Obnoxius
José Mauro
1971
Rankings
Why This Album Matters
Obnoxius, released in 1971 by José Mauro, stands out as a masterpiece of a singular sound in Brazilian music, blending grandiose orchestral pop with elements of psychedelic folk, MPB, and the spirituality of Candomblé. Its complex and melancholic sound differentiates it from other artists of the era, revealing a unique vision of sadness and introspection. Mauro's work transcends direct comparisons with masters like Marcos Valle or Milton Nascimento, although it occasionally alludes to them, presenting an aesthetic some describe as 'baroque pop' and 'fuming psychedelia', in the vein of Nick Drake. The music is introspective and experimental, and even with his familiarity with samba structure, José Mauro demonstrates a disinterest in limiting himself to that box.
Context
The album Obnoxius emerged during a period of intense artistic effervescence and political turmoil in Brazil, under the military dictatorship that spanned from 1964 to 1985. While many young musicians chose to leave the country in search of creative freedom, others, like José Mauro, opted to stay and express their discontent with the authorities through veiled protest songs. MPB, in this context, played a crucial role as a dissenting voice, disseminating democratic ideals and echoing the aspirations of civil society, often circumventing censorship with metaphorical language. Before the release of Obnoxius, little was known about José Mauro, and his trajectory remains shrouded in mystery. However, it is known that he co-composed the tracks with journalist and writer Ana Maria Bahiana. Rumours about his disappearance, either soon after or even before the album's release, contributed to the enigmatic aura surrounding the artist.
Recording
Obnoxius was recorded in 1970 at Odeon Studios, Rio de Janeiro. The sessions featured the collaboration of producer and conductor Roberto Quartin, who also directed the strings, and arrangements by Lindolfo Gaya, whose orchestral arrangements Mauro greatly admired. The team of musicians included talents such as trumpeter Maurillo, saxophonist Paulo Moura, flautist Altamiro Carrilho, harmonica player Rildo Hora, Dom Salvador on organ, piano and harpsichord, Geraldo Vespar on guitar, Sebastião Marinho on bass, Juquinha and Mamão on percussion, and Wilson das Neves on drums. Initially, the album's commercial release was cancelled following Mauro's presumed death. However, Roberto Quartin completed the project with subtle and brilliant string arrangements and released Obnoxius. The album was part of a collection of 24 songs recorded during these sessions, some of which were later released on the album A Viagem Das Horas.
Songs
The songs on Obnoxius unfold like a suite, revealing José Mauro's melancholic vision through a combination of lush instrumentation and poetic lyrics. The title track, "Obnóxius", opens the album with spoken word and harpsichord, evolving into a main section with percussion and clapping, cradling Mauro's striking vocals. "Tarde de Núpcias" is a glorious combination of percussion, guitar, brass, and strings, compacting great emotion and ideas into its little over two minutes. "Memória" stands out with its undulating strings, a recitation by Ana Maria Bahiana, and Mauro's acoustic guitar chords, suggesting an acoustic prayer. The penultimate track, "Apocalipse", delivers what the title promises, with orchestral majesty and ominous sounds paving the way for a perfect storm of earthy drums and guitar. The album concludes with "Exaltação e Lamento do Último Rei", a group vocal piece which, after the dust of "Apocalipse" clears, transforms into a dance with cuícas before fading out.
Legacy
Originally released in 1971, Obnoxius gained cult and rare status, highly sought after by collectors. For many years, it was believed that José Mauro had died in a car or motorcycle accident, or that he had been a victim of the Brazilian military dictatorship, which added to the album's mystique. However, it was revealed in the mid-2010s that he was alive, living peacefully on the outskirts of Rio de Janeiro and giving guitar lessons. The label Far Out Recordings was instrumental in the rescue and recognition of Obnoxius, re-releasing the album in 2016 and giving it a chance to reach a wider audience. José Mauro's work is appreciated by names such as Madlib, Gilles Peterson, and Floating Points, who consider it a favourite. The reissue allowed his work, previously 'buried' and 'forgotten', to be rediscovered as a cultural treasure, fresh and innovative as if it had been recorded recently.
Discogs
Obnoxius – Discogs
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