Brazuca Sounds

In episode #79, we discussed one of the best instrumental albums ever recorded. It is the Quarteto Novo's first and only album, released in 1967 via Odeon in Brazil. This album was fundamental in bringing Northeast folklore music to a national audience, sparsely blended with bebop jazz, bossa, folk, with cinematic arrangements and great musicianship. The quartet of percussionist Airto Moreira, guitarist Heraldo do Monte, bassist Theo de Barros and flutist/pianist Hermeto Pascoal deviated from conventional time signatures and created a very innovative sound not only in Brazil, but for the whole world. Quarteto Novo recently had its first vinyl reissue in 25 years by French new record label Jazzybelle. Follow our playlist on Spotify: Brazuca Sounds Podcast Soundtrack.

Salve! This is a bonus episode for Brazuca Sounds ⁠paid subscribers⁠!Every episode is a different song. This is the song today:"Emoriô" and "Naturalemente" by Fafá de BelémToday we're celebrating the first compacto (single) released in 1975 by singer Fafá de Belém. "Emoriô" was written by João Donato with lyrics by Gilberto Gil, and its Afro-Brazilian arrangements, heavy percussion, and repetitive chorus elevated 19-year-old Fafá into a Brazilian star. The B-side, "Naturalmente", written by Donato with lyrics by Caetano Veloso, is no less impressive, with its carimbó rhythm, and putting a spotlight for the first time on the North sounds of Brazil, especially the state of Pará, where the singer was from. Caetano's lyrics are "a veritable linguistic playground", almost a catalog of Amazonian terminology, and I recommend checking out the full translation with our friends at Translationsmith.

Salve! This is a preview to our bonus episode for ⁠paid subscribers⁠!Every episode is a different song. This is the song today:"Jorge da Capadócia" by Jorge BenApril 23rd is a state holiday in Rio de Janeiro, celebrated in honor of Saint George's Day. Among his many devotees is Jorge Ben, who paid tribute to the saint in several songs, sometimes blended with Afro-Brazilian spirituality, through Saint George's syncretic counterpart, Ogum. One of his most iconic songs is "Jorge da Capadócia", released in 1975 on the album Solta o Pavão, featuring direct lines from a traditional prayer to Saint George, invoking protection against enemies. Find the full translation with our friends at Translationsmith. Over the years, the song has become a staple of Brazilian music, covered by influential artists like Caetano Veloso, pop singer Fernanda Abreu, and hip-hop legends Racionais MCs.

In episode #78, we discussed Tim Maia's album Racional Volume 1, released in 1975. By 1974, Tim Maia had become deeply involved with Cultura Racional, a spiritual philosophy he believed could "save humanity" through the teachings found in Universo em Desencanto. This belief consumed him to the point where he temporarily gave up drinking, smoking, and drugs, and began dressing in all-white, cult-like attire. Despite the controversy, the music is now recognized as some of the most spiritually funky and innovative ever recorded in Brazil.With the album nearly finished, he revoked his contract with RCA Victor, secured the master tapes, and rewrote all the original lyrics to reflect the teachings of Cultura Racional. He founded his own independent label to release the album, Seroma Discos, which features six full songs, three spoken-word vignettes focused on the book's message, and one track in English aimed at reaching an international audience. Follow our playlist on Spotify: Brazuca Sounds Podcast Soundtrack.

Salve! This is a bonus episode for Brazuca Sounds ⁠paid subscribers⁠!Every episode is a different song. This is the song today:"Imunização Racional (Que Beleza)" by Tim MaiaIn 1974, Tim Maia completely overhauled the album he was recording, drawing inspiration from the book about an extraterrestrial spiritual force known as Racional Superior. The only minor hit from the two albums dedicated to this lifestyle was "Que Beleza." The song is an indirect reference to the book, touching on themes of nature, purity, human origins, and a sense of "disenchantment." Maia recorded two versions of "Que Beleza"—a more psychedelic rendition as the opener of Volume 1, and a more upbeat funk version to close Volume 2.Check the lyric translation for "Que Beleza" by Tim Maia provided by Steve Smith from the Translationsmith.

