Brazuca Sounds: Recent Episodes
Leandro Vignoli
A podcast about Brazilian music of all styles, decades, and genres.
Follow updates on Instagram: @brazucasounds.
Playlist with songs played in full: Soundtrack Brazuca https://spoti.fi/3raUs7k
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.
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Every episode is a different song. This is the song today:
"Ovelha Negra" by Rita Lee
A folk rock ballad about someone expelled from their home for being the "black sheep" of the family suddenly became an anthem for the youth. "Ovelha Negra" also catapulted Rita Lee to stardom in Brazil, no longer an ex-Mutantes with a niche-oriented rock n' roll career, to eventually become the Queen of Brazilian pop. Nonetheless, many believe this song was not about the relationship with her father at all, but instead a direct response to her former bandmates. Closing the album "Fruto Proibido", Rita Lee was backed by her band Tutti Fruti, whose guitarist, Luis Sergio Carlini, came up with one of the most iconic rock solos in Brazilian music.
Check Translationsmith for a full translation of "Ovelha Negra" performed by Rita Lee, and hundreds of other Brazilian songs.
Salve! This is a trailer for our bonus episode exclusive for paid subscribers!
Every episode is a different song. This is the song today:
"Lotus 72D" by Zé Roberto
The Lotus 72D was the Formula 1 World Championship-winning car driven by Emerson Fittipaldi in 1972. Inspired by watching the 1973 Brazilian Grand Prix in his hometown of São Paulo, an up-and-coming singer-songwriter penned a song about the iconic car.
Released as a single by RCA Victor, the track failed to gain much attention at the time. However, a sped-up version of the original resurfaced online in the 2000s, sparking renewed interest. In this episode, we attempt to unravel the mystery behind Zé Roberto and his recording of "Lotus 72D."
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.
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Every episode is a different song. Today are two songs!
"Kilariô" and "Se O Mundo Acabasse em Mel" by Di Melo
After spending a couple of years living in Japan, singer/songwriter Di Melo moved back to Brazil with three songs in hand, including Kilariô and Se O Mundo Acabasse em Mel. Di Melo's 1975 self-titled album, release by Odeon, became a seminal work in Brazilian funk and soul music, featuring contributions from renowned musicians like Hermeto Pascoal, who plays the clavinet in both songs.
"Kilariô", became a minor hit with its syncopated groove and infectious energy, but the sespite the success in, Di Melo faced issues with the music industry, leading to a period of obscurity. Also check our friends at Translationsmith for a full translation of this and other Brazilian songs.
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 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.
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Every episode is a different song. This is the song today:
"O Trem das 7" by Raul Seixas
Raul Seixas is a foundational figure in Brazilian rock, blending his early influences from Elvis Presley with baião, Dylanesque storytelling, and psychedelia. He died too soon, but in this episode, we're celebrating 80 years of his birthday on June 28th, 1945. "O Trem das 7" is a metaphorical song about transformation, judgment, and a "spiritual awakening", evoking his readings of esoteric philosopher Alistair Crowley.
The song is among the several great hits from his 1974 album "Gita", which sold over 600 thousand copies. Over the years Raul also broke cultural norms and became a cult-followed, Forrest Gump-like figure in Brazilian pop culture.
Check Translationsmith for a full translation of "O Trem das 7".
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Every episode is a different song. This is the song today:
"Homem com H" by Ney Matogrosso
After disbanding Secos e Molhados, the singer Ney Matogrosso embarked on a successful solo career praised by the music critics. However, it was only with "Homem com H" from his seventh solo adventure that he claimed mainstream success. A blend of pop and forró, with a sappy vocal performance by Matogrosso, this was a defiant song in 1980s Brazil, as the country began to emerge from its military regime. "Homem com H" became so popular that it was recently featured in the Ney Matogrosso biopic, released on Netflix (although it received the English title "Latin Blood"). Check the work of Translationsmith for a full translation of the 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 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.
Salve! All bonus episodes are for paid subscribers only! However, this episode is available for everybody to celebrate Novos Baianos first-ever North American tour!
Every episode is a different song. This is the song today:
"Mistério do Planeta" by Novos Baianos
In this bonus episode, we uncovered a song from their classic album "Acabou Chorare". Co-written by Luiz Galvão (lyrics) and Moraes Moreira (music), with vocal performances by Paulinho Boca de Cantor,. "Mistério do Planeta" embodies perfectly their collective spirit and their fusion of MPB, samba, and psychedelia.
Our friend Steve Smith at Translationsmith did another amazing job with a full translation of the lyrics. "Mistério do Planeta" is about embracing one's true self and navigating life's journey with a sense of mystery and freedom.
Don't miss Novos Baianos playing in North America.
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.
