Podcasts about brazuca

In episode #93, we celebrate 50 years of Cartola's second album, released in 1976 by the record label Marcus Pereira Discus. Nearly 50 years into his career, Cartola released his debut featuring many of his early sambas and chorinhos. This follow-up is completed with songs written exclusively for this album, such as "As Rosas Não Rosam", arguably his most popular song. Among other famous iconic samba standards are "O Mundo é um Moinho" and "Preciso me Encontrar" (written by another amba legend, Candeia). Although with a very similar approach to his debut album, this 1976 sophomore album is definitely a step forward that finally gave Cartola the stardom he deserved. Check our episode about his debut album, Cartola (1974).Check our episode History of Samba in 10 Albums. Check Translationsmith for the translation of many songs from the album. Follow our playlist ⁠Brazuca Sounds Soundtrack.

Estamos a poucos dias de um novo aniversário da revolução do 25 de Abril em Portugal, uma ocasião para recordarmos uma das suas figuras cimeiras, Otelo Saraiva de Carvalho, que é o objecto de uma biografia elaborada por Yves Léonard, historiador que nestas últimas três décadas publicou inúmeros livros sobre a História de Portugal. "Otelo, la voix de la révolution des œillets", "Otelo, a voz da Revolução dos Cravos" é o nome da nova obra publicada pela Chandeigne & Lima, que Yves Léonard lançou no passado dia 15 de Abril em Paris. Neste livro, o historiador recorda esta figura controversa do passado recente de Portugal, um capitão de Abril que, no decurso dos anos 80, foi acusado de ter ligações com grupos armados em Portugal. Nascido a 31 de Agosto de 1936 em Maputo, Otelo Nuno Romão Saraiva de Carvalho é filho de um funcionário dos Correios e cresce no seio de uma família ligada, pelo avô, ao mundo do teatro. Depois de frequentar o ensino secundário público de Maputo, ele destina-se a uma carreira de actor, o jovem Otelo tendo veleidades de ir para o "Actor's Studio" em Nova Iorque. O destino -e sobretudo o pai- vão encarregar-se de o fazer ingressar na Academia Militar aos 19 anos. Ele estará em serviço activo durante as guerras de libertação de Angola e na Guiné-Bissau, nos anos 60 e início de 70 Será durante os derradeiros anos desses conflitos, que vai crescer dentro dele e de outros militares o projecto de derrubar o regime fascista português. De regresso a Portugal em 1973, envolve-se no Movimento das Forças Armadas e, juntamente com outros capitães, assume a liderança da Revolução dos Cravos a 25 de Abril de 1974. Uma caminhada sobre a qual Yves Léonard destaca que "antes de tudo, Otelo é o homem de África" e que "isto é muito importante para compreender o personagem". "Otelo é um militar, mas não por convicção. Penso que, antes de tudo, Otelo é um actor. Gostava muito do teatro. Otelo tem um avô que é um antigo oficial do Exército português. Portanto, tem uma grande admiração pelo avô. É importante na hora de tomar a decisão de entrar na Academia Militar e depois, nos anos 60, obviamente, é o tempo das guerras coloniais e para Otelo é um momento muito importante. Porque Otelo é um oficial intermédio, isto é, um capitão", começa por dizer o estudioso. "Em África, durante as guerras coloniais, há uma tomada de consciência em torno do sistema salazarista com o papel muito importante das colonias. E para Otelo, há a consciência de que a guerra é o problema maior de Portugal e que a violência não é a resposta", diz o historiador. Ao destacar o papel de Otelo durante o 25 de Abril, Yves Léonard também recorda que, depois, "durante o PREC, Processo Revolucionário em Curso, Otelo tinha um papel muito importante, porque era o chefe do COPCON e o chefe da Região Militar de Lisboa. Tem um papel muito importante durante a crise do fim de Setembro de 1974, durante a crise do 11 de Março de 1975, e depois, durante o 'Verão quente' e no mês de Novembro de 1975. Mas aí já não tinha o controlo da situação política em Portugal". Entrevistado pela radiodifusão portuguesa precisamente um ano após a revolução, Otelo Saraiva de Carvalho não esconde a alegria e o orgulho que continua a sentir depois do 25 de Abril de 1974. Mas efectivamente, neste período em que ele assume um papel preponderante no PREC, começam a surgir as primeiras divisões entre as correntes mais reformistas e as franjas mais à esquerda da revolução. Estas dissensões vão culminar com a desestabilização do 25 de Novembro de 1975. A partir daí, Portugal marca uma viragem mais à direita e em 1976, o general Ramalho Eanes torna-se o primeiro Presidente eleito depois da revolução de Abril, com um pouco mais de 61% dos votos face a Otelo, cuja candidatura recolhe cerca de 16% dos votos. Na primeira metade dos anos 80, Otelo está em ruptura total com o rumo seguido por Portugal na altura. Ele lidera um movimento, o chamado "Projecto Global", que será acusado de ter elos com grupos armados de extrema-esquerda como as FP 25, Forças Populares do 25 de Abril, que cometem ataques semelhantes àqueles que acontecem na mesma altura na Itália ou em França. "É difícil de dizer exactamente o que se passou, porque, por um lado, Otelo tinha vontade de fazer um projecto político com o poder popular que