Almir Guinéto – Almir Guinéto (1986) (RGE 308.6118)

Almir Guinéto
Almir Guinéto
1986 RGE 308.6118

A1 Caxambu (Bidubi/Jorge Neguinho/Zé Lobo/Élcio do Pagode)
A2 Mel Na Boca (David Correa)
A3 Superman (Almir Guinéto/Adalto Magalha)
A4 Cenário (Almir Guinéto/Adalto Magalha/Capri)
A5 Quem Me Guia (Beto Sem Braço/Serginho Meriti)
A6 Lama Nas Ruas (Almir Guinéto/Zeca Pagodinho)
B1 Conselho (Adilson Bispo/Zé Roberto)
B2 Santo Errado (Almir Guinéto/Adalto Magalha/Capri)
B3 Pra Que Tanta Marra? (Arlindo Cruz/Sombinha/Acyr Marques)
B4 Flecha Do Cupido (Almir Guinéto/Beto Sem Braço/Guará da Empresa)
B5 Feito Aguardente (Almir Guinéto/Adalto Magalha)
B6 Hoje (Almir Guinéto/Luverci Ernesto) Continue reading

Marcos Valle – Vontade de Rever Você (1981) (2017 RSD – ViNiLiSSSiMO)

Marcos Valle
Vontade De Rever Você
Reissue April 22, 2017 ViNiLiSSSiMO MR-SSS 546
Special release for Record Store Day
Original Release 1981 Som Livre 403.6224

 

01 – A Paraíba Não É Chicago     4:35
(Laudir de Oliveira, Ware, Marcos Valle, Paulo Sérgio Valle, Cetera)

02 – Bicho No Cio     4:35

(Leon Ware, Marcos Valle, Paulo Sérgio Valle)

03 Velhos Surfistas Querendo Voar     4:35

(Leon Ware, Marcos Valle, Paulo Sérgio Valle)

04 – Campina Grande    3:22

(Marcos Valle)

05 – Sei Lá     4:35

(Laudir de Oliveira, Ware, Marcos Valle, Paulo Sérgio Valle, Cetera)

06 – Pecados De Amor     3:40

(Marcos Valle, Paulo Sérgio Valle)

07 – Garimpando     3:55

(Marcos Valle, Paulo Sérgio Valle)

08 – Nao Pode Ser Qualquer Mulher     4:12

(Leon Ware, Marcos Valle, Paulo Sérgio Valle)

 

Accordion – Sivuca
Bass – Jamil Joanes, Luizão, Peter Cetera
Drums – Danny Seraphine, Robertinho Silva
Electric Piano [Rhodes] – José Roberto Bertrami
Guitar – Chris Pinnick, Robertinho De Recife, Robson Jorge, Sergio Dias
Keyboards, Piano – Marcos Valle
Percussion – Airto Moreira, Bezerra da Silva, Chacal, Laudir de Oliveira
Producer – Marcos Valle, Paulo Sérgio Valle, Ribeiro Francisco
Saxophone – Oberdan, Walter Parazaider
Trombone – James Pankow, Serginho

 

LINEAGE INFO

RSD 2017 ViNiLiSSSiMO MR-SSS 546 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 very light settings, manually auditioning the output, and often turned off for large sections of this record; 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.

This is a very solid record from Marcos Valle in what would these days be called his ‘boogie’ phase.  I suppose it can’t also be called ‘yacht rock’ because, a) there’s not much rock here, and b) on the album jacket, Marcos definitely looks more like the guy selling suntan lotion (and maybe a little something extra for your voyage if you seem hip) down at the pier, moreso than he resembles the owner of a yacht.  This album also answers the unasked question, “What would it sound like if you put Chicago’s Peter Cetera and Brazilian accordion wizard Sivuca on the same song?”  The result was the moderately big hit single “A Paraíba não é Chicago” that opens up this upbeat, breezy album.  Cetera contributes bass guitar to unspecified tracks, as do the great Jamil Joanes (who played with Banda Black Rio, Gal Costa, Tim Maia, and many others) and Luizão Maia (Antônio Adolfo e A Brazuca, Fórmula 7, Elis Regina, João Bosco and many more). Sergio Dias of Os Mutantes plays a guitar or two somewhere here.  The eclectic mix of magic helper elves continues with sessions credits from three other members of Chicago (Danny Seraphine, splitting drums duties with the ubiquitous Robertinho Silva, and horn players James Pankow and Walter Parazaider), and co-writing credit from both Cetera and soul singer Leon Ware on four songs.  Valle worked with both those guys during his second stretch living in the USA, and his melodic flare is in heavy abundance on this Ware track  Rockin’ You Eternally, also from 1981. Robson Jorge and Robertinho do Recife (on guitars) and Airto (on percussion, although you wouldn’t really know it’s him) are in the mix as well.

Marcos Valle sounds natural and in his element here, still youthful and not at all like he was simply keeping up with the times while approaching the milestone of twenty years as a recording artist. Although I will probably always prefer his string of home-run classic albums from the late 60s and early 70s, I’m glad his work from this period is getting more attention lately, as evidenced by this special 2017 Record Store Day repressing by Spanish label ViNiLiSSSiMO.*  Marcos Valle has never needed to be ‘recuperated’ as hip, because he’s like some kind of Brazilian Brian Wilson, without the mental instability and a much longer span of productivity, a guy whose work has stayed afloat above the tides of fashion as effortlessly as the most expert surfer.  There are no bad songs here, although the shimmery slick production may occasionally get in their way, depending on the listener.  The instrumental Campina Grande continues the album’s peculiar fascination with the state of Paraíba (they have great beaches there…), using a Northeastern rhythmic foundation for a piano melody that is evocative of Valle’s bossa nova years.  If he had recorded an English-version of the radio-friendly, mid-tempo “Sei lá”, he might have been a household name in the northern latitudes.  But I doubt Rio’s golden boy loses much sleep over that notion.

