent, the guitar work is pretty good, the production is slick and the use of brass in most of the tracks is a great sound. The music is way too commercial and poppy however to really be considered progressive at all. If you love the latin pop/jazz sound, you will enjoy this, as it has that retro feel that brings back the more pop style of Santana, Chicago and Earth Wind & Fire. But, keep in mind that it is also as accessible and as light on prog as the poppiest versions of those bands. It's good, but definitely non-essential.

 Snegs by SOM NOSSO DE CADA DIA album cover Studio Album, 1974
4.01 | 75 ratings

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Snegs
Som Nosso De Cada Dia Eclectic Prog

Review by spleenandcigars

5 stars This is one of the best sounding progressive rock from Brazil, in my humble opinion. Most of the bands from that period, for me, seems to be heavily influenced by ELP and Yes, but SNEGS went into another path that resembles more what i like to hear. Sinal da paran'ia (Paranoia Sign) has an awesome lyric and instrumental execution, by far one of my favorite Brazillian songs of all time:

"This obsession of arriving... The terror of not being what expected

The eternal thinking in eternal things that won't last more than one day

The torture seeking for the essence The noise terrify, close, shut the chest

Paranoia sign"

Sounds like Symphonic Progressive Rock with Brazillian regional influences. Highly recommended for those that, doesn't feel too compeled by Os Mutantes or Bacamarte.

 Snegs by SOM NOSSO DE CADA DIA album cover Studio Album, 1974
4.01 | 75 ratings

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Snegs
Som Nosso De Cada Dia Eclectic Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Formed in São Paulo in 1970, Som Nosso de Cada Dia were a trio that performed an adventurous kind of heavy rock music drenched in all manner of keyboards, that frequently diverted into extravagant extended instrumental soloing and more overtly `proggy' touches. Performed in Portuguese (although little moments here and there slip into English) with often coarse lead vocals and lulling group harmonies, their debut `Snegs' from 1974 is a underrated minor gem that mixes hard rock with symphonic, blues, folk and space music, and in parts reminds of everything from Casa das Maquinas, Rick Wakeman, Atomic Rooster and even German bands like Birth Control and Eloy.

The group cover a lot of ground alone in six minutes of opener `Sinal da paranóia'. It's a plodding rocker powered by churning Hammond organ, jangling acoustic guitars and spirited group vocals with moments of sweeter falsetto in the lead, before the piece not only drifts into a spacey interlude but straight into a frantic searing violin thrash over chugging upfront bass, wild rattling drumming and plentiful synth wig-outs! `Bicho do mato' is an infectious Birth Control-like Hammond organ dominated gutsier pop-rocker that bounces along with a boisterous vocal and a foot-tapping momentum with an early Eloy-like spacey finale, and `O som nosso de cada dia' is unpredictable and darts in several directions at once, offering everything from delirious keyboard bombast, softer dreamier passages and treated wafting sax in the final minutes.

The lovely and deeply dreamy `Snegs de Biufrais' opens the second side with chiming guitars, soft flute and soothing group vocals, but `Massavilha' dials the prog up to eleven with a extended intro of bubbling Moog explosions and cascading synth spirals along the lines of Rick Wakeman's first solo disc `The Six Wives of Henry VIII' before it settles into a more romantic tune with soothing harmonies. The melancholic and mysterious `Direccion de Aquarius' swaps the energetic instrumental moments for ambitious multi-part harmonies and murky ringing electric guitars that retain a darker grit and unease overall, and closer `A outra face' fuses lengthy bouts of mellow Hammond-flecked jazzy sauntering ala Atomic Rooster, drifting mellow bluesy reflective guitar soloing and Raw Material-like billowing sax.

So the vocals can be a little unlovable in a few spots, and in some parts the playing is more exciting and memorable than the actual tunes, but `Snegs' has a melodic toughness without being obviously radio-aimed, and is overloaded with endless spacey keyboard colour, making it an attractive yet overlooked little obscurity with so much going for it from a cool band. Definitely one for those prog fans looking to fill their collection with rarer and underappreciated efforts that often slip through the cracks, and the recent Moshi Moshi Produtora reissue from this year means the album has never sounded better!

Three and a half stars rounded up.

 Snegs by SOM NOSSO DE CADA DIA album cover Studio Album, 1974
4.01 | 75 ratings

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Snegs
Som Nosso De Cada Dia Eclectic Prog

Review by Atavachron
Special Collaborator Honorary Collaborator

3 stars As talented as this three-piece was and with as many good moments as there are on this first one, SNdCD kinda just sat there; at least compared to what else was happening in popular music during the early '70s. In rock as much as with any creative medium, maybe more so, at some point you have to grab people by the throat. Hopefully sooner rather than later.