se chama ‘Projecto global'. É um projecto muito ambicioso. No fim dos anos 70, no início dos anos 80 e no mesmo tempo, aparece um grupo muito violento, com atentados terroristas que se chamam FP 25, Forças Populares do 25 de Abril. O problema é fazer uma ligação entre o ‘projecto global' de Otelo e as FP 25. É muito difícil saber exactamente qual é a natureza dessa relação. Mas em Junho de 84, o poder político, o Ministério da Justiça e a polícia têm a convicção de que Otelo é o chefe, senão o inspirador das FP 25", recorda Yves Léonard. Em 1987, Otelo é condenado a 15 anos de prisão por ser considerado responsável das actividades das FP 25. As circunstâncias em que Otelo é condenado geram um debate de largos anos em Portugal, ao ponto que sob o impulso dos socialistas então no poder, uma maioria de parlamentares amnistia Otelo em 1996. Esta medida não deixa de gerar polémica no seio da direita que acusa a esquerda de querer "apagar" a História. A seguir à amnistia, virá mais tarde um novo processo em 2001 durante o qual a justiça vai considerar que não existiam elementos suficientes para estabelecer que Otelo tivesse um qualquer elo com as FP 25. "Temos um julgamento no Tribunal da Boa-Hora no início de 2001 para dizer que Otelo não é responsável, não é o inspirador, não é o chefe das FP 25. É uma decisão de Justiça. Isto é uma forma de verdade. O problema é que depois da amnistia, depois o julgamento da Boa-Hora, muitas pessoas em Portugal continuam a pensar que Otelo é o responsável das FP 25, é uma terrorista. E a imagem de Otelo é péssima", constata o universitário. Apesar de uma decisão favorável da justiça, o nome de Otelo passou a ter um rasto de pólvora de forma duradoira. Paradoxalmente, ele continua a ser acarinhado no exterior, nomeadamente em França, onde várias personalidades do mundo político, nomeadamente o próprio Presidente François Mitterrand, ou artistas como o cantor popular Renaud, não escondem a sua admiração pelo militar que tem uma aura romântica. Para Yves Léonard, este fenómeno explica-se pelo facto de "a Revolução dos Cravos ter sido a última revolução do século XIX, isto é, uma revolução romântica". A aura de Otelo e dos restantes capitães de Abril vai inspirar vários filmes, documentários e reportagens. No ano 2000, estreia o filme 'Capitães de Abril' da actriz e realizadora portuguesa Maria de Medeiros. Presente na apresentação do livro de Yves Léonard, ela recorda a figura de Otelo que conheceu quando era criança. "Realmente eu conheci-o. Eu era muito novinha, adolescente, e lembro-me de ter dançado um rock and roll com o Otelo e era a primeira vez que eu dançava assim com os movimentos do rock and roll em Lisboa, num restaurante que é o ‘Brazuca', que era um lugar muito importante para os capitães de Abril, onde eles se reuniam muito. Depois, quando preparei o meu filme Capitães de Abril. Obviamente, falei muito com o Otelo, também com o Salgueiro Maia e, sobretudo, passei realmente 13 anos da minha vida a fazer pesquisa e a ler tudo o que eu conseguia encontrar nessa época publicado e às vezes sem estar publicado do que eles escreveram. É um privilégio extraordinário da nossa geração, da nossa infância, de miúdos lisboetas, de muitos de nós, termos coincidido com essas figuras importantes da nossa história", diz a cineasta que lamenta a actual tentativa de minimizar o legado do 25 de Abril no espaço público em Portugal. "Infelizmente, eu acho que estes movimentos revisionistas de extrema-direita que alastram não é uma coisa que seja, nem é nada português. Na verdade, acho que é uma importação. É como uma marca importada de outros países, porque está a acontecer por toda a parte. Os discursos são os mesmos. O descrédito atirado para cima da honra não é de quem de facto lutou. É vergonhoso", denuncia Maria de Medeiros. Volvidos 52 anos, o campo conservador está no poder em Portugal e a extrema-direita, em posição de força na Assembleia da República, tenta corroer a herança do 25 de Abril. A questão da memória torna-se tanto mais premente que as testemunhas directas da revolução dos cravos vão partindo. Otelo faleceu a 25 de Julho de 2021, num relativo esquecimento e sem grandes homenagens nacionais. "O que é muito importante, com o 25 de Abril é o papel dos capitães. Os grandes testemunhos da época, obviamente, 50 anos depois, os heróis desaparecem. Por exemplo, Otelo morreu cinco anos atrás, em 2021. E é difícil falar desse período sem os grandes actores do 25 de Abril. É um problema clássico na disciplina da História, a memória, os testemunhos e a história. É importante fazer e dizer a História. É um período complexo porque estamos entre a época da memória, com a presença dos grandes actores do 25 de Abril e o período da História. O problema hoje, é a tentação de dizer que o período antes do 25 de Abril não foi um período tão difícil. É um grande perigo para a democracia portuguesa", considera Yves Léonard para quem "é muito importante hoje sublinhar o papel fundamental da ruptura do 25 de Abril" que marcou "um novo tempo para Portugal, para a democracia em Portugal e para a democracia na Europa". "Otelo, obviamente, é o homem do 25 de Abril, o instigador que simboliza os Cravos de Abril", conclui o historiador.

