SAGRADO CORAÇÃO DA TERRA

Nine countries speak portuguese, and except for Portugal, all of them are on the South part of the globe. This geographic element brings a lot of political, historical and social consequences. But this is a site about music, not about these topics, so I'll only let this indication that this has a huge influence on our ears and understanding of the music we love; and the ones we hate.

About the album, its lyrics and track titles are crucial to comprehend its proposals. Well, I'm native on portuguese. But if you're not interested to know the titles and part of the lyrics, the next 3 paragraphs are only about the music. Further on, its very illuminating that I present a brief curriculum about the head of the band, Marcus Vianna. And finally I will make a more detailed appreciation of this opus.

All of the album has a pastoral, mild mood. Even though the band is classified as symphonic prog, this album's style approaches new-age prog. Does it remind Mike Oldfield? Sure no. The executions neither the compositions present anything close to folk guitar or that "crying" guitar notes from the english multi-instrumentist. The violin is by far the most proeminent instrument, and it can perform some Bach-alike notes, but also some fast Vivaldi stuff (never as a cover, only borrowing the idea and structure).

Some harmonies are really memorable and presents a good amount of complexity. The instrumental middle part of the first song seems like there are two violins doing different things, along with the piano and drums; but the booklet points only one violinist. This richness can also be found on the middle-close-to-the-beginning and the end of the 9th track. On this kind of style, new-age prog, track 4 is one of the best I've ever heard on the universe of music. About 6th track, it was quite original for its time and place because of the fast keys and the dynamic interplay.

The vocalists, specially male, aren't memorable, musically speaking. They're only fine, even though Vanessa is great on the low notes. Both of them get a little cheesy, once in a while. The instrumental efforts of this album deserves a 3.8 (maybe to someone fond to new-age prog, it could even reach 4.5).

There can be some discussion about the best brazilian prog rock musicians, but certainly Marcus Viana will feature among the top five of most lists. His solo works generate a lot of discussion about its contribution to prog rock; however, this kind of debate is innocuous when the listener realizes that his solo carreer transitates between new age, classical and pop, with practically no (or VERY LITTLE) dialogue with prog rock.

The label he created, called Sonhos e Sons (Dreams and Sounds), with more than 400 products, is mostly composed of new age and MPB releases. There is also classical music, world music, songs for children, minimalistic music. And a tiny bit of prog rock.

Henceforth, my analysis will be dedicated to the music plus lyrics. Primarily I think it's important to give a glimpse on the titles.

1. Wings. 2. Lessons of History 3. Art of the Sun 4. Glory of the Mornings 5. Happy 6. Dancing God 7. Memory of The Woods 8. Sailboat Body 9. Sacred 10. Life is Tender* * A tricky use of portuguese on this title makes it possible to have another translation, Eternal Life.

A considerable part of Wings' potential is on its lyrics. I'll translate part of it. "Nothing to hold us; Or to limit; Nothing that chains our dream to the ground; Nothing that enslaves our thoughts; 'Cause love gives wings; And we're born to fly; ... The universe is waiting; And the future is now".

Both Viana and Falabella are singing very well on this song, considering there limitations on consistency, reach and/or variety. They made a wise choice of giving a bit more space to Viana's chant than to Falabela, because he has a more sober tone. She reaches high notes too often, becoming excessive some times. An additional advantage regarding the participation of both as vocalists is the possibility to make an association with the opposite poles of human nature: yin/yang, cold/hot, female/male.

The dark beginning of Lessons of History is befitting with the lyrics, because they speak about fear and sadness we've caused one to another through times. The use of arp avatar to create ocean sounds is very congruous with that, because this element of nature has the aspect which links it to long ages, but also to renewal. Once again, and this will happen other times on the album, they use the contrast between the female and male vocals to reinforce and/or add some symbolisms. Male representing force and power, female more likely to remind renovation and fertility.

Viana sings: "Power of Sound Light of Justice; Fire of Love Art of the Sun; Chop off from the Earth The ignorance that blinds Men for the lessons of History".

Vanessa sings the last stanza: "On the exact moment when seasons change And beasts become men by the power of the songs; I return to harvest all good fruit Remember the art/science of Love"

Art of the Sun is a celebration of many symbols linked to the kingdom of this star. The way they gradually elevate the tones reminds me some religious traditions that associate singing with ecstasy. Specially on the end, when they keep repeating "sun, sun, sun,...". My highlight in the lyrics goes to the beatiful image they create with "softly dawns the morning of the future in the rosy fingers of dawn".

