Milton Nascimento & Lo Borges “Clube da Esquina” 1972 Brazil Latin,Rock Pop,Folk,MPB

Milton Nascimento & Lo Borges  “Clube da Esquina” 1972 Brazil Latin,Rock Pop,Folk,MPB one of the best Brazilian albums…recommended..!

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 Originally released in 1972, ‘Clube Da Esquina’ is the musical collective Milton helped found in his home state of Minas Gerais with Lo Borges, Wagner Tiso, Beto Guedes, Nelson Angelo and Toninho Horta. This album is almost certainly the finest example of the highly creative scene that arose from such an array of talent. From the opening chords of Brazilian Jazz dance anthem “Tudo Que Voce Podia Ser” to the baroque influences of “San Vicente”, via such Milton standards as “Cravo E Canela” and “Nada Sera Como Antes”, this double-album seamlessly weaves folk, rock, pop, MPB, jazz and even Beatlesque string influences into something distinct and utterly beautiful….~

In 1972, the Borges family lived in the bohemian neighborhood of Santa Tereza, in Belo Horizonte. There was born a song, a record and a movement. “Clube da Esquina”, the album and the song were released in 1972, when Lô was only 18 years old. Many might find it very much a responsibility to split an album with Milton Nascimento, as well as a lot of daring to record “A Sunflower of the Color of Your Hair” singing at the piano, with an orchestra ruled by Eumir Deodato, in only two channels. As if that were not enough, the disc still has “The Blue Train”, “Pier”, “Landscape of the Window”, “Nothing Is Like Before” and “Clube da Esquina nº 2”. The movement to which the disc gave the name was born from there. At the time it was released, “Clube da Esquina” received positive reviews, but the overwhelming majority could not recognize the genius there. Today, 32 years later, the album is revered as one of ten, if not one of the five most important albums of MPB…~

Clube Da Esquina is named after the Brazilian music artists collective that both Nascimento and Borges were a part of. Together with Tropicalia, Clube Da Esquina was the Brazilian musical movement that achieved the greatest international resonance in the post-bossa nova period. The collective collective originated in the Brazilian state of Minas Gerais and the album is filled with contributions from mineiros. The Clube Da Esquina style mixes rock and roll, progressive rock, bossa nova and jazz styles, with Brazilian country music and classical music influences. The album features many Clube Da Esquina hits, including: “Tudo Que Você Podia Ser,” “Cais,” “O Trem Azul,” “Caravo E Canela,” “Um Girassol da Cor do Seu Cabelo,” “San Vicente,” “Clube da Esquina No. 2,” and many others. Twenty-one tracks in all. Released by 4 Men With Beards on 180 gram double vinyl with a gatefold sleeve….~

i’m a disaffected trilingual 22-year-old with a permanent five o clock shadow and an exquisitely well-developed smoking habit who gets all but physically sick at the idea of doing what one must in order to do anything other than wait tables for a living but that’s okay because i know the complete works of rimbaud and neruda almost by heart and i look great when i sneer. and have i mentioned my heart of gold?…by…telephone junkie …..~

