Fury – the history and stories of heavy metal in Brazil
Chapter 2: Crusader, the Landing in Brazil
By Luiz Cesar Pimentel & Wikimetal
It might seem strange to point to the creation of a fanzine as the genesis of a style. But it was a time when the circulation of written, spoken, or recorded information was equally complex in all forms.
The scene was born from the "Rock Brigade," and it became clear that heavy metal fans were circulating without a unifying factor, and bands began to form.
The debut issue of “Rock Brigade” consisted of 12 pages and was signed by Edu “Schenker” (Eduardo de Souza Bonadia), Roney “Gillan” (Roney Slemer), Ricardo “Di'anno” (Ricardo Oyama), Roger “The Sinner” (Roger Slemer), and Tony “Moon” (Antonio Pirani). The nicknames are references to Rudolf and Michael Schenker, German guitarists from Scorpions, Deep Purple vocalist Ian Gillan, former Iron Maiden vocalist Paul Di'anno, and Keith Moon, former drummer of The Who.
The first edition of the fanzine features articles about Deep Purple, AC/DC, Ozzy Osbourne, Uriah Heep, Motorhead, Def Leppard, as well as translated lyrics – “Rock Brigade” by Def Leppard, and “You Can’t Kill Rock’n’Roll” by Ozzy. An insert includes a list of recordings.
Here, it's worth taking a moment to explain the importance of recordings. The CD was invented around that time, but it only became popular almost a decade later. Therefore, the way to copy music was by exchanging these recordings on cassette tapes. Every self-respecting fan had a typed list.
Stores, like the aforementioned Woodstock, were not just places to sell records and band merchandise, but meeting points where fans brought lists of recordings they had (usually pirated copies of copies of copies of the 10th copy of a show; therefore, with quite poor quality) and practiced bartering.
There were even official suppliers, guys who had good connections outside of Brazil and who received, reproduced, and sold the best "pirates" (at that time, the term "pirate" meant a show recorded and distributed unofficially, not someone who downloaded music or movies).
I admit I was one of them, and for a long time it was my way of getting money to buy imported records that arrived in Brazil at almost prohibitive prices.
Let's return to the then-new fanzine Rock Brigade. Here's a reproduction of a good portion of the debut editorial:
"Hello everyone, here we are with our (including you) first newsletter. It seems our intention is already known, but it's worth repeating: to try in every possible way to promote HEAVY METAL ROCK. To that end, this newsletter will be the starting point, to bring you ideas and information. And we hope that you will also participate; any suggestions, criticisms, tips, etc., will be well received.".
(…)Another important thing is that we try not to act like know-it-alls, know-it-alls, or pseudo-intellectuals. In other words, we will try not to be “critical,” at least not in the pejorative sense of the word. We will try, above all, to praise and glorify what we like, to perpetuate HEAVY METAL, and not to criticize this or that. It simply won't be important for us to spend time and paper criticizing other “pseudo-musical movements” (you know what I'm talking about, right?) and comparing them to the eternal HMR.
Well, attached to this is our catalog for recordings. As soon as possible, we will send you the list of pirates. (...) And it's also good to make this talk about money very clear: nobody here is trying to make money, but of course we need to charge for the subscription and the recordings, OK? LONG LIVE HEAVY METAL ROCK.”.
To give you an idea of the speed of information in the early 80s, the main highlight of the second issue of Rock Brigade, from May/June 1982, was the death of guitarist Randy Rhoads, who played with Ozzy Osbourne, which had occurred three months earlier. Still considered one of the greatest heavy rock guitarists, Rhoads died in a plane crash on March 19 of that year.
But the edition contained the first note about the formation of a heavy metal scene in the country. In fact, it was a tip for the audience:
"ROCK SHOW is the name of a movie theater here in São Paulo that only shows rock concert films. They've shown Black Sabbath, Cream, Kinks, Hendrix, Queen, Stones, Thin Lizzy, etc. It's located in Calcenter, it's worth checking out.".
It wasn't a movie theater. It was a room in a shopping center (you can't really call Calcenter a mall, either) located on Avenida Brigadeiro Faria Lima, in the heart of the traditional and refined Jardins neighborhood in São Paulo.
In the room, about 20 plastic chairs were always occupied for the broadcast of some heavy metal show in VHS quality. It was the closest thing to a live performance. The Brazilian road for bands to perform here would open the following year, with the legendary shows of Van Halen, in early 1983, and Kiss, in the middle of the year.
