(...) In synthesis this was what happened in CACO (Athletic Club of Campo de Ourique) in the 29th of April at 21 and 45!!...
To open the show played “Aqui d'el-Rock”, introduced as a "punk" group. As we are out of synch with abroad, now that this kind of groups seem to be finding some trouble, some are even disappearing, in Portugal appear at least two.
"Aqui d'el-Rock" act for the first time (that I'm aware of) in Lisbon. Of the acting there is little to say... terrible sound, impossible to be hear whatever was beyond a compact sound coming out of the stereo. Still on top of the musical view point what I heard was totally "square".
 The vocalist was not understandable (but he jumped, oyez!), the drums were the same from start to finish of the themes, the bass wasn't doing anything from a rhythmic point of view, the guitar beyond some more or less pretensions gestures wasn't being able to save the boys efforts. Still, I don't believe that these "punks" will get anywhere at all - it's a case to wonder if its forceful that they check anywhere! - beyond that mass of sounds that hurts my ears in a bad way, making vibrate dudes to groove some pleasant trips. (...)

(in magazine "Música & Som" No. 32, June 1978)

(...) “Há que violentar o sistema! Há que violentar o sistema! Há que violentar o sistema!” – shouted, with all the strength he could, o lead vocalist of Aqui d'el-Rock in the first concert of this punk group, in the Pavilhão de Campo de Ourique.
 The sound, strongly distorted and deafening, wasn't unheard any more. And it was a shame.
 "Aqui d'el-Rock" is a cry of anger, and a political attitude. The rock is the language and the lyrics - the Stoner. Announced in our magazine as the first portuguese punk group, Aqui d'el-Rock is a group of four dangerous individuals which greatest danger is being against a system that explores (us), in our day-to-day.
 Serra (drum player) and Fernando (bass player) live in pre-fabricated shacks in Bairro do Relógio.
 The first is a warehouse helper and makes about six thousand that have to be enough, with his mothers salary, for a family house with a invalid man (the father). The second is a draw artist and, until the time of this interview, hadn't gotten his paycheck.
 After, we have Alfredo (guitar player), student of economics and philosophy teacher, office from where he gets three thousand and six hundred, and Óscar (vocalist), also a student of economics and without hopes of work.
 The result of these situations is "Aqui d’el-Rock" and the strong aggressive and political charge with which they direct at the "lords" of this world by the means of chaotic and subversive lyrics (in portuguese), and a brutal sound, pure and shattering of primitive violent rock.
 The elements of "Aqui d’el-Rock" are not orthodox "punks". “If the punk is what we do, then we are punks”, they tell us. On the other hand, they didn't cut their hair like "punks", don't use bobby-pins in their ear or in their mouth and are (apparently) normal citizens of this land. "Only" angered. (...)

(in magazine "Rock em Portugal" No. 04, May/June 1978)

(...) One of the few punk groups to record in the end of the 70ties, Aqui d’el-Rock, singing in Portuguese. They put themselves against the system:
'We are rebels since that we are born (...) that is to say, we want to destroy society, for we intend to have a better one. Anarchists? Not necessarily... (...)

(in guide “Two Hundred and Thirty One Records For a Stroll in The Urban Music in Portugal - 1961/2005” FNAC edition, June 2005)

(...) In 2004, civil service official José Serra, soon becoming 50 years old, former warehouse helper, created a site "to restore the truth" regarding portuguese punk and to meet his musical mates again. It was thus that, almost 30 years after becoming the first punk band, the only one to have a RTP videoclip and to record two singles, Aqui d'El Rock join the net where the past becomes present and intervenes in the future. It was thus that Rodrigo Velez, aka Jay Cobra, found them. Rodrigo is not old enough be a part of this primordium history, since he was born in 1979, the year when Sid Vicious, the bassist of the Sex Pistols committed suicide. But he completed the cycle. Neo-punk, heir to an ancestry that starts in Aqui d'El Rock and until today, includes dozens of bands (Crise Total, Cagalhões, Mata Ratos, Condenação Pacífica, Kú de Judas, Grito Final, Cães Vadios, M.A.D., We were Wolves, Bruto and the Cannibals, Allan Sqad, Motornoise, The Youths…), Rodrigo invited José Serra to visit again "Há que violentar o sistema" with his band, the Clockwork Boys. It was thus that, in the 23rd of October 2006, José Serra sat at the drums to record “Há que violentar o sistema” for the second time in his life. He met his friends again and formed a band that is due to come out soon: “Há Alma”.
So be it. (...)