In episode #92, we will feature the last 25 songs that mention Brazilian places in their lyrics. This time we traveled all over Brazil with a contemporary approach, and music produced in the 1980s, 1990s, and until now. Among the artists featured are heavyweights such as Marcos Valle, Emílio Santiago, Moraes Moreira, and present-day greats like Criolo, Racionais MCs, and Ed Motta. We finished this episode uncovering the 4,175.72 km extension of land from the Northernmost part, with Nazaré Pereira, singing about her homeland of Pará and the Marajó Island, to the South region where Brazil meets Uruguay. Check the ⁠⁠⁠⁠Translationsmith ⁠⁠⁠⁠for lyrics!A Trip to Brazil in 100 Songs: ⁠PART 1⁠; and ⁠PART 2⁠; and PART 3.Listen to our playlist ⁠'A Trip to Brazil' ⁠on Spotify.Follow our playlist ⁠Brazuca Sounds Soundtrac⁠k on Spotify.

In episode #92, we will feature the last 25 songs that mention Brazilian places in their lyrics. This time we traveled all over Brazil with a contemporary approach, and music produced in the 1980s, 1990s, and until now. Among the artists featured are heavyweights such as Marcos Valle, Emílio Santiago, Moraes Moreira, and present-day greats like Criolo, Racionais MCs, and Ed Motta. We finished this episode uncovering the 4,175.72 km extension of land from the Northernmost part, with Nazaré Pereira, singing about her homeland of Pará and the Marajó Island, to the South region where Brazil meets Uruguay. Check the ⁠⁠⁠⁠Translationsmith ⁠⁠⁠⁠for lyrics!A Trip to Brazil in 100 Songs: ⁠PART 1⁠; and ⁠PART 2⁠; and PART 3.Listen to our playlist ⁠'A Trip to Brazil' ⁠on Spotify.Follow our playlist ⁠Brazuca Sounds Soundtrac⁠k on Spotify.