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Every episode is a different song. This is the song today:
"Nanã" by Moacir Santos
Moacir Santos was a highly influential composer, arranger, and multi-instrumentalist known for his innovative approach to Brazilian music, particularly his fusion of jazz with Afro-Brazilian rhythms. He mentored prominent musicians like Sergio Mendes, who recorded "Nanã" in 1964. Mario Telles then wrote the lyrics for the song, which became a tremendous success performed by Wilson Simonal. Recorded numerous times, Moacir Santos finally did his version of "Nanã" for his 1965 album "Coisas," a masterpiece arrangement unparalleled by any of the countless versions recorded before or after
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Every episode is a different song. This is the song today:
"Manhã" by Azymuth
Azymuth has been a staple in studio recordings since the early 1970s, collaborating with artists like Marcos Valle, Hyldon, Raul Seixas, and many others. In 1975, they released their debut album, propelled by the success of its opening track, “A Linha do Horizonte,” which gained widespread attention after being featured on a popular soap opera soundtrack.
Over the years, the trio found even greater success abroad than in Brazil, with their distinctive fusion of samba, jazz, and funk, along with their pioneering use of synthesizers, all that summarized in today’s bonus episode, featuring “Manhã.”
Don't miss Azymuth playing in North America this June.
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.
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Every episode is a different song. This is the song today:
"Samurai" by Djavan
Recently signed with RCA Victor, Djavan recorded his debut album for the label in Los Angeles, with production by Ronnie Foster. When asked about Stevie Wonder's feature on the album, Djavan revealed that he wrote “Samurai” entirely in his hotel room during a single night. The song became the biggest hit from the album Luz—a classic blend of R&B infused with Djavan’s unmistakable Brazilian touch. Linguistically, this is a pretty straightforward song, but its simplicity hides a wealth of poetry in the words.Check out the full translation of the song at Translationsmith.
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Every episode is a different song. This is the song today:
"Falador Passa Mal" by Originais do Samba
Written by Jorge Ben, the song was a megahit on the radio and TV from Originais do Samba's sixth album, released in 1973. An ensemble of six percussionists, with the same core for over a decade, the group also incorporated elements of mainstream samba, such as bass, guitar, and traditional drumset. "Falador Passa Mal" is the ultimate snitches-get-stitches type of song, and it is a Brazilian samba classic even today. Check our friends at Translationsmith for a full translation of the song.
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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.
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Every episode is a different song. This is the song today:
"Emoriô" and "Naturalemente" by Fafá de Belém
Today 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 outthe full translation with our friends at Translationsmith.
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Every episode is a different song. This is the song today:
"Jorge da Capadócia" by Jorge Ben
April 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.
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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 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.
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Every episode is a different song. This is the song today:
"Imunização Racional (Que Beleza)" by Tim Maia
In 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 Esquina's associates, and we finish the first part of our journey in Brazil's capital Brasília.
Check the Translationsmith for lyrics translations.
Follow our playlist 'A Trip to Brazil' on Spotify.
Follow our playlist Brazuca Sounds Soundtrack on Spotify.
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Every episode is a different song. This is the song today:
"Rapaz de Bem" by Johnny Alf
Johnny 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/brazucasounds
Released 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.
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In 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. Access the Translationsmith for lyrical analysis of several songs from the soundtrack. Among other artists highlights are Erasmo Carlos, a couple of Roberto Carlos, Caetano Veloso, Mutantes and Serge Gainsbourg. Follow our playlist on Spotify: Brazuca Sounds Soundtrack Podcast.
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Every episode is a different song.
This is the song today:
"Segura Nêga" by Bebeto
Bebeto 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, Rubens Bassotti, Chico Batera, João Palma, Ronnie Mesquita, 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.
Follow the playlist The Art of the Bossa Drummer.
Follow our playlist: "Soundtrack: Brazuca Sounds".
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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.
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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
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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".
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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.
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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".
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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.
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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.
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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
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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.
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In episode #71, we celebrate the 50-year release of "Cantar" by Gal Costa. Unlike her two previous works, 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:
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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".
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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
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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.
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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.
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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
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Every episode is a different song. This is the song today:
"Inútil Paisagem " by Wanda Sá
Released 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.
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Every episode is a different song. This is the song today:
"Na Rua, Na Chuva, Na Fazenda " by Hyldon
Hyldon 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.
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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.
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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.
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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.
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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 Carvalho
Today 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.
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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.
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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.
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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.
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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.
Follow our exclusive playlist for this episode: Chico Buarque in 80 Songs.
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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.
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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.
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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.
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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 1969
Jorge 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.
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In 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.
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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.
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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
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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".
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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.
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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.
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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.
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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.
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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).
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This is the song today: "Acorda, Amor" by Chico Buarque from Sinal Fechado (1974)
Chico Buarque was so targeted by censorship in the mid-1970s that all lyrics he submitted for government approval were denied. He then decided to release an album with songs from his songwriter friends, and a mysterious newcomer among them named Julinho de Adelaide. Later was revealed that it was a Chico's pseudonym used to avoid censorship. It worked!
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Salve! This is a bonus episode of Brazuca Sounds!
"O Sol Nascerá" by Cartola from Cartola (1974)
Cartola released his debut album only at the age of 65, after spending four decades writing songs credited to other singers. Then his work was rediscovered by the bossa-nova circle, followed by samba's biggest names. He co-wrote "O Sol Nascerá" with Elton Medeiros, an uplifting song that defined their career and cannot be omitted from any conversation about samba's history.
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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.