In all seriousness there are quite a few killer bits here and maybe these old ears have just heard way too much vintage stuff to make an objective judgement on the Brazilian trio. But it is rock; you gotta give us something that's .. well .. spectacular. There was just too much else going on in music not to. The croons of Pedrão support slow but well-chorused 'Sinal da Paranoia' which has a neat synth wormhole ribboned through the center and features Manito's drunken fiddle, but 'Bicho do Mato' is a blues-rock shuffle that doesn't quite work unless you're playing Jabba the Hutt's palace. The very nicely counterpointed namesake cut is a keeper, has excellent chord progressions and fine keyboard leads, and six-minute 'Massavilha' steals the thunder with its Emersonian leanings. Spaced-out 'Direccion de Aquarius' is what may be a bad Beatles impression circa Abbey Road, hard to say, but luckily 'A Outra Face' saves us from taking a nice nap and is a mostly well-conceived funk/rock fusion bit with big funereal 'O Guarani' to finish.

A take-it-or-leave-it record, and with the incredible other music that was being issued in their time, this debut simply didn't rise to the challenge. Neither very good nor very bad, most assuredly.

 Snegs by SOM NOSSO DE CADA DIA album cover Studio Album, 1974
4.01 | 75 ratings

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Snegs
Som Nosso De Cada Dia Eclectic Prog

Review by GKR

4 stars Great cohesive and ecletic sound from Som Nosso de Cada Dia. The band take their name, apparently, from the Secos & Molhados song "O Patrão Nosso de cada dia" (Our Daily Boss, or something like that).

Snegs mark another album on a great year for progressive music in Brazil. Their sound is more tighter and together than Terreno Baldio and the great achievement is to have few band members playing a lot of instruments, which made the "guest" appearances of violin and others a complement.

Sadly, the vocals are a little too simple, in comparison, for example, with Terreno Baldio more ecletic and poetic approach. Nevertheless, a great album, full of lot good melodies and arreangements.

Solid 4 stars.

 Live '94 by SOM NOSSO DE CADA DIA album cover Live, 1994
3.11 | 8 ratings

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Live '94
Som Nosso De Cada Dia Eclectic Prog

Review by Tarcisio Moura
Prog Reviewer

3 stars Very little information is available about this hard to find CD. It seems that som Nosso De Cada Dia´s most progressive line up reunited in 1994 for some gigs. Oddly enough, this is the given year that the band also returned with their original member, the multi instrumentalist Manito. According to some sources, the original trio was augmented by a new guitarist and a keyboards player and did some concerts in that year and were even invited to play in Japan. The band would put an end to future plans due to the tragic early demise of drummer/vocalist Pedrinho in 1995. Upon hearing this CD it is obvious that the line up here is the same as their A Procura Da Essência (live 1975-1976) (minus Tuca Camargo).

Live ´94 is like a condensed version of A Procura Da Essência (only 54 minutes of music instead of the two and a half hours of the latter). Although it is much better recorded, it is still far from perfect. I really expected something quite superior after all these years, and I was hoping they would play the complete ´Amazonia suite´, their album rejected by all recording companies in 1975 for being not commercial enough. But again it was not to be: several songs from that project are played, but they all had already appeared in A Procura Da Essência.

Still, I found it very good to hear at least an average to good recording of that stuff. The band lost none of their great musicianship . Pedrinho Batera (drums/vocals), Pedrão Baldanza (bass, vocals), Egídio Conde (guitars), Dino Vicente (keyboards) and Rangel (percussion) are all briliant musicians and the group had a very interesting mixture of symphonic prog and jazz-rock/fusion (with some strong brazilian rhythms and percussions added). Listening to those songs today I can only imagine the impact they could have had in the brazilian prog scene of that time. They were one of the best groups around and this line up was famous for their great live performances. Ok, the vocals are only average, but their tunes were mostly instrumental affairs anyway and in that field they really exceeded in brilliance and creativity.

Conclusion: an overall good live album of one of the most interesting and promising prog outfits from Brazil. It is not as poorly recorded as A Procura Da Essência, even if technical problems do plague this CD too. But the high quality of the songwriting and the outstanding performances make it a worthwhile addition to anyone interested in this kind of music. I really hope one day anyone who has the original tapes will release the complete Amazonia Suite (if such tapes still exist).

Rating: 3,5 stars.

