Rarities and singles, 1964-1972
Released by Discobertas, May 2011
01. Olhos Feiticeiros (com Sambacana)
02. Você, Por Telegrama
03. A Vez e A Voz da Paz
04. Dia de Vitória
06. Sem Mais Luanda
07. Cavaleiro Andante
09. Copacabana Velha de Guerra
10. Please Garçon
11. Bachianas Brasileiras No. 5
12. Sei Lá (com A Tribo)
13. Onocêonekotô (com A Tribo)
14. Kyrie (com A Tribo)
15. Tapinha (com A Tribo)
16. Peba & Pobó (com A Tribo)
18. Adeus Maria Fulô
19. Nada Será Como Antes
EAC V0.99 prebeta 5, Secure Mode, Test & Copy, AccurateRip, FLAC -8
It would take me half my life and more money than I possess to gather together all the material on this collection, which represents the earliest recordings by Joyce Moreno, whose artistic name during these days was simply “Joyce”. She is internationally famous and well-respected for her classy bossa and MPB albums these days. But in the beginning, she was a pretty courageous, experimental and prodigious talent. The first track on this album, Olhos Feiteiçeiros, was recorded when she was only SIXTEEN YEARS old at the instigation of Roberto Menescal with the group Sambacana. Why do I have lecherous images of Menescal giving Joyce “a back rub” in the studio to relax her? oh that’s right, because I’m a pervert.
There is a gap of four years between that 1964 recording and the rest of the material on this collection. Beginning in 1968 it is as if she didn’t sleep. Makes me feel really lazy, like I ought to make something useful out of my life. She had innumerable songs entered into the famous Festivals (none of them winners), released singles, had songs included on soundtracks to telenovelas, got married to Nelson Angelo and had kids, all before 1972. Two of those festival songs were also recorded (with more positive public reception) by Beth Carvalho – Andança, and Cavalheira Andante. But these versions are super cool, as is the original recording of “Copacabana Velha de Guerra” which would be rerecorded by Elis Regina on her 1970 album “Em Pleno Verão.” I have to say.. I think I like Joyce’s original better.
As fun as the first part of the disc might be, it is with this last song that things start to get really intriguing. Hanging out with the likes of Luis Eça and Nelson Angelo, her music took on a pointedly trippy and experimental edge, influenced by Tropicália but not dominated by it, in fact seeming to be on another path entirely, one that ran from the pristine beaches of Rio with its sunlight reflected in water and flesh and up through the climbing hills and mountains of Minas Gerais where the sun grows colder and refracts in the jagged edges of stone and crystal rock formations. And that’s why it seems natural that by the end of this she is recording a composition from the Clube da Esquina (Nada Será Como Antes by Milton Nascimento and Ronaldo Bastos), and the compilation ends right at the time when she would make her cult-worshiped landmark album with Nelson Angelo in 1972 of pastoral acoustic psychedelia. Although I am partial to the sonic orgasm of that album, but she continued to put out strong albums — Feminina and Água e Luz are probably the most cohesive and consistent, representing something like her creative peak. And she deserves particular credit for being a writer-composer and instrumentalist in a musical landscape where women in MPB have mostly been confined to the role of “interpreter.” This one should not be passed up.