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This is the song today: "Na Boca do Sol" by Arthur Verocai (1972)
In this episode, we break down the lyrics, music, production, and everything about the song. "Na Boca do Sol" was released in Arthur Verocai's masterpiece debut album, only to find a big commercial failure. Then his work was rediscovered in the late 90s by Hip-Hop artists, such as MF Doom who sampled " Na Boca do Sol" to greater acclaim. It is now considered one of the best Brazilian songs ever.
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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".
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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".
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In episode #56 we discuss one of the most important Brazilian record labels: Elenco. Founded in 1963 by Aloysio de Oliveira with the ambition of becoming the best bossa-nova label in the country, Elenco (translated into "cast") put together a constellation of big names and released a crazy amount of bossa-nova classics. We'll talk about albums by superstars Vinicius de Moraes, Roberto Menescal, Sylvia Telles, Edu Lobo, Nara Leão, the brilliance of Sergio Ricardo, and some forgotten names such as Lucio Alves, Agostinho dos Santos and Aracy de Almeida. Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #55 we celebrate the album "Índia", released by Gal Costa in July 1973. The album’s controversial cover was banned by the Brazilian military regime upon its release, but that was just one of the reasons it became so iconic. Gal Costa distanced herself from the Tropicália movement in "Índia" (like all her peers before her), showcasing a more stripped-down sound, influenced by folk (and folklore), blues, baião, Clube da Esquina, and Brazilian standards from samba (Lupicínio) and bossa-nova (João Gilberto/Tom Jobim). Gal Costa even had the time to perform probably the funkiest song ever produced in Brazil with "Pontos de Luz". The album was also a big rupture to Gal Costa's fans at the time, taking her to new levels of popularity and celebrity stardom. Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #54, we tell the history of the most popular music genre in Brazil connected to the Northeast: forró. We also cover all its subtle variances, in genres like baião, xote, xaxado, and maracatu. We'll talk about key artists in forró such as Luiz Gonzaga, Jackson do Pandeiro, Sivuca, and Dominguinhos, the female queens Marinês and Carmélia Alves, and the megahits from names like Ary Lobo, João do Vale, Genival Lacerda, and Trio Nordestino. Then we follow with all the MPB-mainstream singers influenced by forró, such as Clara Nunes, Gilberto Gil, and Elba Ramalho. Unlike samba and its urban appeal that ultimately became a global phenomenon, forró remained attached mainly to the Brazilian roots, largely disseminated during our festivities in June (Festas Juninas) celebrating St. John Baptiste. Follow our playlist on Spotify to listen to all these songs in full: "Soundtrack: Brazuca Sounds".
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In episode #53 we celebrate the album "Matita Perê" by Tom Jobim, released in May 1973 by Philips. Considered one of the inventors of bossa-nova, Jobim had astronomical success in Brazil and abroad (especially the USA), so for this album, he decided to explore new territories. Produced and arranged by German composer Claus Ogerman, he came up with a complex mix of nature-inspired sounds, Brazilian roots, and erudite music, all encapsulated by the poetry of Guimarães Rosa, although the opening is quite literally a bossa-nova classic: "Águas de Março". The album was released as "Jobim" for the international market, by MCA Records, and also with a different cover. Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #52 we talk about the album "Milagre dos Peixes" by Milton Nascimento, released in August 1973. Following the success of "Clube da Esquina" in 1972 Milton reunited with his band Som Imaginário to produce a follow-up as good (or better) than his previous masterpiece. "Milagre dos Peixes" had its lyrics heavily censored by the military regime, so it became an experimental endeavor of sonic aspirations and instrumental tracks. We also discussed the album "Matança de Porco", released by Som Imaginário, led by Milton's best pal Wagner Tiso. Another fantastic record released in 1973, "Beto Guedes, Danilo Caymmi, Toninho Horta, Novelli", is an obscure but fundamental album from members of the Clube da Esquina's collective. To finish off this episode, we discussed the elemental contributions of Naná Vasconcelos to "Milagre dos Peixes", and his two epic percussive-centric albums released in 1973. All songs are available on our playlist: "Soundtrack: Brazuca Sounds".