The choice of beginning Glory of the Mornings with birds singing immediately transports me to the woods and how the winged fauna gently wakes us with its symphony, brilliantly complemented here with the bamboo flute. The harmony created with the violin and synth is one of the most incredible I've heard on this style. But they don't hurry on the composition; by the contrary, the keys and notes are almost lazy at least until the half of the track. When the acoustic guitar stands out more, other instruments gather, and the execution goes toward na ecstatic finale.

Next track (very short) seems to be part of a bigger composition. Before it starts going to somewhere, suddenly ends. Awkward. IMO, expendable.

Dancing God soon and for a long time became a prog hymn on Sagrado's live performances. Fast, dynamic, majestically and strongly explores Vivaldi's traditions on violin. I wouldn't be surprised if I knew that Viana was inspired by Saint-Saens piano techniques on this composition.

The option of singing the next track using an indigenous native language called tupi-guarani would be much more suitable if the lyrics didn't use writings of ancient greek philosopher Hermes Trismegisto. These writings are completely deslocated and unintelligible. I don't know tupi-guarani, but the translation to portuguese is included in the booklet. The mere fact of using this language to comunicate an aspect of greek philosophy doesn't fit in any way, not even considering the possibility that they wanted to unite two antique and different expressions of humanity. It would've been really better not to use tupi-guarani, or use it with an indigenous old story (MANY were documented and written by folklorist researchers, anthropologists, throughout the centuries), or even upon lyrics created by Viana.

Sailboat Body is a weak track, and the lyrics are just fine. Definitely don't reach the inspiration developed by the lyrics on the other tracks. It talks about yearning, in a mixture of melancholy and love, a good theme, but they didn't explore it well. At the end of the track there is this good harmony between the synths and violin, and that's all.

Next two tracks are the last ones of the album, and for me, can be considered as one unique composition. "Sacred" would be, in this case, the dynamic and outgoing part of it, and "Life is Tender" the smooth and introvert part. The lyrics are, again, wonderful. I'll reproduce two stanzas from Sacred.

"Burning flame of love, Wake up the bonfire Of the embers that resist Between the ashes of our dreams

Holy chalice of the heart Promise overflows the wine of life On the land of Men"

It was an interesting and challenging choice to reverse roles on these two songs. Vanessa sings Sacred, which speaks of what could be well represented by the mythology of Phoenix ? in this particular case, connected with the powerful and outrageous side of love and hope. On the other side, Viana develops the chant on Life is Tender, which has a much more delicate and soft mood.

The first half of the last track can be undoubtedly credited as a lullaby, by the way they explore the keys and the bamboo flute. And the second half, that begins exactly when he sings "turn on all the lights of the inner universe", is a fantastic harmony with harp, violin and synth. Musically perfect; it's a pity that the last stanza looses a lot of its kindness and beauty when translated to english, because it makes some tricky uses of semantics and symbols. I prefer to let this task to a more prepared translator than me.

In this review I already scored the instrumental part of the album ? 3.8. My score to the lyrics is 4.6. That makes kind of a 4.2 for this debut.

This is the most legendary Brazilian progrock formation, founded in 1979. Between 1983 and 2003 Sagrado released six studio albums and two compilations (one with vocals and one instrumental). In 2009 the band celebrated their 30th anniversary, this culminated in their first DVD entitled Una Historia Parte 1. After a long period of silence in 2013 Sagrado returned to live performances with a remarkable band, in fact a fusion between the old and the new Sagrado and the Transfônica Orkestra. Marcus presented us a repertoire including gems of the band´s earlier works and new songs. All worked up with the same textures that have always featured the progressive, ethnic and symphonic Sagrado. The Sagrado comeback also featured the magic presence of vocalist Sérgio Pererêd, finally an old Marcus Viana dream came true!

The DVD contains two concerts (each with an additional interview, you can choose between Portuguese and English), a docu about Sagrado in all those years, photos, a gallery, a bonus track and a discography.

