Barão Vermelho

Barão Vermelho merits recognition as the pioneering Brazilian rock group, since Blitz achieved the earliest commercial traction within the variant of the style that emerged in Brazil during the 1980s yet remained essentially a pop outfit touched by only modest rock elements, whereas Barão Vermelho pursued an unfiltered rock intensity from its outset. The ensemble originated as an informal project among school acquaintances. Keyboardist Maurício Augusto Carvalho de Barros and drummer Flávio Augusto Goffi Marquezini began by covering Led Zeppelin and the Rolling Stones numbers in the garage belonging to Barros’s father near 1980. Guitarist Roberto Frejat soon completed the core lineup, followed by bassist André Palmeira Cunha, known as Dé. Seeking a singer, the musicians first approached novice Leo Jayme, who favored a milder pop direction and instead recommended Agenor Miranda Araújo Neto for the role. Performing and composing as Cazuza, the newcomer would energize Barão Vermelho’s stage presence before embarking on a prosperous solo trajectory, aided by his status as the son of an artistic director at the major label Som Livre. Cazuza and Frejat together authored nearly the entire catalog, which received its initial public airing at a Morro da Urca concert where the band opened for funk performer Sandra Sá, later known as Sandra de Sá. Although the appearance proved disastrous, a demo tape of the set reached rock critic Ezequiel Neves, who responded enthusiastically and convinced Som Livre producer Guto Graça Mello to record the group. Their self-titled debut album, named after a Peanuts comic-strip character, appeared in September 1982 yet failed to attract listeners. The follow-up, Barão Vermelho 2, issued in 1983, likewise sold poorly until two prominent MPB figures brought attention to the band’s songwriting: Caetano Veloso performed “Todo Amor Que Houver Nessa Vida,” credited to Cazuza and Frejat from the first album, while Ney Matogrosso scored a hit with “Pro Dia Nascer Feliz,” also by Cazuza and Frejat from the second album. The label promptly released a single version performed by Barão Vermelho, which achieved still greater success. In the subsequent year the motion picture Bete Balanço, directed by Lael Rodrigues, featured a theme composed by Cazuza and Frejat and performed by the band, which also appeared on screen. The youth-oriented film drew 1.4 million viewers and helped establish the conditions for broader acceptance of Brazilian rock in its most visceral form. Maior Abandonado became the group’s commercial breakthrough, propelled by its title track and “Bete Balanço.” The film and band’s rising profile were underscored at the Festival Bete Balanço de Rock, where Lobão & Os Ronaldos, Celso Blues Boy, Titãs, Brylho, and Metralhatxeca joined Barão Vermelho in presenting the soundtrack live. In January 1985 the band played twice at the inaugural Rock in Rio festival. By late July, Cazuza exited to pursue his solo career, weary of collective responsibilities. With the scheduled fourth album abandoned, Frejat assumed vocal duties and recorded “Torre de Babel” for a TV Globo special; the track became a hit and cleared the path for Declare Guerra, issued by Som Livre in 1986, which included Cazuza’s contributions to “Um Dia Na Vida,” “Maioridade,” and “Que o Deus Venha.” Poor distribution prevented the album from gaining traction and prompted the band’s move to WEA, where they released the comparatively lighter Rock’n Geral in 1987. In February 1988 Maurício Barros departed; guitarist Fernando Magalhães and percussionist Peninha, whose full name is Paulo Pizziali, joined, resulting in Carnaval, a return to hard-rock textures highlighted by the single “Pense e Dance.” During the ensuing tour, in June 1989, the live album Barão ao Vivo was captured at the DamaXoc nightclub amid extensive promotion. At the 1990 edition of Rock in Rio, the audience registered the absence of bassist Dé, whose characteristically ironic demeanor was missed. Although Dadi, formerly of A Cor do Som, supplied the bass parts for Na Calada da Noite, the substitution remained undisclosed until May, after the album’s completion, an outcome that coincidentally aligned with the record’s title. The release coincided with Cazuza’s death from AIDS on July 7; one track, “O Poeta Está Vivo,” alluded to the poet’s continued presence. In 1996 the band scored another hit with “Malandragem, Dá Um Tempo,” written by sambista Moreira da Silva. Additional releases encompass Supermercados da Vida from 1992 on WEA, Carne Crua from 1994 on WEA, and Álbum from 1996 on WEA.