Quinteto Violado – Folguedo (1975)

Quinteto Violado
Folguedo
1975 Philips 6349 143 Série De Luxo

A1 Roda De Ciranda No. 2 (Luciano Pimentel, Marcelo Melo, Toinho) 2:31
A2 Rumo Norte (Toinho) 3:00
A3 Chegada De Inverno (Fernando Filizola, Zé Dantas) 2:52
A4 A Volta Da Asa Branca (Luiz Gonzaga, Zé Dantas) 2:52
A5 Olé Menina (Marcelo Melo, Toinho) 3:05
A6 Coisas Novas (Marcelo Melo, Toinho) 2:42
A7 Mundão (Fernando Filizola, Luciano Pimentel) 1:48
B1 Sete Meninas (Dominguinhos, Toinho) 2:24
B2 Brincando De Boi (Fernando Filizola, Luciano Pimentel) 3:07
B3 Prece Ao Vento (Fernando Luiz Camara, Alcyr Pires Vermelho, Gilvan Chaves) 3:13
B4 Crendice (Roberto Santana, Toinho Alves) 2:50
B5 Buruçu Em Garanhuns (Sando, Toinho) 2:54
B6 Canindé (Fernando Filizola, Luciano Pimentel) 2:30
B7 Folguedo (Fernando Filizola, Luciano Pimentel) 1:52

Arranged By – Quinteto Violado
Artwork – Jorge Vianna
Design – Lobianco, Aldo luiz
Mastered By – Joaquim Figueira
Photography By – Rodolpho Machado
Producer – Paulinho Tapajós
Studio technicians – Paulo Sergio, Zé Guilherme

Produced & Distributed by CBD Phonogram
Matrix / Runout: 200 6349143 A1
Matrix / Runout: 200 6349143 B1

Vinyl transfer info:  Original Philips vinyl; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply); Creek Audio OBH-15; AUdioquest King Cobra cables; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 96khz; clicks and pops removed with Click Repair on light settings, manually auditioning the output; further clicks removed with Adobe Audition 3.0; dithered and resampled using iZotope RX Advanced. Converted to FLAC in either Trader’s Little Helper or dBPoweramp. Tags done with Foobar 2000 and Tag and Rename.

Today (June 24) is the feast day of St. John the Baptist, otherwise known as São João holiday in Brazil, which of course is a really huge deal in Brazil.   Earlier this week we had an offering from Trio Nordestino.  Now let’s have something for the universitário set with this mid-70’s record from Quinteto Violado.  This record seemed a bit more fun to prepare for the blog than the other record of theirs  that I posted a whole FOUR YEARS ago, over here.  There you can read all about my misgivings about this kind of conservatory-trained appropriation of roots music.  I’m not sure if I’ve loosened up, or if they have on this record – the group sounds a little less “studied” and more flowing here.  Even if Berra-boi might be the “better” record, it sounds like they are having fun here.  The blazing instrumental acrobatics of Rumo Norte and its wonderful, almost Beatle-esque vocal harmonies make me hopeful they won’t be hamstrung by any traditionalist puritanism. Or maybe the sense of fun  is  really just the “well-oiled machine” effect of groups that have been playing together for a while as a unit.  It’s hard not to be impressed by their virtuosity here, but it still lacks something in the way of passionate conviction.  Their deconstruction of the Luiz Gonzaga / Zé Dantas classic, A Volta da Asa Brança, is certainly fun to hear.  It’s artful (or maybe just ‘artsy’), clever and playful and non-confrontational (unlike Caetano Veloso’s rendition that pushes into edgy performance art territory, as seen in the Phono 73 film).  It’s cool, and their drummer is on fire in the bridge, but it’s coolness is also kind of emotionally flat, isn’t it?  Quinteto Violado often sounds like they just need a vocalist with some soul to make their case more convincing.  But then again, awkward or uninspiring vocalists seem to be a thing in music linked to Pernambuco, so maybe its just something I’m still not ‘getting’ after all this time.  Like much about ‘roots music’ itself, sometimes you just have to be from there, so just ignore everything I’m saying.  Just listen to the drummer, he’s incredible.  What the hell is he doing on Mundão, besides blowing my mind?

