Artist: Lobao
Genre(s):
Latin
Other
Jazz
Rock & Roll
Rock
Discography:
A Vida E Doce
Year: 2004
Tracks: 11
Vivo
Year: 2000
Tracks: 13
O Inferno e Fogo
Year: 1991
Tracks: 11
Sob O Sol De Parador
Year: 1989
Tracks: 10
Cuidado
Year: 1988
Tracks: 9
Cena de Cinema
Year: 1982
Tracks: 10
Vida Bandida
Year:
Tracks: 10
Ronaldo Foi Pra Guerra
Year:
Tracks: 12
O Rock Errou
Year:
Tracks: 11
Nostalgia da Modernidade
Year:
Tracks: 14
Noite
Year:
Tracks: 11
One of the artists wHO helped the inception of the style known as Brazilian stone emerged in the '80s. Lobão besides has a far-famed discography with expressive hits recorded by Marina and Nelson Gonçalves, among others, and promoted important discussions on the obscure subject of artistic rights in Brazil.
After his stretch in the important group VÃmana, Lobão began to work as a self-employed drummer, appearance on Fagner's LP Ave Noturna. He besides worked in that phase for Marina, Luiz Melodia, Walter Franco, Gang 90 & As Absurdettes, Lulu Santos, Ritchie, and Blitz. In 1981, he recorded his first solo LP, the sovereign Cena de Cinema. Several of its songs became classics of the nascent Brazilian rock, such as "Cena de Cinema," "O Homem-Baile," and "Cupid de Retrovisor." One of the founders of Blitz (together with Ricardo Barreto and Evandro Mesquita), the group would be a milestone in the consolidation of the Brazilian rock stylus. In the huge success of the early times, Blitz recorded the first album (As Aventuras da Blitz) with Lobão, but he derelict the grouping and its succeeder, nettled with its commerce. It was then when he finally convinced RCA to liberation his Cena de Cinema, which was unpublished until that time. Organizing the band Lobão e Seus Ronaldos, he recorded the new wave/techno pop album Ronaldo Foi Pra Guerra (1984) with "Me Chama." But the other members, among diatribes involving a junkie girlfriend of one of them, prohibited Lobão from his own band in that same year. In the adjacent twelvemonth, he worked as an actor in the celluloid Areias Escaldantes (Francisco de Paula). In March 1986, subsequently an captivity for marijuana and cocain possession, he released the record album O Rock Errou, where the death of Júlio Barroso (Gang 90) elysian a down button. Sambista Elza Soares appeared on the album, which pioneered in the rock/samba crossing over and the album sold C,000 copies. In 1987, Lobão recorded his "A Deusa do Amor" (with Bernardo Vilhena) with the old tuner years phenomenon Nelson Gonçalves (a rehabilitated junky) and was arrested twice due to do drugs possession, outlay a "season" at Ponto Zero while he recorded Vida Bandida, which sold 300,000 copies. Cuidado (1988) brought a more explicit approximation with arere via Ivo Meirelles. In November, condemned to captivity, he ran from the country until the sentence became empty in 1989. In that period, he recorded Shortness of breath o Sol de Parador. Vivo, his one-seventh album, with the involvement of the drum discussion section of the Mangueira triplochiton scleroxcylon school, was recorded live during the São Paulo and Rio editions of the II Hollywood Rock, where a pate revealed that Lobão had been the best performance in the audience's legal opinion. In 1995, he released Nostalgia da Modernidade and by and by became again the polemic epicentre of a treatment involving recording labels and artists, as he distributed his album via newsstands. In 1998, he released Noite, which exploited techno pop as critique, and in the year 2000 he promoted more than polemics defending the biotic community radios and denouncing the communication system of rules in Brazil as being a politicians' feud.