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In episode #51 we discussed the impact of soap opera soundtracks on the Brazilian music industry. They very often were written/produced by big names such as Roberto Carlos/Erasmo Carlos, Marcos Valle, Baden Powell, and Vinícius de Moraes. We'll be playing songs performed by Osmar Milito, Chico Batera, Banda Black Rio, Lincoln Olivetti, obscure jams such as Kris & Cristina, Sonia Burnir, Ronaldo Resedá, and two soundtrack grandmasters: Waltel Branco and Nonato Buzar. The novelas are a big part of Brazilian culture and an invaluable source of material for music enthusiasts. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #50 we celebrate the album "Previsão do Tempo" by Marcos Valle, released in September 1973 by Odeon. After experimenting with different bands, and a handful of soundtracks under his name, Marcos Valle came up with his album masterpiece according to many critics. Backed up by the trio Azymuth, "Previsão do Tempo" is a blend of Brazilian MPB, with funk, soul, pop, and jazz, with a high volume of political lyrics, written mostly by Marcos and his brother Paulo Sergio Valle. The album was not a mainstream hit upon its release although over time gained a cult status amongst DJs and record collectors.Followour playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #49, we introduce a new wave of Brazilian music by presenting albums released in 2023 by Iara Rennó (pictured), Rodrigo Campos, and Bike. They all come out of São Paulo, summarizing a great variety of different genres, styles, and sounds historically being produced by the big city. Then we also quickly review the latest work by artists such as Glue Trip (Paraíba), Bala Desejo (Rio de Janeiro), Rafael Martini (Minas Gerais), Lucas Santanna (Bahia), and Criolo (São Paulo). Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #48, we expand on the Brazilian soul and funk fromEpisode #11 and Episode #12 . We put together a list of great albums influenced by soul and funk blended with the Brazuca touch of regional rhythms. Among the artists discussed are Som Nosso de Cada Dia, União Black, Zeca do Trombone e Roberto Sax, obscure jams by Franko Xavier, Abaeté and Don Beto, and megahits such as "Black Coco" and "Olhos Coloridos". We finished our podcast by celebrating albums released by funk icons Cassiano and Wilson Simonal. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #47 we celebrate the album "Quem é Quem" by João Donato, released 50 years ago in September 1973. After a terrible divorce, Donato left the United States after 12 years and put together a great group of musicians, songwriters, and producers. A master on the piano (and accordion), "Quem é Quem" also shows João Donato singing for the first time, and playing the Fender Rhodes, encouraged by producer Marcos Valle. A commercial failure upon its release by the record label Odeon, the album gained a cult status over the years.Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #46, we talk about Samba-Enredo, a sub-genre of modern samba made specifically for Carnaval. "Samba-enredo" translates literally as samba-theme, played by a samba school to narrate a historical event in a lyrical form. Over the years, however, many of those songs became popular beyond the Carnaval parade in February, even being recorded by famous artists. We introduce you to some of these songs such as "Liberdade, Liberdade", "Festa Para um Rei Negro", "É Hoje", and artists such as Martinho da Vila, Originais do Samba, Simone, Marisa Monte. Among the most popular samba schools are Mangueira, Portela, Salgueiro, Império Serrano, and each group has 70 minutes to present by crossing a 530 metres avenue called the Sambadrome. The drumming section (bateria) of every samba school is composed of around 250-300 musicians playing a variety of percussive instruments. Follow our playlist on Spotify to listen to all songs played in full: "Soundtrack: Brazuca Sounds".
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In episode #45, we tell the history of samba in Brazil over 100 years. From its early days and songwriters like Noel Rosa, Ismael Silva (pictured), and "the singer of the masses", Orlando Silva, to more contemporary samba-makers such as João Nogueira, Candeia, and Zeca Pagodinho. We also play indispensable songs from Cartola, Carlos Cachaça, Adoniran Barnosa, and Bezerra da Silva by discussing the different sub-genres of samba such as Partido Alto, Pagode, Samba-Canção, Samba de Roda, and much more. Also mentioned: Aracy de Almeida, Elizeth Cardoso, Lupicínio Rodrigues, Jamelão, Nelson Sargento, Paulinho da Viola, Beth Carvalho and Fundo de Quintal. Follow our playlist on Spotify to listen to all songs played in full: "Soundtrack: Brazuca Sounds".
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In episode #44, we celebrate the music of Nara Leão by discussing five of her best albums. Amongst one the pioneers of the bossa-nova movement in Rio de Janeiro, Nara Leão transcended the music genre. Considered by many the "Muse of Bossa Nova", Nara decided to distance herself from any label imposed by the media, blending the voice of favelas into her music by recording songs composed by legendary samba songwriters such as Cartola and Zé Keti. Unlike other great singers of her generation, Nara Leão also played the guitar, and was an active voice against the dictatorship in Brazil, including a cameo in the collective manifesto "Tropicalia". Fundamental albums to start: "Nara" (64), "Opinião de Nara" (64), and "Dez Anos Depois" (71). All songs played on this podcast are available following our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #43, we celebrate the life of Pelé through the music that celebrated his football brilliance. During his life playing for Brazil and Santos, Pelé inspired songs from a variety of artists, such as Wilson Simonal, Jackson do Pandeiro, Caetano and, Gilberto Gil. Pelé, who also played the cavaquinho and guitar, was an avid songwriter and released albums partnered up with the likes of Elis Regina and Sergio Mendes. All songs played on this podcast are available following our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #43, we continue our celebration of albums released 50 years ago in 1972 in addition to classics such as Transa, Clube da Esquina, Acabou Chorare, Tom Zé's self-titled follow-up, and Paulinho da Viola's Dança da Solidão. We will wrap up 2022 by listing a few more brilliant albums, from the iconic Arthur Verocai debut (cover) to releases of Lô Borges, Quarteto em Cy, Jards Macalé, Elis Regina, Elza Soares, MPB4, and obscure gems such as duos Nelson Angelo & Joyce and Alceu Valença e Geraldo Azevedo. All songs are available following our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #33 we're celebrating the 80th birthday of Paulinho da Viola by discussing his phenomenal album "Dança da Solidão" (1972). Paulinho elevated samba into the mainstream in the 1970s, rejuvenating the most Brazilian-centric music genre. A brilliant guitarist, with an angelic voice, and poetic lyrics, he is one of the most iconic Brazilian musicians of all time. Paulinho da Viola was born on November 12th, 1942. This episode follows our specials dedicated to the 1942 Club, which also include Milton Nascimento, Gilberto Gil, Caetano Veloso and Tim Maia. Follow our playlist on Spotify "Soundtrack Brazuca Sounds" to listen to all the songs played in full.
