From later 60s to early 70s the orchestra updated the mood. To ever live for the music in motion, far beyond the living passion of its musicians, the orchestra should play on the new born 'electric' roots: grooving sounds, innovative instruments, new melodies and rhythms.

The earliest songs, originally composed by its musicians, mostly by one of them, Manuel Vicente, no longer beseemed with tides of English, French or Italian hits beating tops and audiences on the radio and TV shows.
That was the very beginning of a period when dance bands by the hundred came to light in Portugal. So the orchestra tuned in new moods and became 'Conjunto Musical Irmãos Vicente' (Free translation: Vincent Brothers Band)
Into the seventies the full Pop hit the spot. Each band was a prime source of inspiration for real. The public mood was changing dramatically as well. Music players and listeners were craving for newer sounds and technologies. It was then when pop music players entered the new formation in the band.
Within the Portuguese musical milieu, we were then listening to Hammond and Farfisa electronic organs, mastering sounds with their unique Leslie speakers and fulfilling keyboard players for years.
People were then also listening to famous Fender Rhodes pianos for the first time in a lifetime, likewise abroad. Fender, Gibson and Ibañez blasted their premieres. On drums we'd be soon listening to Ludwig, Premier and Pearl.
It was the age for open air concerts underneath the blazing sun or the loving moonlight, just like sequels to the mystique Woodstock 69, claiming for new sound systems, available for one and all bands, suddenly facing huge audiences and an hard working time all day long.
Everywhere, Public Access Systems (PAs), such as Dynacord, Montarbo, Semprini, FBT, M3 and more, hit the road to festivals or traditional festivities. They stirred emotions by the tough handling and stage setting, many a time ahead the show. Thus and so a new job was born and going by the name of 'roadies'.