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Titãs|Õ Blesq Blom

Õ Blesq Blom

Titãs

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Regrouping from the decidedly up-and-down Jesus Não Tem Dentes album, Titãs once again found their eclectic stride on album number five, the brilliantly executed but nonsensically titled Ô Blésq Blom. Like the husband-and-wife team, Mauro and Quitéria (he, a former merchant sailor who unwittingly spoke a dozens of languages at once, and she, his hand-clapping, harmonizing partner), who were sampled for both the intro and first song, "Miséria," Ô Blésq Blom often seems to come from another planet. At once simplified and sophisticated, it represents the apex of Titãs' art rock ambitions -- a marriage of extremes that is perfectly exemplified in the next two songs: "Racio Símio" features a humorously haphazard listing of popular wisdom; while "O Camelo e o Dromedário" enters into a philosophical discussion about the pros and cons of camels with one or two humps! Clearly, here's a band capable of going from "goo-goo" to Dada in a matter of minutes! And it doesn't end there, as Titãs' vocalist-by-committee approach (five of the eight musicians regularly took turns as frontmen) continually yields thrilling and idiosyncratic results. Sung by the honey-voiced Branco Mello, leadoff single "Flores" (winner of MTV's Best International Video award that year) virtually jumps off the speakers; Nando Reis' mathematical delivery brings stark economy to "Faculdade;" the heavily programmed drumming of "Deus e o Diabo" benefits from Paulo Miklos and Sérgio Britto's emotional directness; and the band's resident poet, Arnaldo Antunes, is also in fine form, both when shouting his way through the urgently paranoid "Medo," or knowingly crooning the contemplative "O Pulso." Elements of rock, MPB, new wave, funk, and reggae permeate all of the above in often surprising combinations, and along with these songwriters' impeccable touch for timing lyrics into rhyme and meter, it all makes for a colorful palette of sound representative of Ô Blésq Blom's cover art.

© Eduardo Rivadavia /TiVo

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Õ Blesq Blom

Titãs

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1
Introdução por Mauro e Quitéria
Titãs
00:00:42

Titãs, MainArtist - Liminha, Producer

℗ 1989 WEA International Inc.

2
Miséria
Titãs
00:04:28

Sergio Britto, Composer - Paulo Miklos, Composer - Titãs, MainArtist - Liminha, Producer - Arnaldo Antunes, Composer

℗ 1989 Warner Music Brasil Ltda.

3
Racio símio
Titãs
00:03:19

Marcelo Fromer, Composer - Titãs, MainArtist - Liminha, Producer - Nando Reis and Arnaldo Antunes, Composer

℗ 1989 WEA International Inc.

4
O camelo e o dromedário
Titãs
00:05:22

Nando Reis, Composer - Paulo Miklos, Composer - Titãs, MainArtist - Liminha, Producer - Toni Bellotto and Marcelo Fromer, Composer

℗ 1989 WEA International Inc.

5
Palavras
Titãs
00:02:34

Marcelo Fromer, Composer - Sergio Britto, Composer - Titãs, MainArtist - Liminha, Producer - Sérgio Britto and Marcelo Fromer, Composer

℗ 1989 WEA International Inc.

6
Medo
Titãs
00:02:05

Nando Reis, Bass - Toni Bellotto, Composer, Guitar - Marcelo Fromer, Composer, Guitar - Sergio Britto, Keyboards, Percussion - Titãs, Vocals, MainArtist - Charles Gavin, Drums - Liminha, Producer - Arnaldo Antunes, Composer

℗ 1989 WEA International Inc.

7
Natureza morta
Titãs
00:00:18

Branco Mello, Composer - Paulo Miklos, Composer - Titãs, MainArtist - Liminha, Producer - Arnaldo Antunes, Composer - Marcelo Fomer, Composer - Sergio Britto and Liminha, Composer

℗ 1989 WEA International Inc.

8
Flores
Titãs
00:03:27

Toni Bellotto, Composer - Sergio Britto, Composer - Paulo Miklos, Composer - Titãs, MainArtist - Charles Gavin, Composer - Tony Bellotto, Composer - Liminha, Producer

℗ 1989 Warner Music Brasil Ltda.

9
O pulso
Charles Gavin
00:02:44

Nando Reis, Bass - Toni Bellotto, Guitar - Marcelo Fromer, Composer, Guitar - Sergio Britto, Keyboards, Percussion - Titãs, Vocals, MainArtist - Charles Gavin, Drums - Tony Bellotto, Composer - Liminha, Producer - Arnaldo Antunes, Composer - Tony Belotto, Composer

℗ 1989 Warner Music Brasil Ltda.

10
32 dentes
Titãs
00:02:28

Marcelo Fromer, Composer - Sergio Britto, Composer - Branco Mello, Composer - Titãs, MainArtist - Liminha, Producer

℗ 1989 WEA International Inc.

11
Faculdade
Titãs
00:03:13

Nando Reis, Composer - Branco Mello, Composer - Titãs, MainArtist - Liminha, Producer - Arnaldo Antunes, Composer - Paulo Miklos and Marcelo Fromer, Composer

℗ 1989 WEA International Inc.

12
Deus e o diabo
Titãs
00:03:28

Sergio Britto, Composer - Titãs, MainArtist - Liminha, Producer - Paulo Miklos and Nando Reis, Composer

℗ 1989 WEA International Inc.

13
Vinheta final por Mauro e Quitéria
Titãs
00:00:34

Titãs, MainArtist - Liminha, Producer

℗ 1989 WEA International Inc.

Album review

Regrouping from the decidedly up-and-down Jesus Não Tem Dentes album, Titãs once again found their eclectic stride on album number five, the brilliantly executed but nonsensically titled Ô Blésq Blom. Like the husband-and-wife team, Mauro and Quitéria (he, a former merchant sailor who unwittingly spoke a dozens of languages at once, and she, his hand-clapping, harmonizing partner), who were sampled for both the intro and first song, "Miséria," Ô Blésq Blom often seems to come from another planet. At once simplified and sophisticated, it represents the apex of Titãs' art rock ambitions -- a marriage of extremes that is perfectly exemplified in the next two songs: "Racio Símio" features a humorously haphazard listing of popular wisdom; while "O Camelo e o Dromedário" enters into a philosophical discussion about the pros and cons of camels with one or two humps! Clearly, here's a band capable of going from "goo-goo" to Dada in a matter of minutes! And it doesn't end there, as Titãs' vocalist-by-committee approach (five of the eight musicians regularly took turns as frontmen) continually yields thrilling and idiosyncratic results. Sung by the honey-voiced Branco Mello, leadoff single "Flores" (winner of MTV's Best International Video award that year) virtually jumps off the speakers; Nando Reis' mathematical delivery brings stark economy to "Faculdade;" the heavily programmed drumming of "Deus e o Diabo" benefits from Paulo Miklos and Sérgio Britto's emotional directness; and the band's resident poet, Arnaldo Antunes, is also in fine form, both when shouting his way through the urgently paranoid "Medo," or knowingly crooning the contemplative "O Pulso." Elements of rock, MPB, new wave, funk, and reggae permeate all of the above in often surprising combinations, and along with these songwriters' impeccable touch for timing lyrics into rhyme and meter, it all makes for a colorful palette of sound representative of Ô Blésq Blom's cover art.

© Eduardo Rivadavia /TiVo

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