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In episode #40 we celebrate the life of Gal Costa by discussing her five best records: Gal Costa (1969), Gal (1969), Índia (1973), Cantar (1974) and Gal Tropical (1979). As an early bossa-nova singer moving from Bahia to Rio de Janeiro, Gal reached her golden era as part of the Tropicalia, a psychedelic-rock counter-culture movement in the late 1960s. In the 1970s Gal Costa explored different genres and styles expanding her boundaries in the experimental "Índia" and the back-to-bossa-nova album, "Cantar", a commercial failure. I will finish this episode off by also revisiting two former episodes, Episode #24 where I explored Gal Costa's live album "FA-TAL (1971)", and Episode #2 where we discussed her connections to the orishas and Bahia. Gal Costa passed away on November 9 at the age of 77. Follow our playlist on Spotify "Soundtrack Brazuca Sounds" so you can listen to all the songs played in full.
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In episode #39 we finish our celebration of Tim Maia's 80th birthday by discussing 80 of his best songs (!!!). In this third and last episode, we talked about my favourite Top 20, from his Polydor-years classics to obscure gems like "Ar Puro" (82), "Verão Carioca" (77) and the mistankely overlooked ballad "Pelo Amor de Deus". We also discussed Tim Maia's mythology covering his fights and no-shows on TV programs and his own concerts. Born on September 28th, 1942, Tim Maia would've turned 80-yo in 2022. LEIA O LIVRO. READ THE BOOK.
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In episode #38 we resume our celebration of Tim Maia's 80th birthday by discussing 80 of his best songs (!!!). In this episode, we talk about his blend of soul, funk and forró, his multi-instrumentalist skills, and a lot of obscure gems including songs from his brilliant 1982 album "Nuvens". We also talk about Tim Maia unforgettable one-liners in Brazilian culture. Born on September 28th, 1942, Tim Maia was a transformative figure in Brazilian music, a pioneer of funk, soul, disco, boogie, and black music in general. LEIA O LIVRO. READ THE BOOK.
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In episode #37 we celebrate the 80th birthday of the great Tim Maia by discussing 80 of his best songs (!!!). Born on September 28th, 1942, Tim Maia was a transformative figure in Brazilian music, a pioneer of funk, soul, disco, boogie, and black music in general. In this episode, we talk about his first singles, his songwriting in English, the adaptations of songs already written, and Tim Maia's conversion to the Racional culture (cult). We'll finish off showcasing his all-time top hits in Brazilian charts, from bangers like "Do Leme ao Pontal" to mellow ballads like "Me Dê Motivo". LEIA O LIVRO. READ THE BOOK.
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In episode #36 we discussed the influences of Afro-Brazilian religions on the country's music. The podcast will showcase the countless references to Orixás from the Umbanda and Candomblé in Brazilian music, from various genres such as samba, funk, soul, samba-rock, and psychedelia. Some of the artists presented are Paulo Diniz, Jorge Mautner, Antonio Carlos & Jocafi, Os Tincoãs, Wando, Ronnie Von, and the grandmaster of it all, Pixinguinha. Listen to all songs in full in our Spotify playlist:"Soundtrack: Brazuca Sounds".
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In episode #35 we celebrate Caetano Veloso's 80th birthday by discussing his songwriting credits. From Tropicalia, bossa-nova, MPB, samba, Eighties pop, carimbó, and everything else in between. One of the most iconic Brazilian musicians and songwriters of all time, Caetano Veloso was born on July 7th, 1942 in Santo Amaro, Bahia. This episode showcases music recorded by Os Mutantes, Gal Costa, Roberto and Erasmo Carlos, Tom Jobim, Milton Nascimento, Fafá de Belém, and obviously, Caetano's sister Maria Bethania. Follow our playlist on Spotify "Soundtrack Brazuca Sounds".
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In episode #34 we continue our series celebrating albums released 50 years ago with the masterpiece "Acabou Chorare", released by Novos Baianos in September 1972. The album was listed as the best Brazilian album of all time by Rolling Stone magazine published in 2007. Inspired by several meetings with Joao Gilberto in the group's communal house outside Rio, the album focused on their Brazilian roots, blending samba, bossa nova, forró, and baião to the psychedelic rock from their debut record. The album showcased a variety of genres and rhythms, and time became one of the most influential records in Brazilian popular music. If you like the show you may wanna listen to our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #33 we celebrate Gilberto Gil's 80th birthday by discussing his trilogy released in the 1970s. We told the background behind Refazenda (1975), where Gil paid tribute to his Northeastern roots in Bahia after he came from his exile in London; Refavela (1977), a celebration of his African origins after a trip to Nigeria; and Realce (1979), influenced by the disco music and recorded in Los Angeles. One of the most iconic Brazilian musicians of all time, a great guitarist, and exuberant songwriter, Gilberto Gil was born on June 26th, 1942. Follow our playlist on Spotify "Soundtrack Brazuca Sounds" to listen to all the songs played in full.