If anything shows the true diversity of Brazilian music its Milton Nascimento and Lo Borges’ “Clube da Esquina”, released in 1972. Another bonafide classic this album highlights the growth of influential music that Brazil could produce outside of its normal region of invention, Rio de Janeiro and Sao Paolo. Hailing from the Minas Gerais region, a much less tropical and more arid region, both Milton and Lo were raised in a locale where jobs were extremely few and far between, just getting by day to day required actual work many in the rest of Brazil wouldn’t dream of doing. For those two kids, and a couple of their musical friends, music was their release and opportunity. 
Both of them were uniquely gifted in that they learned by ear, how to play from a young age the complex chord progressions and rhythms that made them gain their early connections that brought them out of their boroughs. In a way, even they saw it themselves, their lives mimicked and were informed by the lives of John Lennon and Paul McCartney. They truly had distinct styles Milton’s was more abstract and free flowing, his early records were works of samba characterized by his unique vocal work that would cycle in range throughout a whole song. Lo was the McCartney of the group, his own work had very airy pop melodies and tender harmonies that could be best described as dreamy. At one point they struck on the idea to combine their forces and see if they could match or top their own influences.
It was obvious to them that it would be their own background, found distinctly in the western region of Brazil, that could let them add a progressive pop feel that most any listener hadn’t quite encountered before. This is the sound you hear throughout this record, rather than copy the Beatles, they took the collective feeling and sound that touched them as kids and reconfigured it for their time. The album has vignette updates of songs like “Sun King”, “Julia”, or even “Arnold Layne” from the Floyd. As a listener its obvious where some of the inspiration comes from but the way they tweak the existing formula is just damn brilliant. By injecting their own regional musical influence into the music of their idols, they found a way to attain that success. I mean this in album that even spawned a museum in Brazil just dedicated to the history behind its creation. 
To this day, songs like “O Trem Azul”, “Clube da Esquina 2”, “Saidas e Bandeiras”, or “San Vicente” just startle because of how modern they sound. Its a testament to their whole collective finding a way to make a new kind of statement. For a lot of the members of the collective this would be the totem they could use to strike out new monuments…more of that soon. Just so you know, the album cover isn’t of them as kids, they were just two kids they saw and took pictures while driving around their neighborhood (the cover served as a way to remind themselves of where they came from)…..~

Tracklist 

Tudo que você podia ser (Márcio Borges, Lô Borges) 
Cais (Milton Nascimento, Ronaldo Bastos) 
O trem azul (Lô Borges, Ronaldo Bastos) 
Saídas e Bandeiras nº 1 (Milton Nascimento, Fernando Brant) 
Nuvem cigana (Lô Borges, Ronaldo Bastos) 
Cravo e canela (Milton Nascimento, Ronaldo Bastos) 
Dos cruces (Carmelo Larrea) 
Um girassol da cor de seu cabelo (Márcio Borges, Lô Borges) 
San Vicente (Milton Nascimento, Fernando Brant) 
Estrelas (Márcio Borges, Lô Borges) 
Clube da Esquina nº 2 (Lô Borges, Milton Nascimento) 
Paisagem na janela (Lô Borges, Fernando Brant) 
Me deixa em paz (Ayrton Amorim, Monsueto) 
Os povos (Márcio Borges, Milton Nascimento) 
Saídas e Bandeiras nº 2 (Milton Nascimento, Fernando Brant) 
Um gôsto de Sol (Milton Nascimento, Ronaldo Bastos) 
Pelo amor de Deus (Milton Nascimento, Fernando Brant) 
Lilia (Milton Nascimento, Fernando Brant) 
Trem de doido (Márcio Borges, Lô Borges) 
Nada será como antes (Milton Nascimento, Ronaldo Bastos) 
Ao que vai nascer (Milton Nascimento, Fernando Brant) 

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Luís Vagner Lopes "Simples" 1974 Brazil Soul Funk MPB