In episode #77, we shared 25 songs explicitly talking about Brazilian places in their lyrics, from worldwide famous Corcovado and Copacabana in Rio de Janeiro, to its neighborhoods, favelas, and birth to samba. We traveled to São Paulo with Caetano, Os Mutantes, and the mango opus album released by César Camargo Maria & Cia. Then we go to Minas Gerais with Milton Nascimento and his Clube da Equina's associates, and we finish the first part of our journey in Brazil's capital Brasília. Follow our playlist 'A Trip to Brazil' on Spotify. Follow our playlist Brazuca Sounds Soundtrack on Spotify.

Salve! This is a bonus episode for Brazuca Sounds paid subscribers!Every episode is a different song. This is the song today:"Rapaz de Bem" by Johnny AlfJohnny Alf was once described by the New York Times as "a Black pianist that helped birth Bossa Nova, and his story is rarely told", so today we're talking about a song that arguably inspired the way João Gilberto played his guitar and Tom Jobim's idea for the song "Desafinado". In "Rapaz de Bem", Alf describes the life's priorities of a young man with a humorous reflection. Access the Translatiosmith for a complete lyric analysis. As much as we discussed the song, we also talked about his career and his pioneering role in bossa nova, a term he actually hated . 

Bonus episodes are exclusively for paid subscribers. Unlock now at patreon.com/brazucasoundsReleased in Tom Zé's sophomore album in 1970, the song is an avalanche of Tropicalia elements, blending together psychedelia, rock, and orchestral arrangements that are seemingly weird. The lyrics are a mixture of invented English and Portuguese, with the citation of counter-culture figures like Caetano, Gal Costa, Bob Dylan, Janis Joplin, and Jimi Hendrix, whose name is a play of words with the song's title. Access the Translatiosmith for a complete translation and lyrical analysis. "Jimmy Renda-se" was never a hit in the 1970s, but gained cult status over the years, and is now and ultimately was included in the soundtrack of Oscar-winner movie "Ainda Estou Aqui" in a pivotal car scene.

This episode soon will be exclusive for paid subscribers. Unlock this and future episodes at https://www.patreon.com/BrazucaSoundsIn episode #76, we talked about the soundtrack of the movie "I'm Still Here", Oscar winner for Best International Feature Film. From Tom Zé electrifying guitar-driver Tropicalia to the sarcastic pop of Juca Chaves' "Take Me Back to Piauí", we left no stone unturned, contextualizing what the songs represent to the narrative. Among other highlights are Erasmo Carlos, a couple of Roberto Carlos, Caetano Veloso, Mutantes and Serge Gainsbourg. Follow our playlist on Spotify: Brazuca Sounds Soundtrack Podcast.

Salve! This is a bonus episode for Brazuca Sounds paid subscribers!Every episode is a different song.This is the song today:"Segura Nêga" by BebetoBebeto is considered the 'King of Swing', a music genre/dance style combining elements from funk, samba, and rock, which emerged from the dance parties of São Paulo (and today is also known as samba-rock). "Segura Nêga" is a prime example, combining the guitar sound and samba beats, and a showstopper at every Brazilian party. In this episode, we unlocked the whole meaning of the song, and its complex undertones, which you can also expand word-by-word with the phenomenal translation work from The Tranlantionsmith.

In episode #75 we talked about some of the greatest Brazilian drummers of all time, and how they shaped the style of playing worldwide. Among the names featured are Edison Machado, Dom Um Romão, Airto Moreira, Helcio Milito, Milton Banana, Chico Batera, João Palma, and more. We discussed how they innovated with rim clicks, cymbal sambas (samba de prato), exquisite tempos, inventive percussions, and how they revolutionized the hi-hat use, blending bossa, Afro-Samba and jazz.We put together a playlist with all the songs we played.Follow also our playlist on Spotify: "⁠Soundtrack: Brazuca Sounds⁠". 

Salve! This is a bonus episode for Brazuca Sounds paid subscribers! Every episode is a different song. This is the song today: "Mais Kriola" by Hélio Matheus This song was the lead single off Matheus's first and only album released in the 1970s. A combination of samba, brass, keyboards, and guitar "rockin'" beats, "Mais Kriola" is the ultimate reference to what is referred to as samba-rock. The album was released by RCA Victor, with a stellar featuring musicians, which did not prevent it from becoming a commercial failure. The song traversed time, though, and is an instant in Brazilian-theme parties all over the country even today.