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In episode #30 we discussed the psychedelic music coming out of Brazil by listing 10 fundamental albums. Brazilian psychedelia goes way beyond Tropicalia, with its influences not limited to rock but influences coming from Africa, samba, folk, and regional rhythms. From percussionist master Pedro Santos to the Afrobeat ensemble Free Son to psychedelic rock bands such as Os Brazões, Karma, and Modulo 1000, Paulo Bagunça e Tropa Maldita, and the folk-genius Flaviola e o Bando do Sol. Listen to all songs in full in our Spotify playlist:"Soundtrack: Brazuca Sounds".
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In episode #25 we continue our series celebrating albums released 50 years ago. Tom Zé's third self-titled album came out in May 1972, and although it is not his most famous album, it really opened the door to his more experimental endeavors later on in his career. This album confirmed that Tom Zé was probably the most irreverent and creative artist in Tropicalia and beyond, however in 1972 his connection with the movement has been long gone. The album was reissued in 1984 under the name “Se o Caso É Chorar”. If you like the show you may wanna our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #30 we listed fundamental albums of samba-rock from Trio Mocotó, Bebeto, Luiz Vagner, and Marku. Samba-rock blended samba elements with the guitar and other electric instruments and is mostly associated with São Paulo in the 1970s - and expanded to cities such as Porto Alegre (known as "swing") and Rio de Janeiro ("sambalanço"). More like a dance style than a music genre initially, samba-rock was (re)discovered by DJs and exploded in the 1990s and 2000s with several parties dedicated to it. Jorge Ben was obviously the main figure in samba-rock, and we finished this episode listing five popular samba-rock hits written by Ben although performed by other artists. Listen to all songs in full in our Spotify playlist: "Soundtrack: Brazuca Sounds".
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In episode #29 we talk about some of my favourite Brazilian albums released recently: Amaro Freitas' "Sankofa" (pictured), Pedro Sá's "Um" and Orquestra Afrosinfonicas's "Orín, a Língua dos Anjos". We also present some other jams such as Macaco Bong, Oruã, Juliana Linhares, Juçara Marçal and the Brazilian legends Mundo Livre S/A. This episode is a blend of MPB, jazz, afro beats, psychedelic pop, instrumental music, maracatu, carimbó, R&B, and everything in between. You may also be interested in our Episode #6: Best Albums of 2020: Follow our playlist on Spotify and listen to all songs: "Soundtrack: Brazuca Sounds". Don't forget to rate this show!
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In episode #28 we discuss the making of "Clube da Esquina" released in March 1972. Considered one the best albums of Brazilian history, Milton Nascimento decided to come up with a collective effort of musicians and ended up even signing as a duo with 19-year-old prodigy Lô Borges. It is a double LP impossible to define in one genre: folk, MPB, tock, psychedelia, prog, classical, indigenous. Clube da Esquina is everything. In this podcast, we discussed the making of the album, from its iconic cover to its arrangements, the meaning of lyrics, metaphors, and how and why the album was named that way, the Corner's Club. Don't forget to follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #27, we celebrate Brazilian female singers by discussing phenomenal records released by artists such as Flora Purim, Joyce, Célia, Wanderlea, Vanusa, Dila, and so many others. Brazil has a large tradition of female superstars, and for this episode, I decided to bring some singers that are not as recognized internationally but definitely should. All songs on the podcast are updated on our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #26, we bring ten brilliant albums that more or less tell the history of samba in Brazil. Arguably the most popular music genre in the country, this podcast presents the great song-writers from the early era such Cartola, Nelson Cavaquinho, and Dona Ivone Lara followed by the great composers of the 1960s and 1970s, Paulinho da Viola and Martinho da Vila, all the way to the samba divas such as Alcione, Beth Carvalho, and Elza Soares. Follow our playlist on Spotify to listen to all songs played in full: "Soundtrack: Brazuca Sounds".
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In episode #25 we discuss the making of Caetano Veloso's album "Transa" released in January 1972. This is his second album recorded in London, while in exile following his prison by the military regime in Brazil. However, unlike the obvious sadness of Caetano's self-title LP of 1971 (Brazuca Sounds #17), Transa is the culmination of all his new influences living abroad. The reggae on Portobello Road, "waking up and singing an old, old Beatles song", or a tagline of a famous soap commercial. Caetano Veloso was ready to heal his wounds, and also ready to make his way back to Bahia, and he decided to leave behind what might be considered his album masterpiece. If you like the show, you may want to follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #24, we talk about the life and music of João Donato, Eumir Deodato, Egberto Gismonti, and Hermeto Paschoal. Each one of them achieved greatness beyond the Brazilian frontier and, in fact, they're all likely more successful worldwide rather than in their own country. These five artists blend Brazilian rhythmic to psychedelia, funk, jazz, experimentalism. With a long and vast catalog under their names, we have selected a few of their records that should not be missed. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #23, we continue our conversation celebrating albums released 50 years ago in 1971. After many episodes analyzing records such as Jardim Eletrico, Carlos Erasmo, the self-titled albums ofCaetano and Gilberto Gil, and Negro é Lindo by Jorge Ben, we will wrap up 2021 with a few more brilliant albums released in 1971. From the classics of Tim Maia, Gal Costa, and Marcos Valle to obscure gems such as Antonio Adolfo e a Brazuca and the magnificent Claudia. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #22 we discussed Chico Buarque's eighth album, "Construção", released 50 years ago by Philips in December 1971. Considered by many the best Brazilian album of all time, It was Chico's first studio record after returning to Brazil following a period living in Europe due to the Brazilian dictatorship. It is, by consequence, Chico Buarque's more political record, surrounded by themes such as the social-economic issues in the country and lack of freedom, all that encapsulated by Chico Buarque's superb lyrics. Follow our playlist on Spotify to listen to all songs ever played on the podcast: "Soundtrack: Brazuca Sounds".
