Guilherme Coutinho E O Grupo Stalo , Guilherme Coutinho E O Grupo Stalo  
Guilherme Coutinho E O Grupo Stalo
Guilherme Coutinho E O Grupo Stalo
TIP  
EUR 1xLP 
Label: Mad About Records
Reissue
Release Year: 1978
Style: Latin & Brasil & Afro
 
  Tracks  
  Atalaia
As Feras
Foicera
Rio Corrente
Macareu
Fuga
Flauta De Bambu
Tema Pro Alvarito
 
  Repress from highly sought after brazil album !

Guilherme Coutinho started playing at the age of five and, at the age of seventeen, he was already part of "Os Mocorongos" and "Os Iguanos", both as an amateur. But he soon became a group leader, playing in several nightclubs in Belém (Pará), until he settled in the Paraense Assembly, where he lived for more than 15 years. He was a musician who played for high society, he was a businessman who had the best instruments, besides always making his own arrangement for the songs. His favorite formation was piano, bass, and drums, as well as a singer. But, for some time, he even used a recorder as playback to give greater sound texture.

The first performance was at Pinheirense in Icoaraci. The 1970s were at the height of the clubs in Belém, such as the Tuna, Yacht Club and the Paraense Assembly.

At the carnival, there was Guilherme at the head of his group, with rhythmists and a brass section, playing not only the greatest hits but supporting local composers. He was the musical director of Leila Pinheiro's first professional show, at Teatro da Paz. In his career, he released three albums: "Guilherme Coutinho and Curtição", "Busca-se" and "Guilherme Coutinho and Grupo Stalo".

Guilherme's last two shows took place on Friday, August 19, 1983, at the Theatro da Paz, through the Pixinguinha Project, and at the old Gemini Blues nightclub. On the morning of Saturday, August 20, Guilherme Coutinho died of a heart attack.

"Guilherme Coutinho e o Grupo Stalo" was released on the ''Erla', an obscure Brazilian label, which curiously pressed only 7" singles, but this Guilherme Coutinho album is an exception. An LP that became one of the most sought after in Brazilian music. It was generating a cult around you for sound innovation, a kind of Lo-Fi Tropicalism
 
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