Artist: Titas: mp3 download
Genre(s):
Ethnic
Folk
Rock
Pop
Other
Titas's discography:
A Melhor Banda De Todos Os Tempos Da Ultima Semana
Year: 2003
Tracks: 16
Televisao
Year: 2002
Tracks: 11
Volume Dois
Year: 1998
Tracks: 16
Acustico MTV
Year: 1997
Tracks: 22
84 94 Vol.2
Year: 1994
Tracks: 21
84 94 Vol.1
Year: 1994
Tracks: 20
Jesus nao tem dentes no pais dos banguelas
Year: 1990
Tracks: 13
Tudo ao Mesmo Tempo Agora
Year:
Tracks: 15
Titanomaquia
Year:
Tracks: 13
O Blesq Blom
Year:
Tracks: 13
Juntos Ao Vivo
Year:
Tracks: 8
Go Back
Year:
Tracks: 15
E-collection Sucessos CD2
Year:
Tracks: 12
E-collection Sucessos CD1
Year:
Tracks: 12
Domingo
Year:
Tracks: 14
Como Estao Voces
Year:
Tracks: 15
Cabeca Dinossauro
Year:
Tracks: 13
As Dez Mais
Year:
Tracks: 10
One of the nearly of importation groups of the Brazilian rock style that blossomed in the '80s, Titãs' uniqueness was affirmed by their intelligent lyrics, which sometimes resorted to concrete poetry and social criticism. The mathematical group eventually became mainstream and confused their film editing sharpness through and through orchestrations and a declared pop approach shot shot, simultaneously merchandising one gazillion copies of their Acústico record album. The band was formed in São Paulo in 1982 (at first called Titãs do Lê-iê) by Arnaldo Antunes (vocals and main ballad maker), Ciro Pessoa (vocals), Paulo Miklos (vocal, saxophone), Marcelo Fromer (guitar), Sérgio Brito (keyboards), Toni Belotto (guitar), Branco Melo (vocals), Nando Reis (bass voice), and André Jung (drums).
In the late '70s, Fromer, Belotto, and Melo were the Trio Mamão. Four other musicians united, and the unexampled chemical group formed was called Maldade. Reis and Miklos were in the grouping Sossega Leão. Reis too played with the Camarões, patch Miklos too worked with the Bom Quixote. Paulo Miklos and Arnaldo Antunes too played in the Aguilar & Banda Performática. Melo, Pessoa, and Charles Gavin were the Jetsons. Gavin, wHO would later fall in the chemical group, was playing with Ira.
In that period, a mathematical group of composers with popular inclination (like Arrigo Barnabé, Grupo Rumo, Itamar Assumpção, and Premê) constituted a essence of forefront musicians world Health Organization became known as Vanguarda Paulistana (São Paulo metropolis cutting edge). They met at the Lira Paulistana theatre. In this supporting air, unexampled bands were formed and presented their works.
In August 1982, the Titãs do Lê-iê opened in that theatre of operations (without Jung). Departing from a common background knowledge constituted by the Beatles and Tropicalia, they began to write their possess material, which was quite strange, beginning with the birdsong titles: "Bichos Escrotos," "SonÃfera Ilha," and "Lilian, a Suja." As time passed, they began to incorporate other music into their sound, like funk, newfangled wave, pop, reggae, and disco music, forever organizing their shows around a dance conception. Their leg presence was marked by an strong-growing and rasping choreography.
In 1983, the group was already known as Titãs and lost Pessoa, wHO bypast for Cabine C. Before recording their commencement single, Titãs became steady TV attractions on shows like Chacrinha, Bolinha, Barros de Alencar, Raul Gil, and Hebe Camargo. The contrast of their experimental performances with the bourgeoisie uncouth sensory faculty of these shows (except Chacrinha, which rear be understood as one of the best proponents of the Tropicalia purport) made it evident that the chemical group didn't fit -- non even in the Brazilian rock ranks, which were generally rather well-behaved compared to them.