 A Procura Da Essência (Ao Vivo 1975-1976) by SOM NOSSO DE CADA DIA album cover Live, 2004
3.46 | 23 ratings

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A Procura Da Essência (Ao Vivo 1975-1976)
Som Nosso De Cada Dia Eclectic Prog

Review by Tarcisio Moura
Prog Reviewer

3 stars I was very excited to know that there was a live recording of this legendary brazilian band from the 70´s. After all, very few good prog bands from that era in my country ever had the opportunity to record their music. Som Nosso De Cada Dia did that and their debut Snegs (1974) is still regarded as one of the best examples of the brazilian prog scene of that decade. Unfortunately they did not exactly had the opportunity to show their new, even more progressive work as they should, since the band, after much pressure from the recording label, relented and release an album that had only one side of the vinyl filled with what was supposed to be their second album and record some funk/soul numbers to try to appeal to the mainstream. I don´t have to say it was a complete failure that led to the group´s demise.

So I was only expecting great things when I heard that this double CD recording would contain only material they were playing live in late 1975/early 1976. Most of it would be of then unreleased tracks intended for their sophomore LP (only Sinal Da Paranoia is from their debut). At the time the group had growth from a trio to a sextet: founder members Pedrinho Batera (vocals, drums), Pedrão Baldanza (vocals, bass) plus guitar virtuoso Egydio Conde, Rangel (percussion) and two excellent keyboards players, Dino Vicente and Tuca Camargo. With such dream team, their shows became legendary, being highly praised by all who had the luck to attend them. Unfortunately, the recording quality were not the best and even with all the technology available in 2004, the sound we get here is little more than of an average bootleg. A real let down considering the wonderful music this group produced live. Some of them appeared on the ´prog side´of their second CD, but in longer and better versions. They did a lot of improvisations live and again I´m very sad that such powerful tunes were never released as they should.

At this phase of their brief career, the band was playing a very interesting blend of symphonic rock and jazz rock/fusion, full of improvisations and long (but never boring) solos, with a few nods to blues (Blues da Gaita, Cuidado Com O Verdi) and even rock´n roll (Improviso) plus some brazilian music influences. They were a tight unit, the arrangements are tasteful and the performances are quite exciting and powerful (technical problems aside). Only the vocals are on the average level.

With more than two hours of playing time, I think this double album is a valid document of a band that never had the opportunity to show their full potential. I really wish they had a better recording of those shows, for it would give them a better rating overall. Most of the songs deserve four or five stars.

Still, a nice surprise. 3,5 stars.

 Snegs by SOM NOSSO DE CADA DIA album cover Studio Album, 1974
4.01 | 75 ratings

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Snegs
Som Nosso De Cada Dia Eclectic Prog

Review by Tarcisio Moura
Prog Reviewer

4 stars One of the most important albums to appear in Brazil at the early 70´s, O Som Nosso De Cada Dia ("Our Everyday Music") was one of the first symphonic prog bands to actually have a record out by a major label. It was very well received by critics and the prog fans at the time, even if the production was quite disappointing. Fortunately for today´s audience, the remastering done by Progressive Rock Worldwide records solved much of the problem, and also includes a new track, recorded around 1993, when the original trio reunited for this occasion.

Their sound is hard to define, since they drawn their influences from several different sources, like symphonic rock, jazz-rock/fusion, brazilian and latin folk, psychedelic/space rock, RPI and even blues and hard rock. The resulting songs were quite stunning for the time, with a mature, varied and original songwriting throughout. The celebrated (and recently deceased) multi instrumentalist Manito (from 60´s legendary beat band Os Incríveis) is the main figure here, playing not only heavily Keith Emerson influenced keyboards, but also a few violin and sax parts (traces of early King Crimson can be detected). Bass and drums are quite good and versatile. Vocals, as usual with so many 70´s bands, are only average at best. All tracks are sung in portuguese, except Direccion de Aquarius, sung partly in Spanish, partly in english.

I had the original LP and I can assure that the CD has a much, much brighter and balanced sound than the vinyl counterpart (the bass for instance was almost inaudible, but now can be heard quite clearly). And I was glad to see how good their debut was and how their music stood well the test of time, even if some timbres and lyrics are quite dated. It is only a shame they could not deliver a follow up as powerful and strong as Snegs. However, this CD is one of the few recorded proofs and a very good example that Brazil had its strong own prog scene in the early 70´s. Sinal Da paranoia became a kind of underground classic and Massavilha with its terrific instrumental parts is probably one of the highlights, but in general all the songs are very good.

The bonus track is a version of a very well known theme from Brazil´s most famous classical composer Carlos Gomes, O Guarani. It shows they had lost none of their musical prowess after all those years and it´s a pity they did not ended up releasing a new CD of original material then.