In episode #91, we talked about the sole album of percussionist Pedro "Sorongo" Santos. Recorded in a couple of weeks in 1968, he created a distinctive sonic palette, blending Brazilian music, Latin rhythms, and jazz, all while mostly using percussion instruments invented by Sorongo. The sound is so contemporary and so ahead of its time that it resembles electronic music before electronic music existed, or the Afrobeat before the Afrobeat, and seminal "music effects". Pedro also channeled all his musicality in search of a very spiritual theme, influenced by yoga, resulting in poetic lyrics with a mystical perspective and a unique linguistic structure. Produced by fellow percussionist Helcio Milito, of Tamba Trio fame, "Krishnanda" was a commercial failure but gained cult status in the mid-1990s.

In episode #90, we explored one of the most revered albums in Brazilian music history. Recorded live between January 3rd and 6th, 1966, Os Afro-Sambas has endured decades of change and upheaval in Brazil's musical landscape. The unlikely duo behind it—Baden Powell, a 24-year-old virtuoso guitarist of poor Afro-Brazilian origins, and Vinícius de Moraes, 51, celebrated white-diplomat songwriter of Garota de Ipanema and Chega de Saudade—first met in a Rio nightclub in 1961. Widely regarded as the first album to fuse bossa nova's signature instruments—guitar, bass, flute—with Afro-religious rhythms, Os Afro-Sambas was born after Baden traveled to Bahia to conduct extensive research in candomblé temples.Recorded in a basement studio in downtown Rio during a torrential rainstorm, the sessions help explain why Vinícius' vocals sometimes sound notably nasal. Or, according to various legends, perhaps because they reportedly went through more than 2,300 bottles of whisky over those four days of recording. In this episode, we took a deep dive into the album's history, analyzing its lyrics, music, and the context of its creation, including audio excerpts from interviews and documentaries.Among the videos I have shared in this episode:Baden Powell plays on the TV show Ensaio - TV Cultura (1967) Baden Powell plays "Tempo de Amor" for Saravah documentaryBaden & Vinícius play Berimbau/Canto de Ossanha (1979)Follow our updated playlist on Spotify: "⁠Soundtrack: Brazuca Sounds⁠". Every song we've ever playedon the show!

In episode #89, we discussed some of the best Brazilian albums released in 2025. Among the albums discussed were BaianaSystem, Alberto Continentino, and Seu Jorge, with his first album in 10 years.We also discussed singer-songwriter Luedji Luna and her two albums released in 2025; the latest album from Jadsa, the psychedelic duo Parque do São; millenial singer songwriter Rubel; and the new album released by Sessa. Follow our updated playlist on Spotify: "⁠Soundtrack: Brazuca Sounds⁠". Follow our brand new playlist, The Contemporary Music of Brazil, with all the songs we shared in our New Sounds collection since 2020.Similar episodes:Brazuca Sounds #74: Best Albums of 2024Brazuca Sounds #49: Best Albums of 2023Brazuca Sounds #29: New Sounds of 2021

In episode #89, we discussed some of the best Brazilian albums released in 2025. Among the artists we talked about were BaianaSystem, Alberto Continentino, and Seu Jorge, with his first album in 10 years.We also discussed singer-songwriter Luedji Luna and her two albums released in 2025; the latest album from Jadsa, the psychedelic duo Parque do São; millenial singer songwriter Rubel; and the new album released by Sessa. Follow our updated playlist: "⁠Soundtrack: Brazuca Sounds⁠". Follow our brand new playlist, The Contemporary Music of Brazil, with songs from our New Sounds collection since 2020.Similar episodes:Brazuca Sounds #74: Best Albums of 2024Brazuca Sounds #49: Best Albums of 2023Brazuca Sounds #29: New Sounds of 2021Brazuca Sounds #6: Best Albums of 2020

