Music Banter - View Single Post - Poesia Pois é Poesia; The Work of Lula Côrtes

anticipation · 01-08-2010, 03:16 PM

Satwa by Lula Côrtes (1973)

Track listing:
Satwa
Can I Be Satwa?
Alegro Piradissimo
Lia da Rainha da Noite
Apacidonata
Amigo
Atom
Blue do Cachorro Muito Louco
Valsa dos Cogumelos
Alegria do Povo

Recorded in 11 days in January, 1973, Satwa is the name given to the psych-folk collaboration between Lula Côrtes and Lailson, a young guitarist from Pernambuco. Lula had just returned from Morocco, a trip that would instill him with a love for Indian raga and Middle Eastern tonality, and had just met Lailson through mutual friends. The two bonded quickly, primarily due to their mutual love of probing their minds for truth through sonic explorations, and agreed to record an album together. What resulted was Satwa, a deft rebellion against Brazil’s military state relayed entirely through Lula’s sitar and Lailson’s 12 string guitar. The album holds historical significance as well; it is commonly cited as the first independent record ever released in Brazil. Listening to Satwa transports you to several different places in time, from the stately Spanish villas of the Inquisition, to the dusty roads of Lula’s native Paraiba, to a sand swept Arabian town at midnight. Satwa is essentially a jam session between the two artists; one that boasts the intricate fretwork of Robertinho and is best listened to beside a campfire or by moonlight.

Sadly, much of this album will bore most people. The guitar work is fascinating and elegant, while conversely gritty and soulful, but at times can be a bit tedious for those who prefer a bit more excitement in their music. However, the beauty of certain tracks cannot be denied, and the one I am most enchanted by is Apacidonata. It evokes such vivid imagery in my mind; I see a moonlit cave, with a solitary figure gazing at the stars through the trees and wondering what his place is in the world. Somber and powerful, the track draws you in, wraps you up in desperate passion and grants vision into the souls of the oppressed better than any rah-rah-rah punk or hardcore protest song ever could. Following Apacidonata is the jangly Amigo, another song that I really enjoy. There is a sort of western swing-type feeling to the song, and is reminiscent of the folk songs I heard as a young man in rural Mexico. Amigo flows so well, which I believe is a result of the wonderful harmony achieved by Lula and Lailson. Blending in perfectly with the previous track, Atom is more of the same jangly acoustics that reveal a quiet intensity evident throughout Satwa.

Blue do Cachorro Muito Louco is one of my favorite Lula tracks of all time, and on this album it features the ravaging riffage of Robertinho over the blues licks laid down by Lailson. Alliteration aside, I cannot get enough of the electric guitar here, especially when it’s coupled with Lula’s smoke-infested vocalizing. It’s like these two channeled some Muddy Waters or Howlin’ Wolf and ran with it, and I love it. In fact, the title translates to “Blues of the Very Wild Dog”, so there you go. Valsa do Cogumelos is a waltz that incorporates various forms of Brazilian folk genres, and is achingly nostalgic of the Portuguese classics of the past. The only slight against this song is that it’s basically a longer, more elaborate version of Alegro Piradissimo, albeit one with more of an Indian vibe going on.

Probably the craziest track on Satwa is Can I Be Satwa?, the reason being that this particular song showcases Lula’s eccentricities more than any other. It’s oddly funky, while still a bit grating to the ear due to the utilization of the sitar’s more traditional ballads. Regardless, Can I Be Satwa? is a wonderful little tune that might take a while to adjust to, but is definitely worth the effort when you get it.

Satwa is easily the most accessible album of Lula's discography, but it's importance lies in the foundation it sets for later recordings. From ragas to funk, soul and psychedlica, Satwa is vintage Lula and allows a gentle easing into the mind of Brazil's most overlooked virtuoso. The tiny towns of Pernambuco and Paraiba were the first to be blessed with Lula's music, but luckily they were not the last.

01-08-2010, 03:16 PM	#2 (permalink)
anticipation Music Addict Join Date: Jun 2005 Posts: 3,565	Satwa by Lula Côrtes (1973) Track listing: Satwa Can I Be Satwa? Alegro Piradissimo Lia da Rainha da Noite Apacidonata Amigo Atom Blue do Cachorro Muito Louco Valsa dos Cogumelos Alegria do Povo Recorded in 11 days in January, 1973, Satwa is the name given to the psych-folk collaboration between Lula Côrtes and Lailson, a young guitarist from Pernambuco. Lula had just returned from Morocco, a trip that would instill him with a love for Indian raga and Middle Eastern tonality, and had just met Lailson through mutual friends. The two bonded quickly, primarily due to their mutual love of probing their minds for truth through sonic explorations, and agreed to record an album together. What resulted was Satwa, a deft rebellion against Brazil’s military state relayed entirely through Lula’s sitar and Lailson’s 12 string guitar. The album holds historical significance as well; it is commonly cited as the first independent record ever released in Brazil. Listening to Satwa transports you to several different places in time, from the stately Spanish villas of the Inquisition, to the dusty roads of Lula’s native Paraiba, to a sand swept Arabian town at midnight. Satwa is essentially a jam session between the two artists; one that boasts the intricate fretwork of Robertinho and is best listened to beside a campfire or by moonlight. Sadly, much of this album will bore most people. The guitar work is fascinating and elegant, while conversely gritty and soulful, but at times can be a bit tedious for those who prefer a bit more excitement in their music. However, the beauty of certain tracks cannot be denied, and the one I am most enchanted by is Apacidonata. It evokes such vivid imagery in my mind; I see a moonlit cave, with a solitary figure gazing at the stars through the trees and wondering what his place is in the world. Somber and powerful, the track draws you in, wraps you up in desperate passion and grants vision into the souls of the oppressed better than any rah-rah-rah punk or hardcore protest song ever could. Following Apacidonata is the jangly Amigo, another song that I really enjoy. There is a sort of western swing-type feeling to the song, and is reminiscent of the folk songs I heard as a young man in rural Mexico. Amigo flows so well, which I believe is a result of the wonderful harmony achieved by Lula and Lailson. Blending in perfectly with the previous track, Atom is more of the same jangly acoustics that reveal a quiet intensity evident throughout Satwa. Blue do Cachorro Muito Louco is one of my favorite Lula tracks of all time, and on this album it features the ravaging riffage of Robertinho over the blues licks laid down by Lailson. Alliteration aside, I cannot get enough of the electric guitar here, especially when it’s coupled with Lula’s smoke-infested vocalizing. It’s like these two channeled some Muddy Waters or Howlin’ Wolf and ran with it, and I love it. In fact, the title translates to “Blues of the Very Wild Dog”, so there you go. Valsa do Cogumelos is a waltz that incorporates various forms of Brazilian folk genres, and is achingly nostalgic of the Portuguese classics of the past. The only slight against this song is that it’s basically a longer, more elaborate version of Alegro Piradissimo, albeit one with more of an Indian vibe going on. Probably the craziest track on Satwa is Can I Be Satwa?, the reason being that this particular song showcases Lula’s eccentricities more than any other. It’s oddly funky, while still a bit grating to the ear due to the utilization of the sitar’s more traditional ballads. Regardless, Can I Be Satwa? is a wonderful little tune that might take a while to adjust to, but is definitely worth the effort when you get it. Satwa is easily the most accessible album of Lula's discography, but it's importance lies in the foundation it sets for later recordings. From ragas to funk, soul and psychedlica, Satwa is vintage Lula and allows a gentle easing into the mind of Brazil's most overlooked virtuoso. The tiny towns of Pernambuco and Paraiba were the first to be blessed with Lula's music, but luckily they were not the last.