They hit all the Northeastern folkloric touchstones here, with motifs from at least a dozen different genres of music or ‘dramatic dances’ that you will find only in the Nordeste, with particular emphasis on their native Pernambuco.  Obviously there is the presence of forró and even a guest appearance by the late, great Dominguinhos, who co-authored “Sete Meninas,” which opens up the second side.  He even sings a little on it.   You’ll also hear  a simulated glimpse of a sacred jurema ceremony and a devotional homage to the caboclo spirits that animate them on Canindé.   Ciranda, chegança, boi bumba, caboclinhos,  cavalo marinho, and pifanos, pifanos, pifanos!  If those words alone excite you then you will at least enjoy spinning this a few times.  If you don’t know them, well don’t expect me to be all didactic about it, after all I’m not writing a book here.  If I were writing a book, my life would probably be in a lot better shape than it is right now.  At the very least I wouldn’t be spending the night of São João, Midsummer’s Eve in my hemisphere, alone in front of a computer screen.

So sit beside the breakfast table,
think about your troubles,
pour yourself some pinga,
and think about the bubbles.
And celebrate the bonfires
And things made out of corn
because he not busy dying
is busy being born.

password: vibes

Prince – Batdance / 200 Balloons (1989) (12″-remix)

Prince – Batdance / 200 Balloons
Vinyl rip in 24bit 192 khz |  Artwork at 300 dpi
Original release 1989
This Record Store Day release, April 22, 2017
Warner Brothers 21257-0

Scout’s honor, I swear I was already preparing this long before the news that Adam West, who introduced me and a lot of my generation to Batman and Eartha Kit with its campiest iteration, had passed away.  I was going to share it anyway because Prince would have turned  59 years old this last Wednesday,  and the 1989 Batman soundtrack  has such a mixed legacy that I imagined Robin Williams pranking him with it in the afterworld:  “Happy birthday, Prince.  I called the house DJ and asked him to play ‘Batdance’ on repeat all day long….”   The record was hyped up a lot as a “comeback” by the fickle music biz press, ironic considering that he had been putting out some of his most interesting and creative work with albums like Lovesexy and Sign O’ The Times, but those ambitious records did not take the world commercially by a Purple Rain-style storm.  When word got out that Tim Burton – who apparently was listening to those aforementioned albums while working on his Gothic reinvention of the Batman mythos – had asked Prince to put together a soundtrack, the hype machine began heralding that this high profile film was going to put Prince back in the “biggest star on earth” slot.   In the end the truth is probably best encapsulated by the phrase, “THROW IT!” from Shaun Of The Dead, when Prince’s Batman is separated from Shaun’s record collection, including several Prince LPs set aside as worth saving during a zombie apocalypse, and chosen instead to be used as a projectile weapon.  It’s a kind of distinction. Continue reading

David Axelrod – Earth Rot (1970)

David Axelrod
EARTH ROT
1970 Capitol Records SKAO-456
Genres: Jazz, Rock, Psychedelic Rock, Eschatological Funk

“A musical comment on the state of the environment.   Contemporary music with ancient yet timely words set to the theme of ecology.”

Lyrics adapted by Michael T. Axelrod from The Book Of Isaiah, The Old Testament and adapted from Song Of The Earth Spirit, A Navajo origin legend.”

