Inocentes was born in August of 1981, formed by three former members of Cor… Read Full Bio ↴Inocentes was born in August of 1981, formed by three former members of Corps Conductors, punk band that lasted from 1979 to 81, Antonio Carlos Calegari (guitar), Marcelino Gonzales (drums) and Clemente (bass), this, the More experienced, since he had already played in Residos de Nada, one of the first punk bands from São Paulo, which he helped found in 1978, along with Douglas Viscaino. The three called the rookie Mauricio to take on the vocals.
It was not long before Inocentes was featured on the São Paulo scene and invited to join Cholera and Olho Seco to participate in the compilation "Grito Suburbano", the first sound record of Brazilian punk bands, released by Punk Rock Records in 1982 .
With the explosion of the São Paulo punk movement throughout Brazil, Inocentes achieved national projection and became one of its mouthpieces. A manifesto written by Clemente for the magazine "Galery Around", from which came the phrase "We are here to revolutionize Brazilian popular music, to paint from black to white, to delay the eleven o'clock, to step on the flowers of Geraldo Vandré and Make Amelia a woman of any ", caused the impact of a punch in the stomach. They became characters in the video documentary "Garotos do Subúrbio", directed by Fernando Meirelles ("Cidade de Deus"), and screened at MASP in 1982, and the short film "Panic in SP" directed by Mario Dalcéndio Jr. Same year, with a new singer, Ariel Uliana Jr., participate in the anthological festival "The Beginning of the End of the World" at SESC Pompéia in São Paulo, which was recorded live and released on disc the following year in the form of Collection.
In 1983, part of the invasion of Rio de Janeiro by punks from São Paulo, playing in Circo Voador with seven São Paulo bands and more Paralamas do Sucesso, from Brasilia, and Molotov Coke from Rio de Janeiro. That same year, they enter the studio to record their first LP, "Misery and Hunger", which has ten of their thirteen songs censored and ends up turning the compact "Misery and Hunger" with only three released tracks. They participate in the medium-length "Punks", directed by Sarah Yakni and Alberto Gieco, and at the end of the year, in trio with Clemente on vocals, the band ends up in the stage of Napalm, nightclub precursor of Madame Satan. They were fed up with the direction the punk movement had taken, the fights between gangs increased every day, there were no more shows, zines and gigs. So they decided to end their activities.
Inocentes returned a year later, 1984, with a new formation. Antonio Parlato, Tonhão on drums, André Parlato on bass, Ronaldo dos Passos on guitar and Clemente on vocals and guitar. And also with a new proposal, a sound closer to post-punk, and the goal of playing beyond the borders of the movement, with bands like Patife Band, Ira !, Mercenaries, Volunteers of the Homeland, Smack, 365, etc. The so-called Rock Paulista. There were anthological shows at the Lira Paulistana, Zona Fantasma, Via Berlin, Rose Bom Bom and Circo Voador, in Rio de Janeiro, where they opened a show of the then well-known Legião Urbana. That same year, the "Subito Grito" is released in Germany under the name of "Volks Grito" by the label Vinyl Boogie, and the band is included in the collection "Life is Joke", with bands American, English, Spanish, Finnish , Etc., launched by the Weird System label also from Germany. It was two years on the underground road, until, in 1986, Branco Mello, of the Titans, takes a demo of them to Warner and finally they are contracted by a great record company and they launch the mini-LP "Panic in SP", produced by Branco And Pena Schmidt, becoming the first Brazilian punk band to record by a multinational. The disc causes the biggest fuss in the media and the band toured throughout Brazil for the first time. The sales at Warner are good, but they are not expected by the label. Despite this, the band wins respect and public throughout the country.
The second album by the multinational leaves the following year, 1987, and is called "Goodbye Carne". This time is an LP produced by Geraldo D'Arbilly and Pena Schmidt. And it contains hits that hammered rock radio, such as "Beloved Homeland," "Drums," and "Lead City." The launch show, held at the Center Norte, in the shopping mall parking lot in the north of São Paulo, gathers more than ten thousand people. Despite all this, the record company leaves the band aside because it is considered "difficult" to work with. The third album by Warner only comes in 1989, produced by Roberto Frejat, the Red Baron. It's a somewhat confusing album, from the cover, where the band appears naked and handcuffed, to the content, a mix of rock'n'roll, punk, rap and whatever else. All of this is a result of the pressure exerted by the label on the band. Not that the record is bad - it contains classics like "God's Face" and "The Man Who Drank Too Much" - but the mood within the band heats up, making it unbearable. The cover was the result of an attempt by the band to persuade the label not to put the four on the cover again,"

Travado
Inocentes Lyrics

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Quando eu tracei meu caminho
Eu não sabia o destino
De a hora ou lugar
A onde iria chegar
Eu não entendia as placas
Eu não decifrei os sinais
Que vida insistia e não desistia de me mostrar
Por isso eu segui em frente

Sem medo e sem pensar
Queria ser diferente
Que eu poderia voltar a traz

Só queria um motivo pra viver
Eu só queria não sofrer
Eu só queria acreditar
Eu só queria me salvar

Por isso eu sigo sozinho
Pelos caminhos que tracei
Sei que posso ser engolido
Pelos monstros que criei
Agora não da mais
Não posso voltar atrás
É preciso enfrentar
E juntar forças pra lutar

Só queria um motivo pra viver
Eu só queria não sofrer

Eu só queria acreditar
Eu só queria me salvar

Overall Meaning

The lyrics to Inocentes' song Travado describe the journey of the singer through life, as they navigate through uncertainty and struggle to find a reason to keep going. The first verse highlights the initial confusion and uncertainty that the singer faced when they first set out on their path. The second verse describes a sense of determination, as the singer continues to forge ahead despite the challenges that they encounter along the way. Ultimately, the song expresses a longing for meaning and salvation, as the singer seeks a reason to keep living in the face of adversity.

Throughout the song, the singer expresses a desire to move forward and overcome the obstacles that they face. They acknowledge the possibility of failure and the dangers that confront them, but maintain a sense of resolve and hope, driven by a need to find purpose and meaning. Despite the challenges that they face and the doubts that linger in their mind, the singer remains committed to their journey, refusing to turn back and determined to find a way forward.

Overall, the lyrics to Travado convey a sense of determination, hope, and resilience, highlighting the human ability to persevere in the face of adversity and find meaning even in the darkest of circumstances.

Line by Line Meaning

Quando eu tracei meu caminho
When I started forging my path

Eu não sabia o destino
I didn't know my destination

De a hora ou lugar
Or the time and place

A onde iria chegar
Where I would end up

Eu não entendia as placas
I didn't understand the signs

Eu não decifrei os sinais
I couldn't decipher the signals

Que vida insistia e não desistia de me mostrar
That life kept insisting and showing me the way

Por isso eu segui em frente
That's why I kept moving forward

Sem medo e sem pensar
Without fear or hesitation

Queria ser diferente
I wanted to be different

Que eu poderia voltar a traz
So I could go back