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In episode #21 we discussed the 50 years of Jorge Ben's album, "Negro é Lindo", released by Philips in November 1971. It was Jorge Ben's third and last studio album recorded with Trio Mocotó as his backup band. An ending to a trilogy, the arrangements are more centered on the acoustic guitar, possibly the fruit of his partnership with Paulinho Tapajós, who directed Ben’s recordings between 71 and 75, including his future masterpiece "A Tábua de Esmeralda". It is also Jorge Ben's more political record to date, like its own title Negro é Lingo suggests, a translation of the slogan "Black is beautiful" to Portuguese. Follow our playlist on Spotify with all songs from the show: "Soundtrack: Brazuca Sounds".
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In episode #20, we continue our conversation about Som Livre from Brazuca Sounds #19. After releasing a generation of newcomers, such as Novos Baianos, and Alceu Valença, SOM LIVRE decided to invest in high-profile names like Rita Lee, Tim Maia, Jorge Ben, and Marcos Valle. Producer Lincoln Olivetti had a tremendous impact on Som Livre from the late 70s until the mid-80s when its iconic SOM LIVRE green logo was then replaced by a modern version. Follow our playlist on Spotify: "Soundtrack Brazuca Sounds".
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In episode #19, we talk about the Brazilian biggest record label Som Livre. Founded in 1969 as a vehicle for Globo TV's soap opera soundtracks, it gradually started to release new talented artists such as Novos Baianos, Azymuth, Guilherme Arantes, until it quickly became a Brazilian phenomenon in record sales. We explored some of the great records released during Som Livre's first incarnation, under its iconic SOM LIVRE green logo used between 1971-1977. Follow our playlist "Soundtrack: Brazuca Sounds" on Spotify.
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In episode #18, we talk about Brazilian folk artists out of the Brazilian wilderness in the states of Pernambuco, Ceará, and Paraiba. The Brazilian Northeast region is mostly known worldwide because of Bahia (Caetano, Gil, Tom Zé, Gal Costa, Bethania), nevertheless, in the mid-to-late 1970's artists such as Alceu Valença, Zé Ramalho, Belchior and Fagner came to produce great records interconnecting Brazilin regional folklore to psychedelia, rock, and folk. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #17 we tell the story behind Caetano Veloso and Gilberto Gil's self-titled albums released 50 years ago in 1971. Recorded at the same studio, with the same producer, for the same music label, both album covers were also made by the same photographer. Caetano and Gil were both living in Chelsea, London (UK) in exile following their prison by the military regime in Brazil. The nostalgia and homesickness are pretty evident, making the albums very unique. Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #16, we discussed some of the Brazilian rare albums only released on vinyl. From Jorge Ben's fundamental live album recorded in Tokyo to the psychedelic trip of Rock, Latin, Funk/Soul, Folk and Regional sounds from Arnau Rodrigues' "O Som do Paulinho", and to obscurities such as Nonato Buzar, Impacto Cinco, and Dom Mita, we went deep inside Brazil's crate collection. Follow our playlist "Soundtrack: Brazuca Sounds", but unlike other episodes, tracks from this show are not available on Spotify.
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In episode #15, we talk about three Brazilian vocal groups: Trio Ternura, Trio Esperança, and Golden Boys. All centered around family members, more or less like a Brazilian proto-version of the Jackson 5, these three groups showcased a variety of backgrounds and genres. Follow our playlist "Soundtrack: Brazuca Sounds" on Spotify to listen to all songs in full.