Luís Vagner Lopes  "Simples" 1974 Brazil Soul Funk MPB

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Gaucho de Bagé, Luiz Vagner Dutra Lopes was born into a musical family. Son of an Indian mother, his father was a telegrapher and amateur musician, who used the Sarará name, and his grandfather, besides being a photographer and a pastor, was a flutist. He soon began to live with artists in cities in the region. At the age of ten, he played drums and guitar. In 1963, he moved to Porto Alegre and this year, together with Luiz Ernani, Valdir, Jacks and Edson da Rosa, he formed the group The Jetsons. The group performed in dance meetings and accompanied the singers who appeared there, until they landed in São Paulo at the time of the Young Guard, as Os Brasas, with two other members: Franco, Anires Marcos and Edson. By that time, it had its first song, “I hurt Its Heart”, recorded by Demétrius. Starting with his solo career, with the dissolution of the group in 69, he recorded a compact with the songs “Journey to the South” and “Moro at the End of the Street”, also recorded by Wilson Simonal and Trio Esperança. In 74 he recorded his first LP, “Simple” and then “Things and Slates” (both on Chantecler). The following year came another record, “Guitarreiro” - a reference to his nickname in the musical medium, “Gaúcho Guitarreiro” - including various rhythms such as samba, chula, guarânia and alto-alto, with accent between reggae and the rock. In 79, he recorded another album, “Fusion of the Races” (Philips), whose song “Guria” was included one year before in the soundtrack of the novel Dancin ‘Days. Four years later he released “For the Love of the New People” (Copacabana), in which he recorded a composition by Jorge Ben, “Creole Glorified”, defended in MPB Shell 82. A year before, however, Jorge Ben himself honored him with the song “Luiz Vagner Guitar”. There are songs recorded by Luis Américo (“Camisa 10”), Sílvio Brito (“Magical Mirror”), Wando (“If You Want to Cry for Me”), Ronnie Von (“Silvia, Twenty Hours, Eliana Pittman, Paulo Diniz ("Como?”), Bebeto (“Segura a Nega”), and Lady Zu, Tony Tornado, among others. The guitarist continues to perform in Brazil at shows. In 2002, he recorded with the countrymen of Ultramen, a band from Rio Grande do Sul that mixes rock, reggae, rap and other styles…..~

01 - Chula Louca 
02 - Olha o Pedágio 
03 - Ah! Se Eu Soubesses 
04 - Você Já Viu Né 
05 - Tic - Toc 
06 - Nas “Planices” Muitas Luas de Paz 
07 - Só Que Deram Zero Pro Bedeu 
08 - Por Uma Mulher do Signo de Touro “Desengano” 
09 - “Nega Véia” 
10 - Eu Queria Ir Pro Céu 

Discography
Simples (1974) 
Cousas e Lousas (1975) 
Luis Vagner (1976) 
Fusão de raças (1979) 
Pelo amor do povo (1982) 
Conscientização (1988) 
Cilada (1990) 
Vai dizer que não me viu (1995) 
Brasil AfroSulRealista (2001) 
Swingante (2001) 

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Marcelo “Marcelo” 1978 Brazil Latin Soul Funk gem

Marcelo “Marcelo” 1978 Brazil Latin Soul Funk gem

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Credits 

Backing Vocals – José Luiz (2), Luna (68), Marcio Lott, Regininha 
Electric Bass – Jamil Joanes 
Electric Piano, Piano – Gilson Peranzzetta 
Engineer – Dacy Rodrigues 
Lacquer Cut By – Osmar Furtado 
Lead Guitar – Sergio Dias 
Pandeiro – Dazinho 
Percussion – Ariovaldo*, Dazinho, Hermes (6) 
Rhythm Guitar – Claudio Stevenson 
Synthesizer [Arp] – Eduardo Souto Neto 
Synthesizer [Moog] – Zé Roberto* 
Twelve-String Guitar – Marcelo (2), Tavito

Tracklist 
A1 Tempo De Estio 2:45 
A2 Brasa Dormida 2:37 
A3 Som Moleque 2:51 
A4 Melô Da Estudante 3:32 
A5 Jeitinho 2:35 
A6 Festa No Céu 2:23 
B1 Selim De Bicicleta 3:30 
B2 Um Sonho 4:35 
B3 De Fogo, Luz E Paixão 3:10 
B4 Brasa Do Sol 2:55 
B5 Algo No Ar 2:45 
B6 A Palavra 1:41

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Tim Maia “Tim Maia” 1973 Brazil Soul Funk MPB

Tim Maia “Tim Maia” 1973 Brazil Soul Funk MPB

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A great step forward for the legendary Tim Maia – working here in a style that’s even tighter and more sophisticated than before – yet still equally filled with funk and soul! The arrangements are a bit bigger than before, and the production a bit more professional – but that change only brings Tim into even more heavenly soul territory – with a mix of grooves and strings that lays somewhere between the best early 70s work on labels like Curtom or Motown! Tim’s got a new sense of majesty on the album – and also sings in English in a few spots – at a level that makes us wonder why he was never able to crack the American soul market at the time. An essential record from the man who brought American soul music to Brazil – with tracks that include “Over Again”, “New Love”, “Balanco”, “Reu Confesso”, “Preciso Ser Amado”, “Amores”, and “Do Your Thing Behave Yourself”…..~