This is a preview of our latest monthly episode.It was initially released in full and is now available exclusively to our paid subscribers on Patreon⁠.In episode #88, we celebrate the 50th anniversary of Refazenda, the landmark album released by Gilberto Gil in 1975. Conceived as a return to his Northeastern roots, the record marked a decisive shift away from the Tropicalia movement and the more rock-oriented phase of his career.Refazenda features key collaborations with accordion master Dominguinhos, who co-wrote classics such as “Tenho Sede” and “Lamento Sertanejo.” The change in direction was warmly received by audiences, making the album Gil's biggest commercial success and launching his celebrated trilogy ⁠— alongside Refavela and Realce.Check Translationsmith for the translation of many songs from the album. Follow our playlist ⁠Brazuca Sounds Soundtrack with over 50 hours of music on Spotify.

In episode #88, we celebrate 50 years of the album "Refazena" released by Gilberto Gil in 1975. The album was intended as a return to Gilberto Gil's Northeastern roots, moving him away from Tropicalia and the more rock 'n' roll period in his life. "Refazenda" relies on several collaborations with accordion great, Dominguinhos, who co-wrote songs such as "Tenho Sede" and "Lamento Sertanejo". The switch was well received by the audience, turning Refazenda into Gilberto Gil's biggest commercial success, which in turn led to its famous trilogy (along with Refavela and Realce). Check Translationsmith for the translation of many songs from the album. Follow our playlist ⁠Brazuca Sounds Soundtrack with over 50 hours of music on Spotify.

In episode #87, we celebrate 45 years of the album "Feminina" released by Joyce Moreno in 1980. Arguably, her most important work, with feminist ideas ahead of her time, especially considering the Brazilian socio-political context. A jack of all trades, Joyce wrote all the lyrics and plays the guitar beautifully, enhanced by her charming voice. Among the album's highlights are "Feminina", an intergenerational conversation between mother and daughter; "Clareana", written as a lullaby song for her two young daughters; and "Aldeia de Ogum", rediscovered by DJs in the 1990s. "Essa Mulher" also became a trademark song performed by Elis Regina, a song that perfectly encapsulates the "feminine" album theme of motherhood and sexual desire.

In episode #86, we will feature 25 more songs that mention Brazilian places in their lyrics, this time centered in the Amazon region, the Midwest, and the South. We traveled to Amazonas with João Donato, Fafá de Belém, and more. Then we moved to the Midwest with Ney Matogrosso and discussed the origins of sertanejo country music in Brazil, especially in the "Brazilian Texas" of Goiás. We finished this episode in the South region, the land of Elis Regina, bossa master Luiz Henrique, and where Caetano Veloso wrote a very special song. Check the ⁠Translationsmith ⁠for translations!A Trip to Brazil in 100 Songs: PART 1; and PART 2.Listen to our playlist 'A Trip to Brazil' on Spotify.Follow our playlist Brazuca Sounds Soundtrack on Spotify.

In this episode, we discussed the composer, multi-instrumentalist, and musical innovator Hermeto Pascoal, who passed away in September 2025. The word "genius" is often misused, but it applies perfectly to describe the music of Hermeto, who once said, "There is music in everything; you just gotta find it." We tried to summarize his vast discography, talking about some of his fundamental albums, such as "Zambumbê-bum-á", his previous work with Quarteto Novo, and we also shared clips from the documentary "Hermeto Campeão". Follow the accompanying playlist available on Spotify and our archive playlist, Brazuca Soundstrack.

In this episode, we discussed the composer, multi-instrumentalist, and musical innovator Hermeto Pascoal, who passed away in September 2025. The word "genius" is often misused, but it applies perfectly to describe the music of Hermeto, who once said, "There is music in everything; you just gotta find it." We tried to summarize his vast discography, talking about some of his fundamental albums, such as "Zambumbê-bum-á", his previous work with Quarteto Novo, and we also shared clips from the documentary "Hermeto Campeão". Follow the accompanying playlist available on Spotify and our archive playlist Brazuca Soundstrack.