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In episode #14, we talk about João Gilberto's self-titled album released in 1973. The Architect of Bossa Nova, according to the New York Times "his work became a sign of the relative prosperity, optimism, and romance of Brazil in the late 1950s, and thereafter an ideal of musical restraint and mystery." Joao Gilberto (1973), also known as the "white album", for his more experimental tone, is João Gilberto at his best, showcasing Brazilian music from new artists such as Caetano Veloso to the popular kings of radio, such as Carmen Miranda and Ary Barroso. Joao Gilberto's white album is the epitome of the psychedelic bossa nova. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #13 we celebrate Erasmo Carlos' 80th birthday telling the story behind his album "Carlos, Erasmo", released 50 years ago in 1971. A transitional album in his career, Erasmo was moving from being a rock n' roll Jovem Guarda star to becoming a great lyricist, influenced by Folk, MPB, and Soul. "The other Carlos" to his writing superstar partner Roberto Carlos, Erasmo was finally and for all taking his music to a different territory and making a name for himself. Follow our playlist available on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #12, we continue our conversation about the Black Rio movement from Brazuca Sounds #11: The Best Black Rio Albums That you (sort of) Never Heard of. Funk and soul-influenced records, from classics such as Waltel Branco's Meu Balanço (photo), obscure rarities such as Teo Azevedo, and crate diggers favourites such as Evinha, Di Melo, and Helio Matheus. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #11 we discussed the beginning of the Black Rio movement sparking funk and soul in the 1970s. Alongside Tim Maia, other names such as Dom Salvador, Toni Tornado (aka the Brazilian James Brown), and Gerson King Combo (the Brazilian...well...James Brown) put together a collection of songs influenced by the American Soul and Funk that would influence generations to come, especially a group of young musicians which the movement took its name: Black Rio. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #10 we celebrate Roberto Carlos' 80th birthday discussing his self-titled album released 50 years ago in 1971. After a short transitional period of immersing himself in Soul and Funk music, this is the record that would set the tone for the rest of his career. From being a Brazilian Elvis to a full-blown version of a Brazilian Sinatra, or simply, O Rei (The King). Follow our playlist on Spotify: "Soundtrack Brazuca Sounds".
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In episode #9 we talk about Underground, a Brazilian obscure record label from the 1970s. While Copacabana Discos was making tons of money with albums from their corny radio-singer cast, Underground has been founded as a subsidiary to release what the record executives considered "experimental" music. Funk and soul artists such as Marku (photo), Miguel de Deus, and Tim Maia, or prog-rock such as O Terço. Follow our playlist available on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #8 we discussed how the military government in Brazil that forcibly took power in 1964 influenced Brazilian music. The regime applied high officials to work as censors, and many songs would not get permission to be recorded or forbidden for playing on the radio and TV. Chico Buarque, Gilberto Gil, Adonirar Barbosa, they were all censored. The levels of censorship varied, normally associated with political ideas, but could be a prohibition as silly as a reference to sex in a song. Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #7 we discussed Elis Regina's ninth album, Ela, released 50 years ago in April 1971. This transitional record saw Elis Regina expanding her influences to Soul, Rock, MPB in addition to her bossa-nova roots. A so-called Brazilian Ella Fitzgerald, hence the name of the album, Ela (which also means Her, in Portuguese), Elis Regina's voice is more powerful than ever. This outstanding recording set the tone for her more famous album recorded a year later. Follow our Spotify playlist and listen to all songs in full: "Soundtrack: Brazuca Sounds".
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In episode #6 we talk about three of my favourite Brazilian albums of 2020: Kiko Danucci's "Rastilho" (photo), Matheus Aleluia's "Olorum" and Zé Manoel's "Do Meu Coração Nu". We also present some other Brazuca jams such as Liniker, Boogarins, Sessa, Bixiga 70, and Academia da Berlina. This episode is a blend of MPB, afro beats, psychedelic pop, instrumental music, carimbó, R&B, and everything in between. Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds" and listen to all songs.
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In episode #5 we talk about MPB songwriters who never achieved the same popular status as their peers. Jards Macale, Jorge Mautner, Walter Franco, and Sergio Sampaio never took off as planned either to their difficult relationship with record labels, experimentalism, or even bad luck. They were in fact labeled "Malditos" by the media, which we can roughly translate into English as "damned". Follow our updated playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #4 we talk about the 50 years of Mutantes' fourth album, Jardim Elétrico, released in March 1971. They originally started recording an English-language record in Paris, although ultimately they quit the project and travelled back to Brazil. Jardim Elétrico was heavily influenced by the use of LSD, leading up to a series of internal conflicts due to musical differences, couple fights and substance abuse. Rita Lee would eventually leave the band after. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #3 we present the work of two incredible drummers, Dom Um Romão and Wilson das Neves (photo). Altogether they recorded many Brazilian classic songs, from Bossa Nova to MPB jams, such as Tom Jobim's "Wave", Jorge Ben's album "Samba Esquema Novo", and Gilberto Gil's "Aquele Abraço" (das Neves). Altogether they are credited for more than 800 records, and that is on top of their own solo records. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds" and listen to all songs in full.
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In episode #2 we present the work of Clara Nunes (photo), Bethânia, and Gal Costa and their connections with the Afro-Brazilian religions. We discussed how they introduced Candomblé and Umbanda into their music in a country dominated by Christians, regardless of whether it was samba, MPB, or Tropicalia. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #1 we present the work of three pioneers of Brazilian soul music from the 1970s: Cassiano (photo cover), Hyldon, and Wilson Simonal. We discussed how they dissociated themselves from samba, and how they inspired a generation of artists leading up the Black Rio Movement in the late 1970s. Follow our Spotify playlist "Soundtrack: Brazuca Sounds".
Send in a voice message: https://anchor.fm/brazucasounds/message