At a time when at least two rock or metal bands perform every weekend in the country, it's difficult to put into perspective and give a true sense of the scale and importance of these two series of performances in Brazil.
But let's try to recreate the facts from that time.
Van Halen's schedule was:
January 21/22/23: São Paulo – Ginásio do Ibirapuera;
January 25/26/27: Rio de Janeiro – Ginásio do Maracanãzinho;
January 28 and 29 and February 1: Porto Alegre – Ginásio Gigantinho;
The basic set list of the shows was:
01) Romeo Delight
02) Unchained
03) Drum Solo
04) The Full Bug
05) Runnin' With The Devil
06) Jamie's Cryin'
07) Little Guitars
08) Bass Solo
09) Beer Drinkers and Hell Raisers
10) Little Dreamer
11) Mean Streets
12) Dance The Night Away
13) Somebody Get
Me
a
Doctor
It's worth reproducing part of the press conference the group gave, which was published in the newspaper "Rock'n'Roll News," showing the naiveté of the press regarding rock music.
====================
Newspaper: Would you define Van Halen's sound as Heavy Metal?
David Lee Roth: I don't think Van Halen plays heavy metal music. Heavy metal is a very specific thing. If you do something very specific, it'll be like working a regular job eight hours a day. That's not how we do our work.
Newspaper: So how do you define the sound you guys make?
DLR: It's a mix of various musical styles. We are four different personalities, but the root is the same: rock'n'roll. Really, we are four different personalities. The music I like, these guys can't stand… And what they like, I can't stand…
Newspaper: What kind of music do you like?
DLR: Well, the music I like and listen to has nothing to do with rock and roll. I like classical music, Billie Holiday, Al Johnson.
The press asks the four to introduce themselves. The translator says each of their names and they perform the traditional Three Stooges routine… (applause)
DLR: People always think Van Halen is just rock 'n' roll, but that would be like someone always marrying their own family. Eventually, you'd probably have mentally challenged children… And that happens very often with rock music, disco, or any other form of music. I think it's better to steal a little from other influences, and you're looking at the four greatest music thieves of all time… (laughs). Van Halen always carries the influence of other countries. Van Halen isn't just music, it's a lifestyle; what we want is to have fun, travel, and try to maintain mental health. Rock 'n' roll is far superior to just music because it includes much more, from the time you go to bed; or maybe you don't even go to bed, which usually happens with us…
Newspaper: What do you know about Brazilian music?
DLR: All I know about Brazilian music is that I bought a lot of blank cassette tapes and brought back a really good stereo system… (laughs)
Newspaper: You don't know any authors?
DLR: It's almost impossible to find out anything about South America, except that South America is a great revolution. And that's the pure truth. The newspapers, the press, the radio stations comment on it. The United States is very intimidated by South America, and that's possible because, after all, Brazil is bigger than the United States (laughs). Damn, you know how Americans are…
Newspaper: How do you explain Van Halen's success?
Eddie Van Halen: Van Halen's success? How? We're starving..
DLR: Van Halen's success is based not on trying to reach the pot of gold at the end of the rainbow, but on having fun while we're on the rainbow. Yes, we'll make some money on this tour, but every penny goes towards producing this show. We just want to play, and while you're watching us here in Brazil, and when other bands come to visit you, that's exactly what's going to happen. We want to play, and you'll see it. You girls will probably see a lot more…
Newspaper: You made your own guitar, right? Why? Do you think you can get a different sound out of it?
EVH: No one can say that what makes the difference is the wood we play with.
DLR: Everyone thinks we get the sound through our equipment. A lot of people come into the studio and play the studio instead of playing the instrument.
EVH: My guitar cost two hundred dollars to assemble, whereas it would have cost me 1,200 dollars to buy a ready-made one.
DLR: In reality, what we put on stage is a lot of light and a lot of sound. But the equipment is very cheap. What you hear as an amplifier is the same equipment you hear here in the hotel bar. All the equipment is very cheap. But you have to know how to use it. Everyone has an instrument, you just have to know how to use it… (stands up and dances).
Newspaper: Is it true that you've been practicing Karate since you were 14?
DLR: Yes, my personal life is guided by physical things. That's the aesthetic, the magic combination. I'm not good at anything specifically.
Alex Van Halen: No? In one thing you are…
DLR: But I practice them all.
Newspaper: With the songs "Pretty Woman," "Dancin' In The Street," and "You Really Got Me," are you expressing a personal taste or are you simply trying to revive a hit?