The first concert (around one hour) is from 1989, recorded in Belo Horizonte, the video quality has been upgraded pretty well. The atmosphere is close to euphoric, we can enjoy seas of blue light and all members are in the spotlight. Sagrado (including founding member and multi-instrumentalist Marcus Viana) their sound is wonderful, very melodic and harmonic 24-carat symphonic rock with obvious classical undertones. The musicians are very crafty and they also look very happy on stage.

The first track Abertura De Ícaro is an excellent start: a sumptuous climate with lush keyboards. Then the song Asas delivers passionate vocals and moving guitar runs. In the second part Marcus Viana showcases his excellent violin play. His instrument dominates the rest of the concert in the other seven tracks: a spectacular solo after a church organ sound in Cosmos x Caos, beautiful interplay with his brother Andersen (on flute) in O Futuro da Terra (also featuring Hackett-like guitar with volume pedal), an extensive solo in the vein of jazzrock virtuoso JL Ponty in Sagrado (including a sensational bass solo) and a tight rhythm with strong interplay between violin and electric guitar in Farol Da Liberdade. The second concert was recorded during the annual Rio Art Rock festival in 1996, the video quality is no more than acceptable but the musical value is very interesting. Especially during the first composition entitled Gypsy Rhapsody, I am delighted about this great tribute to the Balkan folk music (I love the passionate gipsy violins). The highlight is an awesome duet between Marcus his swirling violin and the acoustic guitar player, goose bumps!

So after 30 years the many fans of Sagrado can enjoy two live registrations and a lot of bonus on this DVD. What a classy band and how beautiful and exciting is their performance, in my opinion this is a Latin-American progrock document, a masterpiece! Unfortunately until now no Historia Parte 2 ?

Absolutely superb - pure delight!

I regularly evaluate countless of albums on recommendation. Some works are OK, some are better, but it's rare to come across something really fresh and truly exciting. This album is one of those. Frankly, I am completely floored by this. To call it a touch of genius would be an understatement, not kidding you here!

One could be excused for assuming some Latin rhythms from a Brazilian band. Well, not here, not on this album. It's pure and very unique Prog of the highest degree. All instrumental work of hauntingly beautiful melodies delivered with incredible skill and absolute precision, but don't let it fool you, it's no lame dinner music. Far from it!

Dominated by violins doing remarkably wild runs, yet the overall effect remains symphonic and therein lies it's beauty. Superb compositions provide solid foundations for the instrumentation that transcend musical boundaries.

Imagine early Camel tunes with those subtle half-notes and chord changes, delivered by the Mahavishnu Orchestra on steroids... Indeed, this work is almost like an improvement on Mahavishnu. Big words, I know, but that's the impression I get here.But it doesn't end there as one is also reminded of better Tangerine Dream pieces - all in the same compositions and with fine balance. Just how is that possible, I don't know, it's hard to fathom, but that's just how it is.

Brilliant improvisations on keys, solid, but not too dominant guitars, excellent percussion work complement the violins and this energetic delivery is carried through the entire album. It makes me wonder if the end result could be any better? Probably not, or at least hard to imagine so. I am in love with this album to the point that it would form part of my 25 "Desert Island" selection.

It's a rare find and would please many. My rating on this masterpiece is 5 plus.

As with almost every Sagrado Coracao da Terra release, the follow-up of the self-titled debut had a vastly different line-up with flutist Andersen Viana being the only member linked to both albums, except of course for Marcus Viana.The ''Flecha'' album was released in 1987 in CD by Sonhos e Sons and LP by Arteciencia, while the next year it was also issued in Japan, where the band was already quite popular, on Crime Records.

The eponymous opening track became very popular after being included in the soundtrack of the TV series '' Que Rei Sou Eu?'' and shows the sensitive approach of the group.The whole first side of the original LP is actually pleasant Symphonic Pop with some very sweet vocals by Viana and the two guest female singers, always directed by some melodic violin lines and dreamy keyboard and piano parts.The Classical influences are obvious through these tracks, which however hold a very ballad-esque attitude.On the other hand the limited room for some instrumental themes works nicely, featuring beautiful soundscapes with violins, piano and synthesizers in evidence.

The second side is a good proof of Sagrado's more adventurous side.The short intro ''Tocatta'' is nice instrumental Electronic/Symphonic Rock with balanced organs and synthesizers, leaving its place to the long ''Cosmos x caos'', an ethereal Symphonic/Fusion composition, like THE ENID performing with JEAN-LUC PONTY.The vocal parts still have a poppy flavor, but the music is quite great with sudden breaks, bombastic violins and keyboards and symphonic textures with a dramatic atmosphere.''O futuro da terra'' sounds extremely close to THE ENID.Long piano interludes, ethereal flute melodies and floating synthesizers combine with Viana's crying violin to offer another nice piece of mellow Symphonic Rock.

