Novos Baianos F.C.
Novos Baianos Futebol Clube
Released 1973 on Continental
Reissue, Warner Archives
1. “Sorrir e cantar como Bahia” (Luiz Galvão / Moraes Moreira) – 3:37
2. “Só se não for Brasileiro Nessa Hora” (Galvão / Moreira) – 3:28
3. “Cosmos e Damião” (Galvão / Moreira) – 4:07
4. “O Samba da minha Terra” (Dorival Caymmi) – 3:29
5. “Vagabundo não é Fácil” (Galvão / Moreira) – 5:06
6. “Com qualquer Dois Mil Réis” (Galvão – Pepeu Gomes – Moraes Moreira) – 3:26
7. “Os Pingo da Chuva” (Galvão / Pepeu Gomes / Moreira) – 4:10
8. “Quando você Chegar” (Galvão / Moreira) – 3:19
9. “Alimente” (Jorginho Gomes / P. Gomes) – 4:44
10. “Dagmar” (Moreira) – 2:31
* Moraes Moreira – vocal, violão base, percussão, arranjos, compositor
* Paulinho Boca de Cantor – vocal, percussão
* Baby Consuelo – vocal, pandeiro
* Pepeu Gomes – guitarra, violão solo
* Jorginho Gomes – bateria
* Dadi – baixo
* Baixinho – percussão
* Bolacha – percussão
* Luiz Galvão – letras
I may have given a somewhat overly-harsh review of “É Ferro na Boneca” in the previous post, and it may have been due to the fact that I had been listening to it back to back with THIS album. So I feel it is only fair to post about this album next, and I hope people out there can appreciate just how far along Novos Baianos had come in a couple years. The songwriting is first-rate (and, unlike “Ferro” has actual ‘hooks’ that stick in your head after listening..), the musicianship is impeccable and faultless, and the overall vision delivers on the “100% in the rhythm of our musical revolution” commentary that was promised in the liner notes to their first album. Of course, between that one and this one lay the band’s encounters and collaborations with João Gilberto and their legendary album “Acabou Chorare”, deservedly hailed as huge landmark in Brazilian music. “Acabou Chorare” tops the list of the ‘top 500’ Brazilian albums by R.S. Brasil… As much as I abhor list-making like that, it still says something about how powerful that record is. Given the accomplishments of that record, it would be almost natural for their next record to disappoint the listener. This album, known as “Novos Baianos Futebol Clube”, does not disappoint.
“If it isn’t broke…” may have been an overriding philosophy while Novos Baianos were working on this, their third album. They were obviously riding high on a wave of creative energy, but smart enough not to mess too much with the chemistry of what they had going on. They were also living in a communal arrangement on a rural property and devoted their time to music, football, and other leisurely activities, so they may have been ‘riding high’ on other things as well. Like the previous landmark album this one is a mix of old-school choro and samba styles with an early 1970s sensibility, occasionally electrified. The album starts out quietly and doesn’t even approach `rock` until the end of the third cut in, `Cosmos e Damião’. The band continues the winning formula by doing something that worked fabulously the last time — covering an old, classic samba and reinventing it. On the previous album this was Assis Valente’s “Brasil Pandeiro” (written for Carmen Miranda but never recorded by her). This time, it’s fellow son of Bahia Dorival Cayymi’s “O Samba Da Minha Terra”. Gal Costa would include her own version of this song on her album ‘Gal Canta Caymmi’ the following year, and her version is very good — but this one is revolutionary. Novos Baianos ability to switch gears in a split-second is simply flabbergasting – the change from a rock groove to a full-fledged samba is done in a single beat on this tune, and sounds as if none of them even broke a sweat. Words like “exultant”, “effortless,” and “joyful” come easily to your lips while playing this disc. Aside from the Caymmi tune everything else here is an original composition. It is hard to pick favorites because they are truly equally stunning, but ‘Cosmos e Damião’, ‘Vagabundo Não é Facil’, ‘Com Qualquer Dois Mil Réis’ and ‘Os Pingo da Chuva’ all stand out — but there it is, I just named half the tracks on the album… The last tune in that little sequence features Baby Consuelo on lead vocals and really makes me wonder why she didn’t record a solo record much sooner — She didn’t get nearly enough ‘air time’ with the Baianos in my opinion. Aside from that the only other minor gripe I have is the decision to end the album with two instrumentals, one after another. They are good enough, but they make me want to hear those vocal numbers over again… Perhaps that was their intention, to make us flip the vinyl over and play it again (or, alternately, set your digital device to “repeat”.) The band would rely on instrumentals even more heavily on their next album, “Vamos Pro Mundo”. after the departure of Morreira from the band.
The texture of the acoustic instruments on this album is fantastic, and are perfectly blended in the mix with the electric instrumentation. Warner Archives has done a better job on this remaster than any of the treatments I’ve heard for Acabou Chorare or any of the Som Livre titles. (Perhaps because Charles “Mr.Tinnitus” Gavin was not involved at any step?) This album is a treat that ranks among the top that this group produced in their career.