EVH: I wanted to do Dancin' In The Streets, and David wanted to do Pretty Woman.
DLR: The general concept that defines what you're asking is very simple when it comes to Van Halen. We don't care what people think. We just want to play rock. We don't care who wrote it, what matters is that it's good rock. It makes no difference, we just want to have fun and play our music, and you're all invited to listen to it.
Newspaper article: Is it possible for Van Halen to return in the future?
DLR: We're going back to Brazil again, again, and again…
Newspaper: How do you define rock and roll?
DLR: Rock'n'roll is an attitude, it's something you can't learn. I can't tell you how to be a rocker, but I can see from your faces that you're not rockers…
Newspaper: You made a song with Michael Jackson, right? What did you think of that experience? Why did you do it?
EVH: I like all kinds of music, and I think this is proof of that.
Newspaper: How does your father feel, having given you a classical influence and suddenly seeing you making music full of screams, shouts, irritating music?
EVH: What do you think people thought of classical music when it was being composed? In 300 years, rock music will be considered classical.
DLR: I'd like to answer that question. Have you ever been to a religious service? Have you ever seen a voodoo ritual? Have you ever been to the circus? All full of shouting, screaming, people going crazy, drinking too much? Just like at your football games? And I think we're not going to give up either football or music. And if you want to be serious, that's exactly what therapy is. We need that. Some people need to seek religion, others need sports, and the rest come to Van Halen concerts…
Newspaper: I heard that on stage you're very athletic, acrobatic, doing jumps, etc. What do you do to stay in shape?
DLR: The idea is to interpret the music as it sounds. The truth is that in rock you can use your own creativity and the attitude you put out is what becomes rock'n'roll, and in the last five years I've done ballet, tap dancing, disco music, for ten years I've practiced Karate, I ski, I play tennis and I bring all these things to the stage. And this time, for you, on stage, I'm going to play tennis during the first song, like this… (He gets up and makes the gestures of someone playing tennis in slow motion, while Alex reproduces with his mouth the sound of the ball hitting the tennis racket). And this demonstration will cost you eight dollars.
Newspaper: Why do you use four bass drums, while most groups use one or at most two?
AVH: The music we play is basically simple… Complicated rhythms can't be played with just two bass drums. There's also a different kind of texture and vibration… (laughs).
Newspaper: I attended a Van Halen concert in America in 1980 and you were saying on stage, “Down with (Iranian Ayatollah) Khomeini,” and things like that. Is there any political undertone in your work?
DLR: No, no, no, what you saw in 1980 was that someone threw a sign on stage and I opened it, and it contained those words. You'll never hear me talk about religion, politics, or race. Because you know that after a group sells millions of records, it becomes internationally recognized, and I think it would be senseless to get involved with such things.
Newspaper: Your image is commercially marketed as a Heavy Metal band, and now you contradict yourselves by saying you're not. How do you explain that?
DLR: Last night I had a horrible nightmare. I dreamt that I got out of bed with my hair all messed up, more or less like now, and in the dream I left the room and everyone looked at my hair and said, “You can’t go out like that, you look like Robert Plant, they’ll think you’re heavy metal.” I ran back to the room and cut all my hair off and went out again, and they said to me, “No, you look like the Sex Pistols!”, and I said, “OK.” Then the dream got even worse. I went back to the room and put on makeup to cover my face and they said, “No, that’s Kiss!” I woke up, and I have to say I’m resigned to looking like heavy metal…
After all, what kind of music do you guys make?
DLR: Big Rock is a term we invented. And it's something that sounds big. We tried to invent our own category because, when it's all over, when there's no more Van Halen music, I'm sure they'll put us in a special place.
Newspaper: I think you're considered a great guitarist. Do you feel responsible for wanting to improve your playing?
EVH: (thoughtful) No! (laughs). The reason I play like this is that I was never taught anything. I think the best way to learn things is not to be taught.
Newspaper: Who is your favorite guitarist?
EVH: Edward Van Halen (laughs).
Newspaper: And then what?
EVH: Alex Van Halen, and then David Lee Roth and Michael Anthony…
Newspaper: What do you think of Eric Clapton?
EVH: Excellent.
Newspaper: And what about Jimmy Page?
EVH: Excellent.
Newspaper article: All bass players in general are quiet, like Bill Wyman for example. Are you like that too?