In episode #84, we talked about several debut samba albums. After Martinho da Vila and Clara Nunes topped the Brazilian charts in 1974 and continued to do so a year later, all the major record labels rushed to find their next big thing. The year 1975 marked the release of Alcione's first album, 'A Voz do Samba', on Philips. We also talked about the debuts of Giovana, Emilio Santiago, Agepê, Leci Brandão, and Sonia Santos. We discussed the megahit "Moça", the song of the year performed by samba-rocker Wando, and even some obscure jams such as Milena, Aloisio Machado, and Avan Samba. The year 1975 marked the year when samba became officially mainstream, incorporating arrangements from MPB and replacing traditional percussion. Follow our playlist Brazuca Sounds Soundtrack on Spotify.

In episode #83, we are celebrating the 80th birthday of Raul Seixas [1945-1989], and the release of his fourth album, "Novo Aeon", on November 1975. The most popular Brazilian rock artist, Raul's music is characterized by intense guitar riffs, soulful vocals and blend with several music genres, including forró, baião and afrosounds. Novo Aeon is an album signifacantly inspired by Alistair Crowley in its lyrics, with the exploration of themes such as individualism, sexual liberation and freedom.We also explored Raul Seixas' music beyond the album by talking about all four albums written in partnership with bestselling author Paulo Coelho. We talked about all of Raul's chameleon portraits: the hitmaker, the esoteric, the storyteller, the rockstar, the alcoholic, the copycat, the madman, the activist, the human. Follow our playlist Brazuca Sounds Soundtrack on Spotify.Check Translationsmith for the translation of Brazilian lyrics.

In episode #82, we talked about "Paêbiru", one of the most important albums from the Brazilian Psychedelic movement. Inspired by a trip to the archaeological site of Pedra do Ingá in Northeastern Brazil, Lula and Zé Ramalho created a blend of folk experimentation, fuzz guitars, and spatial sound, mixed with Brazilian northeastern regional music. The album became a cult treasure among collectors after a flood submerged the record label factory, causing the loss of almost all original vinyl pressings of the original batch. Follow our playlist Brazuca Sounds Soundtrack on Spotify.

In episode #82, we talked about "Paêbiru", one of the most important albums from the Brazilian Psychedelic movement. Inspired by a trip to the archaeological site of Pedra do Ingá in the Northeast of Brazil, Lula and Zé Ramalho created a blend of folk experimentation, fuzz guitars, and spatial sound, mixed with Brazilian northeastern regional music. The album became a cult treasure among collectors after a flood submerged the record label factory, causing the loss of almost all original vinyl pressing of the original batch. Follow our playlist Brazuca Sounds Soundtrack on Spotify.

This is a preview of our latest episode! It is now exclusive to paid ⁠⁠subscribers at Patreon⁠⁠!In episode #82, we talked about "Paêbiru", one of the most important albums from the Brazilian Psychedelic movement. Inspired by a trip to the archaeological site of Pedra do Ingá in Northeastern Brazil, Lula and Zé Ramalho created a blend of folk experimentation, fuzz guitars, and spatial sound, mixed with Brazilian regional music from the Northeast. The album became a cult treasure among collectors after a flood submerged the record label's factory, causing the loss of almost all the original vinyl pressings of the original batch. Follow our playlist Brazuca Sounds Soundtrack on Spotify.

In episode #81, we shared 25 more songs talking about Brazilian places in their lyrics, this time centred in the Northeast. We traveled to Bahia with Dorival Caymmi, João Gilberto, Novos Baianos, and more. Then we moved to Luiz Gonzaga's Pernambuco, and Jackson do Pandeiro's Paraíba, and all the other Northeastern states. Djavan sings about Alagoas, Alcione praises Maranhão, and Fagner pays homage to his Ceará. Check the ⁠Translationsmith ⁠for lyrics translations.Follow our playlist 'A Trip to Brazil' on Spotify.Follow our playlist Brazuca Sounds Soundtrack on Spotify.