The fourth studio album from legendary singer and composer Tim Maia is a masterpiece of soulful pop and contemporary Brazilian styles, exemplified by the hit “Gostavo Tanto De Você” and the gorgeous English-language “Over Again,” a gem of sunshine soul. The influence of Memphis is evident in the Booker T-esque instrumental “Amores” and the swamp funk of “Do Your Thing, Behave Yourself” and “Balanço,” while the timeless classic “Réu Confesso” showcases Maia’s songwriting skills in a samba-soul standard….~

In 1973, 4TH album where Seoul color became stronger. It is also famous for including the classic of Brazilian · soul such as Classical “REU CONFESSO” and “GOSTAVA TANTO DE VOCE” at the beginning. “PRECISO SER AMADO” singing with a guitar, musical songs such as mid funk “COMPADRE”, “OVER AGAIN”, “NEW LOVE”, “DO YOUR THING, BEHAVE YOURSELF” with bass drums, “Psych · Funk Instrument Until "AMORES” …. His fans know that he devoted himself to a cult religion and founded his own label “SEROMA”, but this work is a piece at the height of his creation just before that. It is a masterpiece in masterpiece that there is a direction that makes this work his best masterpiece…..~

One of the greatest singers in the history of Brazilian music, Tim Maia launched his fourth studio album in 1973. With some of the greatest successes of the career of the Rio hitmaker, such as “I Confess” and “I Fond of You”, the album returns this year to the shelves in vinyl of 180 grams, by the “Clássicos em Vinil” collection of Polysom. 
The album, recorded in Rio de Janeiro, was produced by Tim Maia, who also signs the arrangements with Waldir A. Barros. The 12 tracks are written by the singer, with the exception of “Peace in My World Are You” (Mita) and “I Like You So Much” (Edson Andrade). The album features Tim Maia’s unmistakable style and voice from start to finish!…..~

Polysom is reissuing some of the most valuable treasures of Brazilian music, most of which are virtually untraceable to date at reasonable prices in their original format. Only available in vinyl, we will find here artists including Jorge Ben, Verocai Arthur, Gal Costa, Tim Maia and many others……~

Brazilian Soul Legend. The fourth studio album from legendary singer and composer Tim Maia is a masterpiece of soulful pop and contemporary Brazilian styles, exemplified by the hit ‰ÛÏGostavo Tanto De Voc̻‰۝ and the gorgeous English-language ‰ÛÏOver Again,‰۝ a gem of sunshine soul. The influence of Memphis is evident in the Booker T-esque instrumental ‰ÛÏAmores‰۝ and the swamp funk of ‰ÛÏDo Your Thing, Behave Yourself‰۝ and ‰ÛÏBalan̤o,‰۝ while the timeless classic ‰ÛÏR̩u Confesso‰۝ showcases Maia‰۪s songwriting skills in a samba-soul standard……~

Amazing 1973 album from the legendary Brazilian singer and composer Tim Maia. ….~

Born in Rio 42 in the mid-1960s, he went to America to study music, after returning to the country, he became active in the Brazilian scene and established the soul scene of Brazil, the biggest contributor: Tim Maia. 
Tim Maia’s masterpiece album of 72 years, which also performs songs from songwriting, songs, guitar and percussion instruments and many other instruments……~

The two titles of this album that attracted me most are the first, “Réu Confesso”, and the last one, “Amores”, a pretty nice Blues Rock. I admit that the remaining 10 tracks were quite boring (except maybe “Balanço” and his guitar Folk-Blues). This Tim Maia (1973) is a continuation of his previous works, Tim Maia (1971) and Tim Maia (1972), but he is sorely lacking in variety. Tim Maia (1972) was quite varied and rather interesting. The register of Tim Maia is still Soul but with less Funk than before. The compositions are generally of average quality, quite consistent with the cool soul of North America. Strangely, the songs sung in English are a little better than those sung in Portuguese. Tim Maia (1973) is a rather disappointing album and rather minor in the work of Tim Maia….~