Michael Anthony: It's true that I'm very quiet backstage, but when you see me here in Brazil, don't get too close to me… (laughs)
====================
Less than six months later, it was Kiss's turn to perform in the country, and they went through the same difficulties.
The four were coming for the band's 10th anniversary tour and the release of their latest album, masked in this first phase, "Creatures of the Night/10th Anniversary Tour".
The shows took place in Rio (Maracanã Stadium, June 18), Belo Horizonte (Mineirão Stadium, June 23) and São Paulo (Morumbi Stadium, June 25)
The setlist didn't change from one show to the next.
01) Creatures of the Night
02) Detroit Rock City
03) Cold Gin
04) Calling Dr. Love
05) Firehouse
06) I Want You
07) I Love It Loud
08) War Machine
09) God of Thunder
10) Black Diamond
11) I Love It Loud
12) Rock and Roll All Nite
Another aspect of the Brazilian press was revealed during the shows – not just naiveté, but the disregard of the prevailing intelligentsia towards heavier rock and heavy metal. This was a characteristic that persisted until the internet gave a voice to the people and not just those who were part of the cultural sections of the newspapers at the time.
This is clear from the review that journalist Pepe Escobar wrote of the São Paulo show in the newspaper O Estado de São Paulo on June 27th.
"A pastiche of black mass.".
It was a relief, to say the least: São Paulo finally experienced, on Saturday night, in an arena – the most convenient setting – the heavy kiss of the orchestration of technological nihilism, a requiem for an era degraded in its most degraded form.
(…) A compact mass, occupying all the stands and practically the entire field: gangs of boys, many masked, between 15 and 18 years old, howling their war themes; two or three beautiful girls.
9 PM. Overcast sky, hidden moon, heavy raindrops—could it be the wrath of the Creator? One of the towers supporting the altar is leaning. Darkness, delirium. The enactment of all those collective fantasies of power and dominion is about to begin promptly.
The four Neros stand on the 80-meter altar – but from the stands, no one sees them, no one hears them, because the gigantic black boxes are poorly positioned, and the sound of their “message” comes out completely muffled. The ceremony lasts 1 hour and 25 minutes. In a way, they execute almost everything they promised: the 450 lights flash incessantly; smoke of all colors envelops the altar. There are loud bangs that frighten rather than provoke the faithful. One of the priests swallows fire at the end of an act – but that was more fun in the circus. Another is about to perform a solo on his sacrificial instrument; but he has no familiarity with it whatsoever. Result: the one who really plays – and this applies to the others as well – is the soundboard.
(…)No melody, no harmony. Who could even sing one of those barbaric hymns? (…)But then came the only moment when the tens of thousands of faithful at least seemed to immerse themselves in a state of communion with this pastiche of black mass: the priests repeated their best-known hymn, which begins with a tribal cry. And they finished with “Rock and Roll All Night” – an unfulfilled hypothesis – golden fireworks and more menacing explosions.
(…)Everyone was undoubtedly deceived. However, it was suspected that this version was at least competent.
But it was a highly enlightening sacrifice. Of course, rock 'n' roll is nothing like that: it's a vital force that burns us from within and overflows into the world; it's what we heard in The Doors, The Animals, The Velvet Underground, and today it's – these are just a few examples – in Talking Heads, Echo and the Bunnymen, Gang of Four, and David Bowie. A sensual fury that leads to intoxication, dramatic joys, a demand to quickly reach all limits. What was seen in the sacrificial arena of a tropical city the night before last was an allegory of a poor world, a world with its cybernetic angels, devastations within myths, burning melancholies of a perspective in which the motionless star of a long-loved destiny falls, and which ultimately ended up burning us all, from head to toe, like an electric fire. But there is a consolation: not just any deafening kiss can reduce our sensitivity to ashes.”
Hence the decision to mark the birth of the Brazilian heavy metal scene with the first issue of Rock Brigade.
However, it wasn't until the third issue of the fanzine that the first news about a Brazilian heavy rock band was published: the independent release of Patrulha do Espaço.
It wasn't even heavy metal. But the scene was set.
——
Read the Preface (aka Carmina Burana)
Read Chapter 1: Nativity In Black
Read Chapter 3: The First Explosion Happens in Belém do Pará
Help write the history of Heavy Metal in Brazil. Leave your comment; it may end up in the book, and your name will be in the credits, as this is the first collaborative, evolving, and innovative book written by all those who love Heavy Metal and want to record the history of Metal in Brazil.