Salve! This is a bonus episode for paid subscribers! Unlock now by subscribing at at Patreon. Every episode is a different song. This is the song today: "Kabaluerê" by Antônio Carlos e Jocafi A samba-oriented duo from Bahia, "Kabaluerê" became one the funkier Brazilian songs from the 1970s. How did that happen? That is what we tried to uncover on this episode, telling the backstory behind the song, breaking down its lyrics and arrangements. An obscure track upon its release, "Kabaluerê" was rediscovered by DJs worldwide in the 1990s, and sampled in Brazil by rapper Marcelo D2 in his megahit "Qual É?".

In episode #74, we discussed some of the best Brazilian albums released in 2024. From the spiritual jazz of Amaro Freitas and its world recognition, the return of magnificent Céu, the Afrobeat ensemble Nomade Orquestra, and the beautiful meditations-like songs from singer/multi-instrumentalist Luiza Brina. We also talked about brother Alvaro Lancelotti, Domenico Lancelotti, the latest from Moreno Veloso, the veterans Zeca Baleiro and Wado releasing an album as a duo, the psyche-rock of Boogarins and the good-vibes samba from Rogê. Follow our playlist on Spotify: "⁠Soundtrack: Brazuca Sounds⁠".  Similar episodes of contemporary music: Brazuca Sounds #49: Best Albums of 2023 Brazuca Sounds #29: New Sounds of 2021 Brazuca Sounds #6: Best Albums of 2020

Salve! This is a bonus episode for Brazuca Sounds paid subscribers! Every episode is a different song. This is the song today: "Mentira" by Marcos Valle (M. Valle / Paulo Sergio Valle) Influenced by Stevie Wonder, and blending Brazilian popular music and American black music, Valle released "Mentira" in his groundbreaking 1973 album "Previsão do Tempo".  It is a song with many grooves, Fender Rhodes, wah wah guitars, hypnotic drums, and bass leading the way, and it is also considered one of the first to feature a beatbox in Brazil. Not a big commercial hit in the 1970s, "Mentira" got a new life rediscovered by DJs and prominently sampled in Planet Hemp's "Contexto".

Salve! This is a bonus episode for paid subscribers! Every episode is a different song.This is the song today: "Tudo o Que Você Podia Ser" by Quarteto Em Cy (Lo Borges/Marcio Borges) Written for the "Clube da Esquina" album by Lô and Marcio Borges, the song marked the return of Quarteto em Cy in 1972, following a two-year hiatus. Their first album for Odeon, which was Milton Nascimento's label, a lot of the musicians involved in this recording had contributions to Clube da Esquina. The album was a commercial failure at the time, but over the years this version became a hot commodity among DJs, record collectors, producers, and rappers including Kanye West and Pharell Williams.

Salve! This is an extra bonus episode open to everybody. Every episode is a different song. This is the song today: "Então É Natal" by Simone (Cláudio Rabello/ John Lennon) There has been no Christmas in Brazil in the last 30 years without Simone's version of John Lennon's "Merry Xmas (War is Over)". Released in 1995, the song became the quintessential "Brazilian" Christmas song that we listen to everywhere every time by the end of the year. Despite its obvious cheesy arrangements, we uncovered Simone's career up until that point, and how this became a massive hit even up today.

In episode #73, we will finish our celebration of albums released 50 years ago. During this year we made specials about 'A Tábua de Esmeralda', 'Elis & Tom', Cartola's debut album, Arnaldo Baptita's solo album, and more recently Gal Costa's 'Cantar'. In this episode, we will discuss some other great albums from 1973, from the brilliant samba makers Clara Nunes and Martinho da Vila to the Northeast psychedelia of Ednardo, and the forgotten brilliancy of Tuca, Ana Mazzotti, and Jaime & Nair. We also talked about Jards Macalé, Quinteto Armorial, Egberto Gismonti, and the fantastic O Som Nosso de Cada Dia. All songs are available following our playlist on Spotify "⁠Soundtrack: Brazuca Sounds"⁠.

Salve! This is a preview for the latest bonus episode for Brazuca Sounds paid subscribers! Every episode is a different song.This is the song today: "San Vicente" by Milton Nascimento Written before "Clube da Esquina," Nascimento wrote the music for a play about an imaginary city (which was ultimately censored). Fernando Brand wrote the lyrics, resuming the idea that San Vicente was a city in Latin America “where a military coup takes place,” a not-so-subtle metaphor for Brazil's dictatorship. With several percussive elements from the Andes and an Iberican guitar style, it became the most popular Brazilian/Portuguese song in South America in the 1970s.