    The Warnings
A1     Part I     2:48
A2     Part II     4:28
A3     Part III     5:04
A4     Part IV     3:08
    The Signs
B1     Part I     3:44
B2     Part II     3:43
B3     Part III 5:41

 Composed By – David A. Axelrod

Bass – Robert West (Except B3)
Chorus – Clark Eran Gassman, Diana Lee, Gerri Engemann, Jacqueline Mae Ellen, Janice Gassman, Jerry Whitman, Jon Joyce, Lewis E. Moreford, Tom Bahler
Drums – Earl Palmer
Guitar – Dennis Budimir, Louis Morell
Piano – Don Randi
Tenor Saxophone, Baritone Saxophone, Flute – Jack Kelso, William E. Green
Tenor Saxophone, Flute – Ernie Watt
Trombone – Richard Hyde, Richard Leith
Trumpet – Allen De Rienzo, Frederick Hill
Vibraphone – Gary Coleman
Track B3 only:  bass – Arthur Wright, vibraphone – Sonny Anderson

Produced by David Axelrod
Lyrics adapted by Michael T. Axelrod
Recording engineers – Gene Hicks, Rex Updegraft
Cover painting – Renate Drutts

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Vinyl ripping info: First pressing Capitol vinyl; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply); Creek Audio OBH-15; AUdioquest King Cobra cables; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 192khz; clicks and pops removed with Click Repair on light settings, manually auditioning the output; further clicks removed with Adobe Audition 3.0; dithered and resampled using iZotope RX Advanced. Converted to FLAC in either Trader’s Little Helper or dBPoweramp.  Tags done with Foobar 2000 and Tag and Rename.

Continue reading

Sheila E. – In The Glamorous Life (1984)

Sheila E. – In The Glamorous Life
Vinyl rip in 24-bit/96kHz | FLAC and mp3 |  Art scans at 300 dpi
749MB (24/96) + 245MB (16/44) |  Direct Links  | Genre: pop / funk /  soul | 1984
Warner Brothers ~  1-25107

 

 Side 1:

    The Belle Of St. Mark (5:08)
    Shortberry Strawcake (4:44) 
    Noon Rendezvous (3:50)

    Side 2:

    Oliver’s House (6:20)
    Next Time Wipe The Lipstick Off Your Collar (3:50)
    The Glamorous Life (8:58)

All tracks written by Prince (credited to Sheila E.), except where noted.

The year of 1984 was a watershed one for Prince Rogers Nelson with its record-breaking Purple Rain soundtrack and tour, and the period surrounding it was also a time of  prodigious activity for his many proteges and acts where he wrote, recorded, and produced all the basic tracks – Vanity 6, The Time, Apollonia 6, Mazarati,  The Family, Jill Jones.  One of the most notable – and easily the most talented – of these proteges was Sheila E., who already had many years in the music business as Sheila Escovedo.  From the mid-70s, Sheila Escovedo’s talents as a percussionist had graced records from such established artists as Alphonso Johnson, Con Funk Shun, Johnny Hammond, and especially George Duke.  She also made a few albums with her father Pete Escovedo, and her uncle was percussionist Coke Escovedo, a pioneer in Latin-rock-jazz crossover through his contributions to the third Santana record (my personal favorite), the Santana/Buddy Miles band, Herbie Hancock, and his own group Azteca.  One could argue that Sheila’s Latin jazz chops are underused on these Warner/Paisley Park records, but I still find the standout tracks to be unique and emblematic of how Prince was able to constantly incorporate new sounds and influences.  As a musician, though, Sheila probably shines more as a member of the Lovsexy and  Sign O’ The Times-era ensembles led by his diminutive purple highness.  Last year I spent a lot of time listening to Prince bootlegs after he passed, and there are some soundboard rehearsal tapes from that period where Prince hasn’t even arrived to the studio yet, and the band is just running through material.  It’s not like I was a fly on the wall in those rehearsals, but there is some conversational banter that got caught on microphone.  I have this intuitive itch that Sheila was probably the person leading everyone through the changes.