(in magazine "Pública" - sunday's supplement of the newspaper "Público" No. 513, March 2006)

(...) It was the first Punk band to get a publishing contract and to record themes  (...) that will forever remain in the history of the Portuguese Rock as the first themes of a Punk group ever to be recorded in Portugal. (...)
(...) Today the records of Aqui d'el-Rock are one of the biggest Portuguese disk rarities, sought by collectors all over the planet. (...)

(in book "Memórias do Rock Português" (Portuguese Rock Memories) by Aristides Duarte, April 2006)

(...) One other thing the “Revolução dos Cravos” brought, was, of course, freedom – a value without which, guarantees JC Serra, founder member of Aqui d'el-Rock, punk would never have happened in Portugal: "IMPOSSIBLE. It is necessary that this word appears in capital letters. Before the April 25th, a band such as Aqui d'el-Rock, could not exist. Only the conquest of freedom in 1974, made the birth of a band such as ours possible. Before, that could not have happened, especially because any musician with some self-respect, cannot abide with the censorship of his work”.
The first single of Aqui d'el-Rock, dated 1978, with the title "Há que violentar o sistema" was one of the first consequences of the arrival of the revolutionary punk winds to Portugal. Aqui d'el-Rock were an obvious result of the rock culture existing in Portugal since the middle of the 60ties. Serra and Fernando Gonçalves, another of the founder members, played together in bands in the neighbourhood of the “Bairro do Relógio”, in Lisbon, since at least 1972. "Any of the musicians that formed Aqui d'el-Rock had, since their teens, a strong rock culture. Some had already had experiences in other bands, where they played songs of Led Zeppelin, Black Sabbath or Deep Purple", JC Serra, original drummer of the band, reveals. In spite of the existence of a rock culture, we could not rightly speak of an organized “scene". (...)
(...) Serra says that the definition of "portuguese rock boom”, only began to win weight by the time the Aqui d'el-Rock appeared. "I think that, in that context and by that time, we could classify as punk bands - besides Aqui d'el-Rock - such as Os Faíscas, UHF, Xutos e Pontapés, Minas e Armadilhas… a “scene” began to gain form, which gained the designation "portuguese rock boom”. (...)

(in magazine "Blitz" No. 07, January 2007)

(...) Renegated as a cult band, Aqui d'el-Rock continues to be, to this day, one of the most protected secrets of the entire portuguese alternative music. (...)
(in fanzine "C.R.H.C. #1", March 2012)

(...) AQUI D'EL-ROCK. Musical group. Created in Lisbon by José Serra (drums), Fernando Gonçalves (electric bass), Alfredo Pereira (guitar) and Oscar Martins (vocals, guitar), who constituted the ballroom band Osiris (1976-1977). Osiris, besides the repertory devoted to dance, also played rock songs from groups like Black Sabbath, Jethro Tull, Deep Purple, among others. The desire for a exclusive dedication to rock and the composition of songs in English, inspired by the styles associated with the English punk, determined the course of the reorientation of the group, having changed their name to Aqui d'el-Rock. The group, that premiered at Clube Atlético de Campo de Ourique (Lisbon, *1977), would star in one of the first manifestations of punk-rock in Portugal [SEE Punk], which was emphasized in the editing of the first two phonograms (*1977 and **1978), in which the word punk is highlighted on the cover. The scarce resources used in the recording, the poor quality of sound recording and the use of some instruments built by the musicians themselves showed the amateur status of the group, expressing also the ideal of authenticity, a core value in the punk movement. Using metaphor and irony, their songs deal with everyday situations such as urban unemployment, drugs and criminality. The aggressiveness of the musical and performative style, based on structural simplicity and vigorous rhythms of punk-rock, reinforced the challenging nature of their music, reflecting both the opposition to the structural complexity and the virtuosity of the so called “symphonic rock” that had been developing since the early 70s. After recording the second single (**1978), the group shared concerts with other newly formed groups who developed musical styles inspired by punk-rock (UHF, Minas & Armadilhas, Faíscas, Xutos & Pontapés, among others), among which the participation in the show of the English group Eddie & The Hot Rods should be underlined (Coliseu dos Recreios Lisbon, 1979). The song ‘Há que violentar o sistema’, a reference in the group’s repertoire, gave origin to one of the first music videos of a Portuguese rock group (RTP, 1978). Already in 1980, after the departure of A. Pereira, Carlos Cabral (guitar) and Alberto Barradas (electric guitar and vocals) joined the group. That same year the group participated in several rock performances, including those of Lene Lovich, Wilko Johnson & The Solid Senders and Cheap Trick (Lisbon). Later, the group adopted the name Mau-Mau and created a new repertoire shaped by the emerging new wave styles, examples of which are the songs ‘Shanghai’ and ‘Vietsoul’ (1982). Despite their short career, the group distinguished itself by creating a rock repertoire in the Portuguese language and starred in one of the earliest manifestations of the so called Portuguese rock [SEE Pop-rock]. Their pioneering and marginal nature inspired the emergence of other rock groups. Some of their songs have integrated revivalists collections, such as “Grande Geração Rock” (MTS, 1997), dedicated to Portuguese rock groups, and "Killed By Death Vol 41” (Redrum, 1998), dedicated to punk-rock.
Discography: (*1977) 'Há Que Violentar a Sistema' / 'Quero Tudo'; (**1978) 'Eu Não Sei' / 'Dedicada (a Quem Nos Rouba)'. MTS [single]; Mau-Mau (1982) 'Xangai' / 'Vietsoul'. Rotação [single]; AAVV (1997) Histórico (I): Geração do Rock. MTS; AAVV (2000) Killed By Death Vol. 7. Redrum Records [LP].
MIGUEL ALMEIDA
Errata: *Where it is written 1977 it should be written 1978. **Where it is written 1978 it should be written 1979.

