1970s
The 1970s started with the Progressive rock, the Hard rock and Glam rock, but is the period of the construction of the mutual interference between Brazilian pop music, MPB and rock.
Rita Lee (former Mutantes vocalist) started her own work with her band Tutti Frutti, with glam rock-like aesthetics. Other bands from this period include Casa das Máquinas with its music between Glam-hard-rock and Progressive, Patrulha do Espaço (also formed by a former Mutantes member, Arnaldo Baptista) between Progressive and Hard rock, Made in Brazil with its Hard rock (but in some songs already with the minimal characteristic of Punk rock), the pure Hard rock of Bixo de Sêda, Edy Star, with his pure Glam rock and the proto Metal band O Peso.
There were many Progressive rock bands in Brazil, such as O Terço, Mutantes (without Rita Lee), A Bolha (Hard rock with Progressive mix), Módulo 1000, A Barca do Sol, Som Nosso de Cada Dia, Vímana (in which Lulu Santos and Lobão started their musical careers), Moto Perpétuo and Bacamarte, which were very well known in Europe and the US by progressive fans. The Progressive rock band Som Imaginário had an experimental characteristic: Jazz, Bossa nova, Contemporary music, Impressionist music with the traditional Folk and Baroque from State of Minas Gerais resulting in a kind of a Brazilian Art rock version, and with renowned musicians: Wagner Tiso, Zé Rodrix, Tavito, Luiz Alves, Frederyko. Lula Côrtes and Zé Ramalho with their album Paêbirú that was originally released in 1975 (see 1975 in music), despite representing very well the Brazilian psychedelic movement of the 1960s and 1970s, it can be also considered like an experimental mix of Progressive rock and Brazilian Northeast folk music certainly. Another band with the only album, but today considered a classic of Brazilian rock is Karma with the work of the same name released in 1972: a forceful melodic Brazilian folk music with a vocal that remember The Byrds, and a bit of Progressive rock and Jazz, consistent orchestral arranges, and the famous Jorge Amiden's tritarra (a guitar with three arms).
From that time a genre named "Rock Rural" had in the Brazilian folk music and the rock its influence and some expressive artists are Zé Rodrix, Ave Sangria, Sá & Guarabyra, Ruy Maurity Trio, Almôndegas and others... A more radical Brazilian folk (that can get muddled with the rock), a weighty influence in the Brazilian rock then, is found in Dércio Marques, Elomar, Xangai, Sérgio Reis, Diana Pequeno, and later by the 1980s, Almir Sater and Renato Teixeira. Even more radical is Marlui Miranda, an expert in the Brazilian indigene music and despite her music isn't rock in the classic form, the creative folk music that she makes is a great contribution to the alternative aesthetic, at a later time.
The "carioca" (from Rio de Janeiro city) Azymuth, was formed in 1969 and is the Jazz rock side of this generation, but is responsible of the Brazilian pop music development too. There are great musicians that can add up here - Jazz rock influence: Airto Moreira, Raul de Souza, Flora Purim, Hermeto Paschoal, Naná Vasconcelos, Arthur Verocai, André Geraissati, Egberto Gismonti, Grupo D'Alma, Eumir Deodato, and Sérgio Mendes (with Funk influence too).
This higher mix between rock and Brazilian pop music resulted in several famous musicians and bands: Secos & Molhados (identified as glam rock too), Raul Seixas, Novos Baianos, A Cor do Som, Robertinho do Recife and a union of Caetano Veloso, Gal Costa, Maria Bethânia and Gilberto Gil in the show named Doces Bárbaros. After the end of Secos & Molhados, João Ricardo continued his career and his first album was all glam, Ney Matogrosso continued with great success and Gérson Conrad was constructing an alternative career. Other musicians - that helped to turn the traditional Brazilian music more flexible, with powerful rock or pop influences - were a relative hit too, like Elis Regina, Alceu Valença, Geraldo Azevedo, Belchior, Gonzaguinha, Zé Ramalho, Raimundo Fagner, Luiz Melodia, Boca Livre, Maria Alcina, Luli e Lucina and after the end of Novos Baianos, Baby Consuelo (then pt:Baby do Brasil), Pepeu Gomes and Moraes Moreira, but there were musicians that made a more experimental mix, who didn't have the same good luck in their careers and access to the media, and because of this are known as "malditos", the darns, but at a later time they will be an important reference for the second Brazilian alternative scene - they are: Ednardo, Walter Franco, Jorge Mautner, Jards Macalé, Taiguara, Arnaldo Baptista (Mutantes) and Sérgio Sampaio. Marku Ribas is the side more Black music of this group and was Bob Marley's friend in the 1970s, Jamaica, where he lived. On the other hand, Tim Maia, directly influenced by Soul music side of the Jovem Guarda, made several hits and his style influenced bands like Placa Luminosa and Skowa e a Máfia in the 80s.
There were some efforts to realize festivals in Brazil in the 1970s. In 1971 the "Festival de Verão de Guarapari" (Guarapari Summer Festival) tried to be a great hippie meeting but with mistakes in the organization of the event - however is historic, with shows by Milton Nascimento and Som Imaginário, A Bolha, Novos Baianos, Luiz Gonzaga and Tony Tornado. A fresh attempt was the Primeiro Festival de Iacanga (First Iacanga Festival - State of São Paulo - 1975), in a big farm, with a better structure, a milestone of the Brazilian underground, with the bands: Jazzco, Apokalypsis (band), Som Nosso de Cada Dia, Moto Perpétuo, Ursa Maior (band), Rock da Mortalha, Orquestra Azul, and others. The first Hollywood Rock happened in Rio, 1975 too, with the shows of Raul Seixas, Rita Lee, O Terço, Vímana and others. There were two great international shows in Brazil in the 1970s: Alice Cooper (1974) and Genesis (1977).
In the late 1970s, the progressive reference still was felt in Guilherme Arantes and 14 Bis (band).
Read more about this topic: Brazilian Rock