Salve! This is a previous of our latest episode. All episodes are available for only a week before becoming exclusively for ⁠⁠subscribers at Patreon⁠⁠. In episode #80, we talked about the history of the vocal group Os Tincoãs. They introduced a new musical concept, not yet explored in Brazilian popular music: vocal arrangements for songs originating from Afro-Brazilian religious rituals, so present in their homeland in Bahia. We dived deep into their album "O Africanto dos Tincoãs", released in 1975, but we also expanded by talking about their beginning, their biggest hits, the importance of religious synchretism in their music, and the cult status that followed the trio since the early 2000s. Follow our playlist on Spotify: Brazuca Sounds Podcast Soundtrack.

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.

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.

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.

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.

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". 

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

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"⁠.

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.

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.

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.

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.

Reunimos al Sanedrín para comentar las polémicas que rodean a Vinicius y Mbappé con sus selecciones nacionales. Además, charlamos con el exjugador brasileño Djalminha para entender a qué se debe el menor rendimiento del jugador del Real Madrid con la selección Brazuca. Desde Francia, Andrés Onrubia nos explica las polémicas de la Selección francesa desveladas por L'Equipe.

grupo semente and simone mazzer | pouca chinfra | paulo paddilha | paulo tó | juliano muta | danilo morais | aristides guimarães | luizga and edgar valente | duo chipa garotas suecas | estranhos românticos | andreia dias | arthur melo | alzira e, cortes, ney matogrosso and jerry espíndola | junio barreto | aricia mess | zé manoel | kiko dinucci and ogi | juçara marçal | césar gilcevi | banda gente | a banda dos corações partidos | rodrigo mancusi | the araras | reflézia | filarmônica de pasárgada | vitor cena | barba ruiva |céu | jade baraldo | bel medula.

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.

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.

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.

No 144o BlockTalks a gente fala com Tony Fonseca, CEO do Node HUB web3 e CEO do Código Brazuca, que conta como o Rio de Janeiro tem se tornado um polo de educação em web3. Links https://www.linkedin.com/in/antfonseca/ https://codigobrazuca.com.br/ https://www.linkedin.com/company/c%C3%B3digo-brazuca/ https://nodehubweb3.xyz/ https://www.linkedin.com/company/node-web3-hub/ https://instagram.com/tonygarcia.eth https://x.com/voxelminis .. Dante Disparte.. Gustavo Cunha.. Yuval Rooz.. Charles Hoskinson .. Ben O'Hanlon.. Sean Kiernan.. Bob Gravestijn.. Andrea Frosinini.. Rodrigo Caggiano.. Cuy Sheffield

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.

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.

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.

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.

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.

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.

In this episode, we talk about the record label Continental and their (allegedly) melted albums. After the label ran out of Secos e Molhados LPs to sell in 1973, and the lack of raw material during the global oil crisis (and the Brazilian dictatorship's terrible administration), they decided to melt their back catalog to press them into new Secos e Molhados. Whether is factually hard to prove which albums were melted, is well documented that Arthur Verocai's debut and many of the Continental albums were taken out of circulation. So it leads us to speculate which ones, and those are five albums that we picked to talk about: Heraton Salvanini and his debut "SP/73"; Walter Franco's "Ou Não"; O Pessoal do Ceará only record registered as a group; Terço self-titled second album; and Paulo Bagunça e a Tropa Maldita. Access our playlist Brazuca Sounds Soundtracks. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In episode #58, we continue our celebration of albums released 50 years ago in 1973. This year we made specials about the albums released by João Donato, Marcos Valle, Tom Jobim, Gal Costa, Secos e Molhados, and more. Now is the time to discuss some of the most overlooked albums from 1973, from the brilliant debuts of Luiz Melodia and Gonzaguinha (pictured) to the crazy Northeast psychedelia of Satwa, the rural braziliana of Elomar, samba-rock makers Wando, and Marku, the resurgence of Tom Zé, the almost-forgotten work of Os Tincoãs, and the soul-gospel-psychedelic-funk of Cassiano's second album. All songs are available following our playlist on Spotify "⁠Soundtrack: Brazuca Sounds"⁠. Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Ahhh, o Natal! Aquele momento delícia no qual enchemos o rabo de peru, tiramos as passas do arroz e fazemos novas memórias em família! No episódio de hoje, 5 amigas imigrantes se reúnem para jogar conversa fora e fazer uma análise dos costumes e rituais natalinos dos gringos! Então aperte o play e junte-se a nós! Bote seu suéter feio, tome um eggnog e não se esqueça do elfo! ARTE DA VITRINE: Felipe Camêlo Baixe Versão Wallpaper da Vitrine LATE PLEDGE GHANOR - Financiamento coletivo “Tesouros de Ghanor” Aproveite o Late Pledge da campanha Tesouros de Ghanor. REDES SOCIAIS Carolina Andrade - @senhoratroll Pati Mafra - @patimafra1 Francine Gladulich - @fran_gladulich Andreia Pazos - @deiaduboc Agatha Ottoni - @agathaottoni Mande suas histórias, críticas, elogios e sugestões para: canecademamicas@jovemnerd.com.br EDIÇÃO COMPLETA POR RADIOFOBIA PODCAST E MULTIMÍDIA