Maia has at least - at LEAST - five albums on Polydor, all self-titled, all featuring his big bear visage on the cover. Seriously, what’s up with that? Would it kill Maia to have actually NAMED his albums? Maybe help the rest of us poor saps figure out what’s what? Of the five Polydor LPs I’ve heard, this is the only one that I felt like really had some solid heat, namely “O Balanco”, one of the funkier cuts Maia rolls with. Snappy rhythm, funky cow bells ana vocals that don’t sound like Maia is trying to be the Brazilian Tom Jones. Just as back-up, he also includes a decent soul cut in “Do Your Thing, Behave Yourself” and another funky slice on “Amores”. Just remember, it’s the Polydor cover with “Tim Maia” written in red and he’s standing up in a blue shirt and…oh…you’ll probably have to get all of them and sort it out from there. Good luck…..~

Considered one of the greatest voices in Brazilian music history, Tim in 1973 released his fourth LP in studio and again taking his own name as a title. The album was recorded in Rio de Janeiro and produced by Tim Maia himself, carrying hits such as “I Like You So Much”, “Peace in My World Are You” and “I Confess.” 
The lp is back on the shelves of the stores by Polysom’s “Clássicos em Vinil” collection, in a 180 gram premium reissue from the original analog tapes. 
The re-launch of the Tim Maia lps meets the desire of its fans who were disputing the high prices of their rare lps in the Brazilian market. It is one of those albums that can not miss in a collection of Lps of Brazilian music. Viva Tim!……~

One of the greatest singers in the history of Brazilian music, Tim Maia launched his fourth studio album in 1973. With some of the greatest successes of the career of the Rio hitmaker, such as “I Confess” and “I Fond of You”, the album returns this year to the shelves in vinyl of 180 grams, by the “Clássicos em Vinil” collection of Polysom. 
The album, recorded in Rio de Janeiro, was produced by Tim Maia, who also signs the arrangements with Waldir A. Barros. The 12 tracks are written by the singer, with the exception of “Peace in My World Are You” (Mita) and “I Like You So Much” (Edson Andrade). The album features Tim Maia’s unmistakable style and voice from beginning to end…..~

Credits 
Acoustic Guitar, Arranged By, Mixed By, Producer, Vocals – Tim* 
Backing Vocals – Edinho*, Genival (2), Gracinha*, Amaro*, Paulo Smith, Sheila Smith (3) 
Baritone Saxophone – Maurilho Faria 
Bass – Barbosa (2) 
Congas, Percussion – Ronaldo* 
Cowbell – Mita* 
Drums – Myro 
Lead Guitar – Paulinho (7) 
Organ – Pedrinho (5) 
Piano – Cidinho* 
Tenor Saxophone – Aurélio Marcos 
Trombone – Edmundo Maciel 
Trumpet – José G. Amorim 
Trumpet, Arranged By [Strings] – Waldir De Barros 
Tuba – Carlos Gomes, Zdenek Swab* 
Twelve-String Guitar – Neco


Tracklist 
A1 Réu Confesso
A2 Compadre
A3 Over Again
A4 Até Que Enfim Encontrei Você
A5 O Balanço
A6 New Love
B1 Do Your Things Behave Yourself
B2 Gostava Tanto De Você
B3 Música No Ar
B4 A Paz Do Meu Mundo É Você
B5 Preciso Ser Amado
B6 Amores

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Tim Maia "Racional Vol 1" 1974 + ‎"Racional Vol. 2" 1975  Brazil Latin Psych Soul Funk Rock

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https://johnkatsmc5.blogspot.gr/2016/10/tim-maia-nobody-can-live-forever.html

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