(in Entry about Aqui d'el-Rock in the "Encyclopedia of Music in Portugal in the Twentieth Century", 1st edition, January 2010)

(...) ln Portugal, immediately after the 25th of April 1974 Carnation Revolution, life was lived minute by minute. And even though the memory of the decades-long dictatorship was still very much present and people suspected their so-called newfound freedom. At the same time it was very easy to commit excesses in eagerly trying to make up for lost time. By definition. everything comes too late to Portugal, even nowadays, but in regards to punk it was a different matter altogether. since its arrival was almost simultaneous to its explosion in the UK. Just as it had happened there. the apathy brought about by symphonic rock caused aversion in many people wishing for things to change. Extending the similarities between Portugal and Britain, both were going through a period of political unrest. Britain was in the midst of a serious economic crisis and had to contend with the rise of the National Front also. ln Portugal, a right-wing dictatorship had been overthrown and in some ways the post-Carnation Revolution political movements (mostly leftist) regulated one's everyday existence. it was also in the UK that Portuguese influence in punk started to be felt, thanks to two Portuguese brothers that moved there and formed the band The Warm: Rui Castro and George Castro joined the Jamaican Leo Pennant and, in the purest DIY spirit, released the singles "(lt's) The Kooler" and "Crazy Daisy Lady" through their own. label. Warm Records. The band's sound mixed punk-rock with a bit of pub rock and, in later releases, ska and reggae. They would go on to release the 1977 double 7" "The demo tapes", the single "Floosie" and the LP "Nova Vaga" (collecting various bands), both in 1978, and, a year later, their final two singles: "007" (including a cover of the Desmond Dekker song of the same name) and "Tired of waiting for you. By the end of 1976, news about British punk, the possibility of writing 3 chord songs and how a counter-cultural youth movement had. shaken and defied such a conservative society started flooding Portugal. One year before, Zé Serra, Fernando and Alfredo Pereira had already formed Osíris: where they played, among others, Led Zeppelin and Black Sabbath covers, but it was with punk's arrival that they decided to take on a different route and claim as rightfully theirs the dangerous aspects that such a culture represented. Consequently, in 1977 Aqui D'EI Rock were born, with Serra and Fernando, as well as Alfredo, a MRPP (a left­ wing party) militant, also coming on from Osiris. Fernando started playing bass instead of guitar, Serra kept playing drums, Alfredo took over on guitar dut1es and Oscar- who had family in France and used to bring with him some of the new punk -rock records when he went there- was recruited as lead vocalist. The line-up was then complete. Also m 1977, the Faíscas were formed. a short term band who nonetheless included names of future importance in the Portuguese music scene from the 80s onwards. The question of which of these two bands was really the first to have come along and become the first Portuguese punk band will remain forever. Even so, each band's background was very different, and that could be told by their look, altitude and lyrics. Aqui D'EI Rock carne from the Bairro do Relógio quarter in Lisbon, an outcast area where a sense of class struggle was developed. True working class representatives, they ended up having a more punk altitude than the "so-called" punks, even though they didn't look like it visually.
(in "Portugal Eléctrico!" Rock'N'Roll Counter-Culture, 1955-1982 - Groovie Records, December 2013)