In nastiness of the demos sent to recording companies, the best offers they received were to record compilations with several artists, but they refused, as they agreed that only one birdsong wouldn't be enough to award the diversity of their do work and they would unravel the risk of being labelled with that song's style. Their first LP came out in August 1984 through WEA. Titãs brought the naïve hits "SonÃfera Ilha" and "Marvin," and sold only 50,000 copies. One of the reasons for the bad reception was the outlet of "SonÃfera Ilha" as a single. This was followed by a national tour where the spontaneousness of erstwhile multiplication was deserted. The group's choreography was now through by a professional. Before the end of the year, the band participated in a high-audience TV Globo special, and André Jung at peace for Ira, at the same time that Ira's Charles Gavin joined Titãs.
In 1985, their mo release, Televisão, was recorded. The album, with production by Lulu Santos and artistic instruction by Liminha, was released in June. The record sold 100,000 copies and was lauded by critics world Health Organization approved of their hardcore focus; crude aggressivity blended with platitudinous, brega elements; and pop and contemporary grooves.
On November 13, 1985, Tony Belotto was arrested with 30 mg of diacetylmorphine, which he confessed to getting from Arnaldo Antunes. The law searched Antunes' apartment and set up 158 mg of the dose, arresting him immediately. Belotto was freed by bail as an addicted Antunes remained in gaol until December 9. After their condemnations, both served their sentences in liberty. The denunciation, though it didn't stimulate the rending of the band, produced the cancellation of 13 shows. The site was recorded on Gavin's "Estado Violência" (initially called "A Lei Que eu Não Queria").
In April 1986, the dance orchestra recorded Cabeça Dinossauro. Under the impact of the police force episode, the record album brought "Estado Violência" and "PolÃcia." The songs yielded a generalized unfavorable judgment against the institutions named in the titles -- "Igreja" (church) and "FamÃlia" (kin) -- along with other controversial tunes, such as "Porrada" and "DÃvidas." "Bichos Escrotos," from their early times, was vetoed by censoring due to its profanity, only circumstance manifestly propelled the success of the vocal, which was soon played on several radio stations in edited versions. The album, released in June, was standard as a chef-d'oeuvre. The album sold 380,000 copies and was elected by the major newspaper Jornal do Brasil (Rio de Janeiro), along with some artists, as the topper album of the '80s. In Rio, they played with great success at the Teatro Carlos Gomes, and their trail of aggressiveness followed them there, where their fans destroyed the theatre's seating.
In November 1997, Jesus Não Tem Dentes no PaÃs department of State Banguelas was released. The album sold 250,000 copies with the institution of programmable electronics and more sophisticated arrangements. "Nome Aos Bois" lists a row of fascists and "Lugar Nenhum" assaults the impression of a body politic. This album was as well well-received by critics. The album was presented in Rio on January 6, 1988, and in São Paulo 6 years afterward, both during the Hollywood Rock Festival, where they surpassed their competition, wHO included the Pretenders. This phase introduced jam-packed stadiums in the band's day-after-day life.
On July 8, the dance orchestra recorded the unrecorded record album Go back with their hits in a execution at the Montreux Festival, on a rock candy night shared with T'Pau and 10,000 Maniacs. The show's audience was very cold, but the album sold 320,000 copies in Brazil.
In 1989, the dance orchestra recorded their sixth record album, Ô Blésq Bom, which recovered elements very beloved to Tropicalia, admixture a duo of Northeastern cantadores with lyrics about diseases ("O Pulso") and morbidity ("Flores"). The album sold 230,000 copies, and a national spell followed.
In 1992, Antunes left the grouping to conform to his solo vocation. Titãs continued their successful path with the WEA albums Tudo ao Mesmo Tempo Agora, Titanomaquia, and Acústico, which sold 1 1000000 copies.
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