Os Mutantes Albums (9)
'Haih...Ou Amortecedor...'
Release Date 9/4/2009
Tracks 13
Label Anti
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What The Critics Say
Reunited (partially) in 2006 by the acclaim of their fans, Os Mutantes sound just as vital as they did back in 1968 on Haih...Ou Amortecedor..., their first record together in 30 years. Unfortunately, the original trio is only one-third represented. Specifically, there's no Rita Lee (who was replaced in 2006) and no Arnaldo Baptista (who appeared in the 2006 reunion but decided to continue as a solo act). Still, the band -- now a seven-piece -- gets songs from Tom Zé and Jorge Ben, as well as the band's prime songwriting linchpin, Sérgio Dias. Tropicalia fans yearning for another "Panis et Circenses" won't find their hopes far off the mark; although there's a noticeable lack of production experimentation, the band's strengths are all here -- bright songs, absurdist yet anti-fascist lyrics (Putin begins the album in chilling fashion), sprightly backing harmonies, and the occasional spiky, piercing guitar solo from Dias. Bia Mendes does a surprisingly good job replicating Rita Lee's singsong whine, taking over on "2000 and Agarrum," which updates 1969's "Dois Mil e Um" for the 21st century. ~ John Bush, All Music Guide
'De Volta ao Planeta Dos Mutantes'
Release Date 7/1/2006
Tracks 28
Label Universal
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What The Critics Say
De Volta ao Planeta Dos Mutantes is an alternative 27-track compilation of the work of Os Mutantes. The idea of this kind of release, containing less known and rare tracks by this legendary band is very welcome. Sadly, this double CD falls short of its goal as it doesn't include excellent rarities such as "Suicida," "Mande um Abraço pra Velha" or "Apocalipse," which have been released on other, similar efforts. "Glória ao Rei Dos Confins do Além" is a real gem. Tracks like "Canção para Inglês Ver/Chiquita Bacana," "The Rain, the Park and Other Things" and "Cinderella -- Rockafella" are not nearly as essential. The bulk of the 27 cuts here consists of tracks like "Jogo de Calçada," "Hey Boy, Rua Augusta Oh! Mulher Infiel," in other words lesser known tracks that do appear on Mutantes' regular albums. Although most of these are great music, on a compilation like this it would have been much more productive to substitute them with previously unreleased material. ~ Philip Jandovský, All Music Guide
'A e o Z'
Release Date 3/27/2006
Tracks 6
Label Universal International
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What The Critics Say
There are six tracks on this 1973 album from Brazil's whacked-out Os Mutantes, who had mutated into a band without Claudio Baptista or Rita Lee. Arnaldo Batptista and Sergio Dias were still present and Dinho and Liminha had joined up, but the sound was completely different without Lee and Claudio Baptista to curb Arnaldo's drug-addled excesses. In fact, "A" e o "Z" sounds like a cross between Emerson, Lake & Palmer and PFM with Alex Chilton and Freddie Mercury on vocals. The heavy-duty Hammond organ and mellotron sounds are overbearing in the mix, especially as Dias treats them electronically, giving them more of an oppressive share of the soundscape. There are tons of key changes and arpeggios floating through the songs that make these pieces seem like aural poetry set to a confused combination of boogie rock and prog narcissism -- check the title track, "Voce Sabe," or "Hey Joe" (no, not that one); with all the noodling going on and the crescendoing keyboards it's difficult to find a song in there anywhere. The saving grace on the disc is "Rolling Stones," with the killer interplay between the rhythm section that sounds more like Tim Bogert and Carmine Appice than Os Mutantes, but it still rocks, and then there's Dias' guitar: never overplayed, always in the cut, and always on the edge with a honey of a riff or a run. Too bad he didn't have total artistic control of the band at this point. It was seriously all over after this one. ~ Thom Jurek, All Music Guide
What The Critics Say
In 1970, Os Mutantes re-recorded in English a full LP's worth of their best songs, apparently hoping to crack the American and European market. (Brazilian expats Caetano Veloso and Gilberto Gil would make the same move, for political reasons, one year later.) If ever, the late flowering of the psychedelic era was the perfect time for a Mutantes breakthrough, considering the trio's zany songwriting sense and even more anarchic production methods. And though the album never saw release until the next century -- Western audiences proved far more understanding of Sergio Mendes' easy-pop version of Brazilian music forms anyway -- Tecnicolor acquired a new lease on life when it was finally reissued in 2000. By no means did Mutantes commercialize their sound. The tape-music experimentation and freak-out guitar lines are, if anything, farther out than the first few Mutantes LPs. Though a few of the tracks -- "Panis Et Circenses" especially -- lose much of their cache with the addition of English lyrics, for the most part these versions equal or even better the originals. ~ John Bush, All Music Guide
'Mutantes E Seus Cometas'
Release Date 10/19/1998
Tracks 10
Label Universal
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'E Seus Cometas No Pais Do Baurets'
Release Date 1/1/1972
Tracks 9
Label Polydor
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What The Critics Say
The fifth album from Os Mutantes was officially their last, although they would record another one in the same year, released as Rita Lee's solo album. There was little sound technology available, so they had to invent their own wah-wah, flanger, and phaser pedals, sound systems, and more. The second track is an acoustic ballad where the innocent voice of Rita Lee presents the love declaration of a bitch to her dog, backed by a bumbo leguero (typical instrument of South American countries and a trademark of protesters against dictatorship). It is no surprise that they were hated by the government: censorship delayed the release of the album, due to the title and the lyrics of "Cabeludo Patriota" ("Hairy Patriot"). Os Mutantes changed it to "A Hora E A Vez Do Cabelo Nascer" and added some noise over the censored lyrics. That leads you to think that their debauchery, irreverence, and utmost ignorance and alienation in relation to the grave happenings of the time produced some serious awareness. On the properly musical side, they show uncanny virtuosity in several different styles (rock, funk, ballad, jazz-rock) in tracks longer than the usual, filled with improvisation and beautiful and challenging solos. After so much effort to not be taken seriously, "Balada Do Louco" ("Ballad of the Insane") may pass unperceived. Its deep existential meaning, dealing with the feeling of rejection by society for not conforming to its standards, is an important song that may provide with some understanding for Arnaldo's mysterious suicide attempt in the '80s, at the same time serving as the key for understanding their concept: "I swear that it is better to not be the normal/If I can think that God is me." ~ Alvaro Neder, All Music Guide
What The Critics Say
Jardim Elétrico is a natural follow-up to Os Mutantes's previous effort, A Divina Comédia Ou Ando Meio Desligado and a step further away from the '60s psychedelics that characterized the groups first two albums. Some consider Jardim Elétrico to be the beginning of the decline of Os Mutantes, but the album is very popular among the fans of the group. One of the absolute highlights of the album is the humorous "El Justiciero," which features Spanish lyrics and also some Spanish-style guitar play. Other great songs are "Tecnicolor," which has lyrics in English, the melodious and slightly Beatlesque "Virgínia," and "Tudo, Tudo, Tudo," a song that features a bluesy mouth harmonica. On these and other tracks on the album, the music of Os Mutantes is just as playful and creative as ever. On the whole, this is a very enjoyable album that will almost certainly appeal to any fan of the group. The casual listener, though, will probably be better off starting with one of the group's three first albums. It may be worth noting that five of the songs on Jardim Elétrico were really recorded in France in 1970 to appear on the album Tecnicolor, which aimed at the international market, but wasn't released until the year 2000. To get hold of these songs, Jardim Elétrico is definitely a better choice than Tecnicolor. ~ Philip Jandovský, All Music Guide