Ahhh, o Natal! Aquele momento delícia no qual enchemos o rabo de peru, tiramos as passas do arroz e fazemos novas memórias em família! No episódio de hoje, 5 amigas imigrantes se reúnem para jogar conversa fora e fazer uma análise dos costumes e rituais natalinos dos gringos! Então aperte o play e junte-se a nós! Bote seu suéter feio, tome um eggnog e não se esqueça do elfo! ARTE DA VITRINE: Felipe Camêlo Baixe Versão Wallpaper da Vitrine LATE PLEDGE GHANOR - Financiamento coletivo “Tesouros de Ghanor” Aproveite o Late Pledge da campanha Tesouros de Ghanor. REDES SOCIAIS Carolina Andrade - @senhoratroll Pati Mafra - @patimafra1 Francine Gladulich - @fran_gladulich Andreia Pazos - @deiaduboc Agatha Ottoni - @agathaottoni Mande suas histórias, críticas, elogios e sugestões para: canecademamicas@jovemnerd.com.br EDIÇÃO COMPLETA POR RADIOFOBIA PODCAST E MULTIMÍDIA

Ahhh, o Natal! Aquele momento delícia no qual enchemos o rabo de peru, tiramos as passas do arroz e fazemos novas memórias em família! No episódio de hoje, 5 amigas imigrantes se reúnem para jogar conversa fora e fazer uma análise dos costumes e rituais natalinos dos gringos! Então aperte o play e junte-se a nós! Bote seu suéter feio, tome um eggnog e não se esqueça do elfo! ARTE DA VITRINE: Felipe Camêlo Baixe Versão Wallpaper da Vitrine LATE PLEDGE GHANOR - Financiamento coletivo “Tesouros de Ghanor” Aproveite o Late Pledge da campanha Tesouros de Ghanor. REDES SOCIAIS Carolina Andrade - @senhoratroll Pati Mafra - @patimafra1 Francine Gladulich - @fran_gladulich Andreia Pazos - @deiaduboc Agatha Ottoni - @agathaottoni Mande suas histórias, críticas, elogios e sugestões para: canecademamicas@jovemnerd.com.br EDIÇÃO COMPLETA POR RADIOFOBIA PODCAST E MULTIMÍDIA

In episode #57 we discussed three Brazilian rock artists that broke in 1973: Secos e Molhados, Raul Seixas, and Novos Baianos. The debut album of Secos e Molhados was a phenomenon in sales like never seen before; their blend of rock, pop, baroque, and poetry made them the first Beatlemania-esque in Brazil. Raul Seixas and his debut also cemented him as a rock icon that even stands today; Novos Baianos' third record was not as popular as "Acabou Chorare", but strange as it sounds, elevated the group's trademark blend of genres to higher grounds: it's even more samba, and it's even more rock n' roll. Follow our playlist on Spotify: "⁠⁠⁠⁠⁠Soundtrack: Brazuca Sounds⁠⁠⁠⁠⁠". Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.