Oliver’s House, The Glamorous LIfe, and Shortberry Strawcake are the funk-infused numbers here, but the whole album holds together well.  Next Time Wipe The Lipstick Off Your Collar is a unique plea for courtesy in one’s indiscretions, and when played live it often got a preamble from Sheila that fell a bit more squarely on one side of the naughty/nice dichotomy she had going on.  The cover for this album is classic too, juxtaposing a flair for high fashion with trashy decadence – you barely even notice the guy passed out on the floor amid squalor, tucked behind the slightly-opened door of what appears to be a dilapidated mansion or luxury apartment building.   Is the black cat on the front steps his or hers, or does it belong to the street?  Or is it an animal familiar summoned by the sorcery of Sheila’s drumsticks, tucked discreetly into the right leg of her alluring outfit?

For those fond of trying to decipher backward masking on records (which Prince was a bit obsessed with at this time), I’ve isolated some of the unknown lyrics to the instrumental Shortberry Strawcake here:

There is an interesting anecdote about Jesse Johnson (of  The Time) having actually written the bulk of The Belle of St. Mark but Prince finishing it up and giving it to Sheila; this resulted in him giving Johnson a writing and performing credit on Shortberry Strawcake as consolation.  Perhaps the real truth is recorded in some production notes locked in The Vault.  Incidentally, some internet sources  take the credits as listed on the album jacket at face value.  They are, however, widely known to be false or misleading information to masque the degree to which this album and others were really Prince projects.

The following information is drawn from the Prince Vault @ http://princevault.com/index.php?title=Album:_The_Glamorous_Life

First steps

Prince urged Sheila E. to record a solo album starting in February 1984, when she came to visit him at Sunset Sound during initial sessions for the Around The World In A Day album, following a friendship which had begun almost six years earlier.

She wasn’t very comfortable singing lead vocals, although she had sung background vocals for other artists; Prince and Sheila E. began by recording Erotic City, which was used as the b-side of Let’s Go Crazy, before he had her record vocals over some tracks he had originally intended for Apollonia      6 .

Prince suggested she shorten her stage name from Sheila Escovedo to Sheila E., and took the finished tapes to his management company, who introduced Sheila E. to Warner Bros.

Recording process

The time between vocal recordings to the release of the album was swift; less than two months in total.

All songs on the album were recorded at Sunset Sound, Hollywood, CA, USA. The Glamorous Life and Next Time Wipe The Lipstick Off Your Collar were recorded in late December 1983. The Belle Of St. Mark, Oliver’s House and Shortberry Strawcake were recorded in early January 1984. Noon Rendezvous was recorded in mid-February 1984.

Sheila E.’s vocals and percussion for all tracks were recorded in the first few days of April 1984. The Glamorous Life, Next Time Wipe The Lipstick Off Your Collar, The Belle Of St. Mark, Shortberry Strawcake and Oliver’s House were initially intended for Apollonia 6 until Prince began to work with Sheila E. in February 1984, at which time he set the songs aside for her.

Promotion

The album produced three singles, The Glamorous Life (which preceded the album), Noon Rendezvous, and The Belle Of St. Mark.
It reached number 28 on the US Billboard 200 Chart, and number 7 on the Billboard Soul LP’s Chart.

Personnel

    Sheila E. – vocals, percussion
   Prince – all instruments, except where noted (uncredited)
    Jill Jones – background vocals on The Belle Of St. Mark and Oliver’s House (as J.J.)
   David Coleman – cello on Oliver’s House and The Glamorous Life
  Novi Novog – violin on Next Time Wipe The Lipstick Off Your Collar
    Nick DeCaro – accordion on Next Time Wipe The Lipstick Off Your Collar
  Larry Williams – saxophone on The Glamorous Life

Production

    Prince – producer, arranger (album) (credited to Sheila E. and The Starr Company)
    Bill Jackson – mixing engineer
Peggy McCreary – mixing engineer (as “Peggy Mac”)
    Terry Christian – mixing engineer

The last entry in the Spring Funk Drive fundraising effort?  Well in terms of funds it has been a colossal failure but it was fun to attempt to create some momentum I guess

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____________________________________ password: vibes