Salve! This is a preview bonus episode for Brazuca Sounds paid subscribers!Every episode is a different song. This is the song today:"Eu Também Quero Mocotó" by Erlon Chaves (written by Jorge Ben)Erlon Chaves was a maestro responsible for orchestrating Wilson Simonal's biggest hits and served as Elis Regina's lead pianist on tours. "Eu Também Quero Mocotó" was written by Jorge Ben and introduced Erlon as a singer during a made-for-TV song contest. "Eu Também Quero Mocotó" became a big phenomenon, and even today is a samba-rock classic in Brazil. Unfortunately, Erlon's brightest moment was also the worst. Erlon was accused by the military regime of public moral harassment after he was kissed by several blonde dancers on stage, taken into custody, and eventually "suggested" not to perform again. Four years later, in November 1974, Erlon died of a heart attack while buying a record player before visiting his friend Simonal in jail. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In this episode, we discussed manguebeat by celebrating 30 years from the release of Chico Science & Nação Zumbi and Mundo Livre S/A's debut albums in 1994. A movement from the city of Recife, in Brazil's Northeast, manguebeat claimed to blend maracatu, which is the folklore music and dance from the region with elements of rock, dub, hip-hop, and bossa. The movement was extracted from a collective manifesto, "Crabs With Brains", a socio-political text against cultural stagnation, positioning the people of Recife, as part of their environment, but also able to transcend it, and overcome their situation. Chico Science & Fred Zero 04 (from Mundo Livre S/A) were the pivotal figures from the movement, but we also covered the bands Mestre Ambrósio, Cascabulho, Cordel do Fogo Encatado, DD Dolores e Orquestra de Santa Mass and Otto. All the songs we spoke about are available on our Spotify playlist: Brazuca Sounds Soundtracks. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Salve! This is a bonus episode for paid subscribers!Every episode is a different song. This is the song today:"Maracatu Atômico" by Jorge Mautner (written by Mautner/Nelson Jacobina)Gilberto Gil released this song as a single (compact), then produced Jorge Mautner's sophomore album, released in 1974 via Polydor. Before making music, Mautner was a controversial writer, with his Trilogy of Kaos banned by the military regime. Born in Rio, and raised in Sao Paulo to immigrant parents from Yugoslavia who escaped the Holocaust, Mautner was partially raised by his nanny from whom he learned much about Brazilian Afro religions. "Maracatu Atômico" is a mix of samba, funk, MPB, maracatu (a regional folklore rhythm from Pernambuco), and even Easter European music, as Mautner was primarily a violin player. The song was revitalized in the 1990s by Chico Science and Nação Zumbi, a crucial point for the manguebeat movement. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This episode is exclusive for paid subscribers. We celebrate the 50-year release of "Cantar" by Gal Costa. Unlike her two previous works, the live album Fa-Tal, and the masterpiece album "India", this is a more soft, calm, reaffirming Gal Costa's and her early bossa nova style - before she turned into Tropicalia sex symbol. Produced by Caetano Veloso and several tracks arranged by João Donato, it was a massive commercial failure in the 1970s but regained a cult status over the years. It is the only Gal Costa album to make the "100 Greatest Brazilian Music Records" list chosen by Rolling Stone Brasil. All songs from Brazuca Sounds are available on our Spotify playlist: Brazuca Sounds Soundtracks. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Salve! This is a bonus episode for Brazuca Sounds paid subscribers!Every episode is a different song.This is the song today:"A Rã" by Gal Costa (written by João Donato/Caetano Veloso)João Donato composed this music as "The Frog", which was recorded by his friend João Gilberto as "O Sapo" and finally has its definitive title after Caetano Veloso wrote the lyrics. Gal Costa recorded for her Caetano's produced album "Cantar", from 1974, featuring Donato on the Fender Rhodes, what we consider the ultimate version of "A Rã". Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In this episode, we celebrate the 50-year release of "Lóki?", the solo debut album of Arnaldo Baptista. After departing from Os Mutantes, and dealing with depression, drug abuse, and the break up with Rita Lee, Arnaldo put together one of the most melancholy Brazilian albums ever produced. A psychedelic rock n' roll with no electric guitar on it, the album is an adventure of organ, piano, and modern synthesizers. We analyzed the music's context, the lyrics' ideas, his obsessions with spaceships, and all the struggles that Arnaldo went through after the recording process. All songs from Brazuca Sounds are available on our Spotify playlist: Brazuca Sounds Soundtracks. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Salve! This is a bonus episode for Brazuca Sounds paid subscribers!Every episode is a different song. This is the song today:"Bananeira " by Emílio Santiago (written by João Donato/Gilberto Gil)João Donato composed this music as "Villa Grazia" while touring in Italy supporting Joao Gilberto on piano. Like almost every instrumental song he wrote, the title names were changed upon having lyrics, written by Gilberto Gil. In 1975 Emílio Santiago gave an entirely new life to the song by recording it to his debut album (featuring Donato on the Fender Rhodes), becoming the ultimate version of "Bananeira" over time. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Salve! This is a bonus episode for Brazuca Sounds paid subscribers! Every episode is a different song. This is the song today: "Amigo Branco " by Márcia Maria (written by Leci Brandão)This bonus episode is dedicated to samba legend Leci Brandão, who turned 80 years old on September 12th. Released in 1978 on Márcia Maria's debut album, and produced by boogie-Midas Lincoln Olivetti, 'Amigo Branco" became one of the best Brazilian disco songs. Originally recorded by the singer Djalma Dias as "Nada Sei de Preconceito" (1974), it was the first song ever recorded written by Leci Brandão. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In this episode, we celebrate the music career of the great Sergio Mendes. As hard as it is to summarise such a long discography, we hopefully brought the essential of Sergio Mendes in 15 songs (Portuguese language-only, nothing personal). We talked about the origins of "Mas Que Nada" and its meaning, personal favourites from Brasil 65 released as Sergio Mendes Trio featuring Wanda Sá and Rosinha de Valença, and his later stardom in the USA under the moniker Sergio Mendes & Brasil 66. We spoke about his partnerships with Halp Albert, Edu Lobo, Tom Jobim, Stevie Wonder, and more. All the songs from this episode are available on our continuous playlist on Spotify: Brazuca Sounds Soundtracks. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Salve! This is a bonus episode for Brazuca Sounds paid subscribers!Every episode is a different song. This is the song today:"Inútil Paisagem " by Wanda SáReleased in 1964, Wandá Sá's debut album, "Vagamente" is a bosa nova masterpiece showcasing her incredible voice, surrounded by the soft, charming, and cool arrangements of Roberto Menescal. "Inútil Paisagem", written by Tom Jobim (also known as "Uselles Landscape") was introduced by Wanda Sá on this album and became one of the staples of bossa worldwide. Born on July 1, 1944, this bonus episode celebrates Wanda Sá's 80th birthday and 60 years of the album's release. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Salve! This is a bonus episode for Brazuca Sounds paid subscribers!Every episode is a different song. This is the song today:"Na Rua, Na Chuva, Na Fazenda " by HyldonHyldon released his debut album in 1975, but a year before he achieved mainstream success with the soul ballad "Na Rua, Na Chuva, Na Fazenda". It is a love song based on Hyldon's long-distance relationship with a girl that eventually would no longer exist. Hyldon was 24, and having played before with Cassiano and Tim Maia, Hyldon pioneered a more soft-guitar-driven type of soul music in Brazil. "Na Rua, Na Chuva, Na Fazenda" is a Brazilian national hit even today, a strong contender for every karaoke. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In this episode, we celebrate samba once again by listing 10 different songs whose subject is the samba itself. A metalinguistic samba so to speak, where the music genre is the character - one would be impressed by how many songs are out there! Among the highlights are Dorival Caymmi's "O Samba da Minha Terra", Zé Keti's "A Voz do Morro", and Novos Baianos' "Na Cadência do Samba" (written by Ataulfo Alves). We also talked about Noel Rosa, Vinícius de Moraes, Nelson Sargento, Paulinho da Viola, Elza Soares, Jair Rodrigues, Alcione, and the mainstream samba ballads. Access our playlist with all these songs on Spotify: Brazuca Sounds Soundtracks.And hey!, you may be interested in two previous episodes, History of Samba in 10 Albums, and History of Samba in 25 Songs. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Salve! This is a bonus episode for Brazuca Sounds paid subscribers!Every episode is a different song. This is the song today:"Alegria, Alegria " by Caetano Veloso"Alegria, Alegria" is off Caetano Veloso's debut album, a song about freedom and "walking against the wind, without carrying an ID", a clear reference to the Brazilian military regime and its constant vigilance. The arrangements full of distorted electric guitars were unheard of in Brazil and became the first step of what would become the Tropicalia movement. In this bonus episode, we analyzed the context behind the song, its lyrics written by Caetano, his Argentine backup band, and its production. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In this episode, we celebrate the music from the South region in Brazil, from its folklore roots with Teixeirinha, album sales phenomenon Nelson Gonçalves, melancholic-samba pioneer Lupicínio Rodrigues, and the bubblegum-rock early influences of Elis Regina. We also covered the Southern Tropicalia movement, with Os Brasas, O Bando, and Liverpool, and finished with folk-rock artists like Hermes Aquino, Almondegas, Paralelo 30, Carlinhos Hartlieb, Bebeto Alves, Vitor Ramil, blending MPB, folk, nativist sounds and influences from the border with Uruguay and Argentina. Access our playlist with all the songs on Spotify: Brazuca Sounds Soundtracks.The recent floods in the Brazilian South devastated several cities including its capital Porto Alegre due to torrential rainfalls. It's an unprecedented catastrophe, so donate if you can via these NGOs: brazilfoundarion.org and/or CUFA at Cufa.org.br. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Salve! This is a bonus episode for Brazuca Sounds paid subscribers! Every episode is a different song.This is the song today:"Agoniza Mas Não Morre " by Beth CarvalhoToday we're celebrating the centenary of samba-songwriter Nelson Sargento, the author of "Agoniza Mas Não Morre", born in Rio de Janeiro on July 25th, 1924. The song is a homage to samba, which as he sings "may agonize but won't die". Beth Carvalho recorded the song, which immediately became a success, as she was at her peak upon its release. The Godmother of Samba, Carvalho revitalized the career of seminal samba songwriters such as Cartola and in this case here, Cartola's pupil Nelson Sargento, a.k.a the Sargeant.Subscribe now to unlock this episode and support our work: patreon.com/brazucasounds Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This episode is exclusive to subscribers. Access now at patreon.com/brazucasounds In this episode, we celebrate the 50th anniversary of Alceu Valença's debut album as a solo artist, "Molhado de Suor", released by Philips in 1974. Born and raised in Pernambuco, in the Northeast of Brazil, Valença effortlessly blended folklore sounds of his native land, such as forró and baião, with MPB, folk, and rock, creating a cornucopia of psychedelic music. The album aesthetic, combining mastering acoustic guitar and soft percussive elements, makes it both, inherently Brazilian, all at the same time being widely universal. This debut album was a stepping for an artist who would top Brazilian charts in the 1980s with his bold mix of electric guitar and forró. Access our playlist on Spotify: Brazuca Sounds Soundtracks. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Salve! This is a bonus episode for Brazuca Sounds paid subscribers!Every episode is a different song. This is the song today: "Trem das Onze " by Adoniran Barbosa In celebration of Adoniran Barbosa's debut album released in 1974, we analyzed his most popular song, "Trem das Onze". Born and raised in São Paulo, Adoniran wrote several songs about the common man, such as a guy who cannot afford to miss the last train departing back home. With simple lyrics, catchy as a piece of gum stuck underneath a school desk, encapsulated by Adoniran's thick Italian-Brazilian accent singing, "Trem das Onze" became one the most successful sambas ever released. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Salve! This is a bonus episode for Brazuca Sounds paid subscribers!Every episode is a different song: "É Preciso Dar um Jeito Meu Amigo " by Erasmo Carlos In 1969 Erasmo Carlos left Jovem Guarda behind to join the record label Phillips and introduced a more melancholic aspect to his songs. "É Preciso Dar um Jeito Amigo" is a blues-rock ballad with a distorted pedal-infused chorus, helped by his backup band consisting of Liminha (bass) and Dinho (drums) from os Os Mutantes, and Tropicalia guitar-heroe Lanny Gordin. It's a song about friendship, and one long journey to become a successful musician, and although all songs performed by Erasmo Carlos and Roberto Carlos shared credits, it was Roberto the songwriter for this one, not Erasmo. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In episode #65 we celebrate the music career of Chico Buarque, who turns 80 years old on June 19th. So what about discussing, playing, or mentioning 80 of his best songs ever released? I think it's a great idea, so we discussed his discography from his early days as a bossa-nova aficionado to his protest songs against the Brazilian military regime, his great songs released in the 80s and 90s, covering his music and songwriting to his more recent work. Not in a particular order, though. We spoke about Chico Buarque's numerous facets: the Troubadour, the Chronist, the Bohemian, the Lover, and the Politician. Access our playlist Brazuca Sounds Podcast Soundtrack. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Salve! This is a bonus episode for Brazuca Sounds paid subscribers! Every episode is a different song.This is the song today:"As Curvas da Estrada de Santos " by Roberto Carlos (Roberto/Erasmo)In 1969 Roberto Carlos mostly dropped Jovem Guarda to incorporate a variety of sounds into his music such as MPB, soul, and rock. "As Curvas da Estrada de Santos" embodies all of his new influences, from Caetano Veloso to his teenage buddy Tim Maia, a rambunctious ballad with tons of brass arrangements, wah-wah guitars, and possibly the best lyrics by Roberto Carlos until then. It's a wildly curveball just like the road he's singing about. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Salve! This is another bonus episode of Brazuca Sounds! Every episode is a different song.This is the song today:"Ponteio" by Edu Lobo (Edu Lobo/Capinan)This song was the grand winner of the Festival de Musica Popular Brasileira, a popular music contest made for TV in the 1960s. Performed live by Lobo, Marília Medalha, and Quarteto Novo, "Ponteio" famously finished first ahead of Gilberto Gil's "Domingo no Parque" and Chico Buarque's "Roda Viva". Edu Lobo wrote the melody for a different song he abandoned. The lyrics were finished by his friend, Tropicalia poet Capinan, and became one the most famous important of Brazilian music in "Quem me Dera agora eu Tivesse uma viola pra tocar" (I wished I had now my guitar so I could sing) for his use of metaphors against the military regime in Brazil. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In episode #64 we discuss songs censored during the military regime in Brazil (1964-1985). In April 1964, a coup d'etat took over Brazil, and four years later the government adopted even more restrictive measures with the Institutional Act nº5, so every cultural work (films, books, theatre, and music), required prior approval from the government to circulate. We had another episode on this topic on Brazuca Sounds #8. In this episode, we discussed songs censored by the dictatorship whether because of their political lyrics, their "poor taste" against morals, or simply by any rational reason. We also talked about mysteriously NOT censored songs and what the musicians did to accomplish that. Amongst the artists featured on the podcast are Luiz Gonzaga, MPB4, Ivan Lins, Odair José, Tim Maia, Rita Lee, and more. Access our playlist Brazuca Sounds Podcast Soundtrack. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Salve! This is another bonus episode of Brazuca Sounds!Every episode is a different song: "País Tropical" by Wilson Simonal (written by Jorge Ben) from 1969Jorge Ben wrote this song for Gal Costa but Simonal after seeing her performing the song live asked his friend Ben for the scoop. Simonal then not only recorded "País Tropical" first, but his version became an instant hit. Combining elements of Latin jazz, samba, and soul, staccato brass arrangements, and the unmistakable voice of Wilson Simonal, is one the most popular Brazilian songs ever produced. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This is a preview for our paid subscribers at Patreon. Subscribe now: patreon.com/brazucasoundsIn episode #63 we discussed the 50th anniversary of Elis & Tom, released in 1974. Elis Regina completed 10 years at Philips, and the record label offered a gift to celebrate the occasion. She chose to record an album performing songs by Tom Jobim featuring the maestro himself. Recorded in Los Angeles, the album rejuvenated bossa-nova, which was slowly beginning to die in the water. Elis Regina conquered all the prestige that she never had despite her popularity, and Tom Jobim achieved mainstream success that he never came close to having in Brazil despite his prestige. The album "Elis & Tom" was recently the subject of a documentary, "Elis e Tom, Só Tinha de Ser com Você", with rare and unseen images from the recording sessions. On this podcast, we're gonna expand on that, with all the backstory about one the greatest albums of Brazilian music history.Access our playlist Brazuca Sounds Podcast Soundtrack. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This is another bonus episode of Brazuca Sounds! Every episode is a different song.This is the song today: "Eu só Quero um Xodó" by Gilberto Gil from Cidade do Salvador (1973)The accordionist Dominguinhos once created a melody in his tiny apartment. Anástasia was cooking, left everything behind, and wrote the lyrics for the song. They intended to sell it off to a forró record label, but during a tour in France supporting Gal Costa, Dominguinhos played the tune in a soundcheck, Gilberto Gil heard it and the rest is history. "Eu Só quero Um Xodó" was released by Gil as a single, featuring Dominguinhos, and over the years became one of the most popular forró songs ever. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In episode #62 we discussed the 50th anniversary of Jorge Ben's masterpiece "A Tábua de Esmeralda", released in 1974. After a period of living in France, Jorge Ben got involved with alchemists. Hence, the album is a reflection of its secrets, legends, and fables, including the album's title (a reference to the Emerald Tablet) and the artwork that incorporates drawings from Nicholas Flamel, who was immortalized as a great alchemist for his work on the philosopher's stone. However, it's NOT only about alchemy as Jorge Ben also speaks about black culture in seminal tracks like "Zumbi", his love for women characters like "Minha Teimosia, Uma Arma pra te Conquistar", and more importantly, it is the last Jorge Ben album played entirely with the acoustic guitar. Access our playlist Brazuca Sounds Podcast Soundtrack. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This is another bonus episode of Brazuca Sounds!Every episode is a different song. This is the song today:"Ando Meio Desligado" by Os Mutantes from A Divina Comédia (1970)"Ando Meio Desligado" was a bit of post-Tropicalia from the album A Divina Comédia, with a more rock-infused sound, influenced by Jimi Hendrix and Janis Joplin (who ironically would both die a few months later). The arrangement is a straightforward power trio, a significant departure from the trademark orchestrations from their two previous albums. Over the years "Ando Meio Desligado" became a flagship for the band's discography, including its English version "I Feel a Little Spaced Out". Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Salve! This is another bonus episode of Brazuca Sounds!Every episode is a different song. This is the song today:"Vale Tudo" by Sandra Sá featuring Tim Maia from Vale Tudo (1983)One may argue that "Vale Tudo" is the most popular Brazilian song from the 1980s. Tim Maia wrote it exclusively for Sandra Sá, who initially thought it was a pranking call. Although Sandra was already a successful funk-boogie singer, this song was undoubtedly her big break to stardom in the 80s. "Vale Tudo", featuring Tim Maia, was produced by Lincoln Olivetti and named Sandra Sá's third album, released by RGE in 1983. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In episode #61 we talk about singer, songwriter, guitarist, actor, and comedy writer Arnaud Rodrigues. One of the most underrated Brazilian musicians from the 1970s, Arnaud has released, at least, three classics under his belt: "Murituri" (1974) released under his name; "Baiano & os Novos Caetanos" (1974), as a duo with comedian wizard Chico Anysio; and "Som do Paulinho" (1976) released under Arnaud's alias as Paulinho Cabeça de Profeta, a music caleidoscope combining Rock, Latin, Funk, Folk, Country and his regional influences from the Northeast, such as Baião e Forró. A comedy writer for the megapopular sketch-TV show "Chico City", Arnaud was perceived by the public mostly as an actor/comedian, which perhaps explains the lack of exposure his music deserved. However, that he was a part-time musician makes him more interesting not less. Access our playlist Brazuca Sounds Podcast Soundtrack. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Salve! This is another bonus episode of Brazuca Sounds!Every episode is a different song. This is the song today:"Canto de Ossanha" by Vinícus e Baden from Os Afrosambas (1966)Considered the first recording in Brazilian music to incorporate Candomblé instruments, such as the atabaques, agogô, and afoxé into traditional elements of orchestration. With lyrics written by Vinícus and music composed by guitar virtuoso Baden Powell, "Canto de Ossanha" is one of the most famous songs from Brazil. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Salve! This is a bonus episode of Brazuca Sounds!Every episode is a different song. This is the song today:"Como Nossos Pais" by Elis Regina from Falso Brilhante (1976)Written by Belchior, and brilliantly performed by Elis, this is the definitive song about conflicts between generations. The song also encapsulates perfectly the historical and social context of the time and the anguish of youth living through a military dictatorship. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In this episode, we celebrate the 50th anniversary of Cartola's debut album released in 1974. Nearly 50 years after beginning his career, Cartola released his first album featuring 12 songs of the more than 100 he wrote during his lifetime. Recorded in February and March 1974, the album was released by the independent label Discos Marcus Pereira. We talk about Cartola's upbringing as a musician in the 1920s, his struggles with poverty, health, and death in his family, the rediscovery of his work by bossa and samba enthusiasts in the 1960s, and finally the backstory of the album's making. We analyzed much of the Cartola's lyrics, and the music put together by a great ensemble of Dino 7 Cordas (seven-string-guitar), Meira (guitar) and Canhoto (cavaquinho).Access our playlist Brazuca Sounds Soundtracks. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.