Sagrado's style still retains this unbalanced delivery of Symphonic Rock mixed with Pop aesthetics, but the instrumental textures of the album have been developed in a great way, thus delivering at moments highly melodious yet demanding music.Good and recommended album.

For whom is not in the habit with this important prog band from Brazil (Their homonimous debut album, plus "Farol da Liberdade" and "O Grande Espirito" are true must-have among the others melodic symphonic works...), this collection could be a good place to start with them: perhaps you could start with "Rapsodia Cigana" to get an inkling of Marcus Viana's grandeur and then to "taste" something from their excellent debut album you could prosecute with "Sagrado" and "A Gloria Das Manhäs" plus "Deus Dançarino" (probably it should have been better to insert something from "Farol da Liberdade" into, like the jewel "Dancas das Fadas" or "The Central Sun of the Universe", but nevermind).Moreover you can find their fine tune "Tocatta" taken from "Flexa", side 1 (but side 2 is to be forgotten) and something else which is unedited...of course it's not their best album, but you can have an idea of them, by means of this short resume.

is a great satisfaction even talk about this album because it is a band from my country and be one of the best albums of Brazilian prog. The sound of SCT blend the best that is in the symphonic prog leading to extreme violin from Kansas with touches of camel and a clear influence of regional rhythms of Brazilian music and creating an environment full of heavenly feeling. "Dan'a das Fadas" led by the violin and characterized it seems any rebuilding works of Beethoven or Mozart soft touches of flute and bass and weight characteristics. "Solidariedade" joined the best that the camel had with violins and guitars and beautiful nuances of break time. "Amor Selvagem" with lyrics that mix romantic love and appreciation of the natural resources of Brazil with a beautiful atmospheric environment. "Pantanal" brings an interesting rhythms carried by regional qubrada shy violin and keyboards and testing of natural effects. "Ov'dia" transition effects to the next track. "Farol da Liberdade" the title track has a footprint more neo prog but returns with blazing fast guitar work. Intense until the end. Amid the constant symphonic environment seems to have been made with the soul. "Raio e Trov'o" timid line neo prog mix of flamenco and a little symphony. Interestingly the original size of the violin arrangements on several tracks. "The core of the Sun of Universe" epic filled with atmospheric sounds and repetitions, perhaps the weakest track on the album. Farol da Liberdade 'captures what is symphonic prog with lots of creativity and originality, perhaps one of the main prog albums from Brazil

First thing i have to say : the very good quality of the images and sounds. Maybe I miss a DD5.1 only D 2.1.

Mostly songs from the two first albums and mainly Flecha. Concert of 1996 in Rio are excerpts from mostly Grande Espirito(a more harder time of Sagrado)Very, very symphonic(two keyboards and a violin),very orchestral and beautiful.

Marcus Viana geniality is fully demonstrated here.Very good composer, violinist and singer too. Very good musicians accompany him. Very nice scenario too.

This part is of course the most ambient spacey symphonic ...then Sagrado went to a more hard tendency . So hoping for such a good Part 2

4,5 stars

Hyped theme from 2001 Space Odyssey ? Hell yeah & Prog on. Actually, I did get this album by blind luck and so I didn't know about it being compilation. I intended to look on PA later to do my review, complain about how uneven this album is (full of perfect and average tracks with few ambient boring ones - bad way of doing ambient), how good some moments are, but instead, I ended here, on my I suppose tenth Boxset&Compilation review.

As I said, this is very good album. As somebody else on this album page said, this is perhaps good place to start with their music. I'm surely interested a lot, as this lovely combination of classical & rock music is different than in other Latin (you know what I mean) bands, which, although good, sounds quite alike in this manner. Very powerful music at times (Power Prog without metal?). Perhaps that's the point, diversity of this album, but it doesn't work all the times. Or just some tracks aren't good for me and will be for others. Hell it, this is my review.

3(+), let's await other albums with sheer interest.

EDIT: Lowering of rating, because even it's good, it's not so good.