Conclusion: with all the aforementioned faults, this is one of the first and best prog CDs released in Brazil in that decade. At the time it was really hard to record such new and complex music and most groups disbanded after made their names on live shows only. For us, some were lucky enough to leave their mark despite all the technological and financial difficulties. Snegs is surely one of them. A real gem for any symphonic prog lover. Kudos to PRW records for improving the original LP sound so much without losing any of the group´s energy and essence. 4 strong stars.

 Som Nosso [Aka: Sábado/Domingo] by SOM NOSSO DE CADA DIA album cover Studio Album, 1977
2.53 | 23 ratings

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Som Nosso [Aka: Sábado/Domingo]
Som Nosso De Cada Dia Eclectic Prog

Review by Tarcisio Moura
Prog Reviewer

2 stars In 1976 I saw Som Nosso De Cada Dia on a TV special performing Neblina. It was a fine prog song and I was impressed by what then was considered high tech equipment of the band (specially the keyboards). A series of positive reviews about their recent shows gave the impression they would release a real fine sophomore work. However, the recording company, not satisfied with the lack of sales from their first album and maybe wondering that the ´progressive era´ was on its last legs (or simply concluding the style was not marketable at all), pressured the group to include some more radio friendly songs. The aim was to reach the thriving audience of the so called ´Black Rio´ movement, where funk and soul music were riding high. But at the same time the band tried to keep their old fans recording a bunch of very good progressive tunes. The resulting album was quite schizophrenic.

Divided by two sides, the original LP has a Sábado (saturday) side and a Domingo (sunday) side. On the former, funk and soul tracks, while on the latter, it contains only progressive stuff. The difference between those sides was so great it sounds like there are two bands playing on each side, each one with nothing to do with the other. While the danceable work was not really bad per se and competently performed, it was completely uncharacteristic. A real pity, since the second side showed the group in great form, producing some of their best material of their short lifespan. Montanha, Neblina and Água Limpa, were very good tracks they were performing live for quite some time (although in longer versions). They all showed great symphonic rock with a strong fusion twist and impeccable playing from all band members. Guitarist Egídio Conde disagreed with the new direction and left the band during the recordings, being replaced by another virtuoso, the legendary 60´s journeyman Tony Osanah (both being credit as guests).

Needless to say, the plan to please two very distinguished audiences at the same time failed miserably: not only they showed enough material to reach the new market, but also lost many the old fans in the process. The group folded by the end of that year. A sad end for a very promising outfit.

Although the CD is well recorded and produced for the time, I warn everyone that this album should be heard before buying it. The first six tracks are just plain funk/soul with nothing not even vaguely prog on it. However, the progressive stuff of the second part is top notch and worth checking out anyway (unless you get their posthumously released live album called A Procura Da Essencia 1975-1976). My CD edition has two bonus tracks. Unfortunately both are the same soul styled tunes in the vein of the LP´s first side.

Final rating: something between 2 and 2.5 stars.

 Som Nosso [Aka: Sábado/Domingo] by SOM NOSSO DE CADA DIA album cover Studio Album, 1977
2.53 | 23 ratings

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Som Nosso [Aka: Sábado/Domingo]
Som Nosso De Cada Dia Eclectic Prog

Review by Prog_Veteran

3 stars The 2nd 1977 SOM NOSSO album is curious as side 1 "Saturday " consists of soul/funk for radio play compositions. They are of high quality (probably inspired by the Motown music) but NOT prog. Side 2 "Sunday" consists of 5 prog compositions : Bem no Fim , Neblina, Água Limpa and Rara Confluência that appears in the highly recommended "Ao vivo 1975-1976" in extended and increased versions. Montanhas, which is a fantastic prog composition, appears only here.

As this site is about prog music I'll give 2 stars to Saturday side to prevent deceptions to those who look for a totally prog follow up to "Snegs" (1974, ****). Only half of the 2nd Som Nosso album is prog and I give 4 stars or more to Sunday side 2. For those who want to know the prog Som Nosso de Cada Dia heydays better look for the 2004 live unreleased "ao vivo 1975-1976" and "Snegs"( a 1974 classic brazilian prog album). For those who enjoy 70's radio soul music and prog you can try the 2nd and last 70's Som Nosso official album without fear.

If you want prog and listen the first 6 tracks, you'll get disappointed for sure, Som Nosso probably was under record company pressions to make radio play music, anyway they are nice to me. I don't use to listen soul / funk dancing music, I'm sure my mind is obtuse as these are, independently of musical taste, high quality Motown American label music style. Montanhas is such an incredible 5:29 minutes prog track that I feel completely rewarded by the cd purchase (very rare nowadays).

Thanks to ProgLucky for the artist addition. and to Quinino for the last updates

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