Fôrça Bruta is the seventh studio album by Brazilian singer-songwriter and guitarist Jorge Ben. It was recorded with the Trio Mocotó band and released by Philips Records in September 1970. The album introduced an acoustic samba-based music that is mellower, moodier, and less ornate than Ben’s preceding work. In 2007, Rolling Stone Brasil named it the 61st greatest Brazilian music record.
About Fôrça Bruta in brief
Fôrça Bruta is the seventh studio album by Brazilian singer-songwriter and guitarist Jorge Ben. It was recorded with the Trio Mocotó band and released by Philips Records in September 1970. The album introduced an acoustic samba-based music that is mellower, moodier, and less ornate than Ben’s preceding work. A commercial and critical success, it established Ben as a leading artist in Brazil’s Tropicália movement and pioneered a unique sound later known as samba rock. In 2007, Rolling Stone Brasil named it the 61st greatest Brazilian music record. That same year, the album was released for the first time in the United States by the specialty label Dusty Groove America, attracting further critical recognition. Songs that appear on the album have a pervasive sense of melancholy, according to music scholar Pedro Alexandre Sanches. Ben’s lyrics explore themes of romantic passion, melancholy, sensuality, and – in a departure from the carefree sensibility of past releases – identity politics and elements of postmodernism. He also repurposed a tuning fork, a device traditionally used by musicians to maintain musical tuning among instruments, to generate sounds that resembled a harmonica. For some tracks, João Parahyba used the whistle of his sister’s electric toy train as a horn instrument, breaking it in the process. String and horn sections were recorded and included in the final mix but went uncredited in the album’s packaging.
It credited C. B. D. in Rio de Janeiro and Scatena in São Paulo as the recording locations for Fôrça Bruta, which was named after the Portuguese for the phrase \”brute force\”. The album was a commercial comeback for Ben, and its success created a busy schedule for all four musicians. In 1969, Jorge Ben re-signed to Philips Records after a four-year leave from the label due to creative differences and recorded his self-titled sixth album. He played the acoustic guitar for the instrumentals, and specifically the ten-string viola caipira for the songs \”Aparece Aparecida\” and \”Mulher Brasileira\”. For other tracks, he played the atabaque and bell plates. According to Robert Leaver of Amoeba Music’s international records department, “one can see a sly irony” in the title, considering the heightened political tension in dictatorial Brazil at the time and the gentle quality of the music for the album. In his opinion, the record gives the record an idiosyncratic sense of departs from the departs that had been the singer’s previous releases. It is considered one of the best albums of the 1960s and 1970s in Brazil, along with the likes of Lá Vila, Ela Vava, and Elvira Vánica Dominga, and Lá Elvica Dava. The band’s members were Fritz Escovão, Nereu Gargalo, and Joao ParahYba.