***1/2 in fact, but Side 2 of this 1987 vinyl : "the symphonies" gets 5 star to me : "Toccata" plus "cosmos x caos" and the instrumental "o futuro da terra" are among the best SAGRADO compositions, they are "organic" full of life, not "high tech cloning prog". So this and 1st Sagrado (1985) are hero records, showing that prog survived as independent acts around the world though 80's. Hey, "dark ages" was for Prog mainstream, NOT TO independent acts. The advantage of the 80's heros (SOLARIS, IQ, CODA, ICONOCLASTA, DIFFERENCES "the voyager", MARILLION, etc.), is that they kept the innovation and self expression spirit that nowadays seems reduced to virtuoso-high tech 70's cloning. See my CODA and ICONOCLASTA reviews, please.

If you begin to listen "Flecha" side 1- "the songs" you can consider the 80's beat influence (few) annoying. Side 1 is made of sweet songs blending symphonic, Minas Gerais state melodic music (romantic) and many prog touches. The lyrics are so positive and beautiful I get full of good energy, only the 5th "carinhos quentes" is boring. So if you want prog, you should skip to side 2 tracks 6, 7 and 8. Here you find symphonic prog, better style comparisons goes to BANCO, QVL from Italy. Originality is SAGRADO CORAÇÃO DA TERRA (translation : Sacred Heart of Earth) high point so if you prefer to feel comfortable with ala Yes-Genesis models ore others models forget SAGRADO, as they sound innovative like the true spirit of progressive music is. As I mentioned side 1 is song oriented but is neat, so I'll keep 3,5 stars.

I choose their 2nd vinyl to review also because, in 1987, Marcus Viana (violins, keyboards, compositions ands vocals) was still an unknown artist from Minas Gerais state. Later he became very famous here in Brazil for lots of soundtracks and new age solo albuns., And even for French MUSEA label SAGRADO was elected one of late 80's early 90's best band. Overall maybe their best record is the 4th "Grande Espírito" (1994). There's no track from "Flecha" chosen for the "Sacred Heart of Earth" 2001compilation anthology CD. This anthology is all sung in English, but I prefer SAGRADO "in natrura" singing in Portuguese.

If you like (or even if you don't), Ezra Winston, Kerrs Pink, Rousseau, North Star, Vermilion Sands, Halloween from France, these bands composed especially for "Seven Days of a Life" MUSEA team concept CD : the cycle of the journey through Life. The result is GREAT, believe this cosmopolitan project works ! "Seven Days of a Life" is a ****1/2;1993 CD with only unpublished material, except the SAGRADO "the central sun of universe" which was also composed to this CD, but due to long delay was allowed to appears at SAGRADO 1991 3rd CD "Farol da Liberdade". By the way the project idea was old as all bands recorded the cuts around 1991, but the CD was released only in 1993 . Please, take a look at my "Seven Days of a Life" review.

Undoubtfully SAGRADO CORACAO DA TERRA is one of the most well known groups ever to come out of the strong brazilian progressive rock scene.SAGRADO had a bif and succesfull career in Brazil and the main man behind the group was the master of violin Marcus Viana.We are talking about 1985 here when the band made their debut with one of the most uneven albums I've ever heard...

...and we are not talking about different style of tracks but also about uneven parts in the same track!For example ''Arte do sol'' contains some excellent symphonic piano work and fine violin solos by Viana but where the vocals are added the track turns to cheesy...or even the longest track of the album ''A gloria das manhas'' where the first part of it delivers boring keyboard/flute work in a hypnotic slow tempo while the second section delivers some intense piano and nice work by Viana on violin...What about the rest of the tracks?Well some of them are far out of prog purposes and it is obvious that the band tries to approach a wider audience like the ballads ''Asas'', ''Corpo veleiro'' and ''A vida e terna'' which have a sound and vocals close to the soundtracks of the most famous love stories in brazilian soap-operas...''Memoria das salvas'' is track influenced by the brazilian tradition with little interest while ''Deus dancanarino'' and ''Sagrado'' contain some nice symphonic work with beautiful keyboards and classical influenced violin...

Unfortunately,and despite the fine moments, over half of the album contains rather pop influened music or some uninteresting moments while the rest of the album has a symphonic sound that,in my opinion,remains undeveloped or unfinished...So it is better for you to leave this album out of your collection...Only for collectors and fans of the band...2 stars...