*Unfortunately, in terms of mastering and sound quality, I’m fairly confident they just took a CD and slapped it on wax, which ignores that the two media have different properties.  The good news is I am guessing they used the Japanese reissue on Bomba Records, since it doesn’t pin the meters to 0 db in a solid slab of ‘brickwall’ like I suspect the Som Livre 2006 CD, based on all their other CD reissues.  Anyway, I guess it’s nice to have around for analog playback, at a reasonable price.

password: vibes

Antonio Adolfo e A Brazuca – s/t (No.1) – 1969

Antonio Adolfo & A Brazuca
Antonio Adolfo & A Brazuca (No. 1)
1969 Odeon MOFB-3618 (Original issue)
2014 Reissue EMI: UICY 76458 Odeon: TOCP-66055
Brasil 1000 Best Collection

Japan reissue, released 23 Jul 2014

1 Juliana 3:18
2 Futilirama 2:47
3 Moça 2:51
4 Dois Tempos 2:43
5 Vôo Da Apolo 4:28
6 Porque Hoje É Domingo 3:09
7 Maria Aparecida 2:06
8 Psiu 1:56
9 A Cidade E Eu 3:16
10 Pelas Ruas Do Meu Bairro 4:05
11 Teletema 2:44
Bonus Tracks: Odeon 7BD-1203 EP (1970)
12 Gloria, Glorinha 3:07
13 O Baile Do Clube 2:07
14 Ao Redor 2:11
15 M.G.8-80-88 2:19
.

Record Company – USM Japan

——————–
Producer – Milton Miranda

Assistant Co-producer – Tibério Gaspar
Conductor – Laércio De Freitas
Cover – Victor Fernando
Musical director – Lyrio Panicali
Technical Director and engineer – Z. J. Merky
Orchestrated By – Antonio Adolfo
Photography By – Carlos Ribeiro, Franklin Corrêa, Victor Fernando

Recording engineers – Jorge, Nivaldo
Technician – Reny R. Lippi


 

“This is great summer smoothness.” – blog reader Verge

Listening to this breezy offering of carefree carioca tunes, I get the impression that – had he been inclined to move to the United States and and start recording anglophone versions of Brazilian hits – Antônio Adolfo could have beat Sérgio Mendes at his own game.  But Adolfo was a busy guy in the 1960s, playing in various jazz-bossa and bossa-jazz combos and even backing up Elis Regina and Milton Nascimento for a short while.  The first of two records with his short-lived group Brazuca, this one is immediately accessible and charming, if a bit less adventurous than their second album.  The back cover features blurbs from celebs, a bit like book endorsements, from the likes of Carlos Imperial and Roberto Carlos, who likens them to an old tradition with a new sound.   Adolfo and his writing partner Tibério Gaspar were frequent contenders in the televised song competitions of the day – they won 2nd place with “Julianna”, featured above.  The whole album is very much of its time, its mini-skirt and Vespa vibe has a certain innocence to it where you would hardly know there is a dictatorship going on in the country where this was recorded.  Lyricist Gasper, who passed away to little fanfare last February, says as much in “Hoje é domingo,” where the listener is encouraged to leave their troubles behind and enjoy the nearly-universal day of peace and quiet.    Insisting on carrying on with a smile is its own kind of resistance, I guess.  Adolfo and Gasper were responsible for quite a few songs in Brazil when that became huge hits for other artists.  “Teletema”, which closes this album (it is followed by bonus tracks on the CD) is one of those.  It was featured in a telenovela in a cloying version by “Regininha” later in the year, but I prefer the original

They also wrote the funky BR-3 for Toni Tornado, but probably their best-known hit was ” Sá Marina” as recorded by Wilson Simonal.   You can go google that one up yourself but I feel obliged to share this cool clip of Stevie Wonder singing an anglicized version of it on Brazilian TV, renamed “Pretty World,” when Simonal’s version was still fresh in the collective memory. It starts out  a little shaky but quickly picks up.  I like his cute “obrigado” when he finishes.  For those interested, you can find the whole hour-long TV special on YouTube as well.  YouTube has kind of made blogs like mine a bit obsolete, hasn’t it?  I mean you can find anything there, what do you need me for?  Anyway, I still soldier on.

If the album is guilty of anything, it may be excessive cuteness.  Dois Tempos is a kind of musical pun, a composition combining two time signatures with lyrics sketching a portrait of a person who seems to inhabit both a vanished past and contemporary space tinged with uncertainty, a sepia-toned photograph come to life, a sort of decadently picturesque anachronism.   It’s a bit precious, and while some listeners may be charmed by that very quality, it’s one the group largely shed on the second album.  Even the obligatory song dealing with space flight (because its 1969), Vôo da Apolo, starts like its going to blast off into some sort of exciting space bossa-funk number, but then kind of settles into something more pedestrian.   On the second album, Adolfo and company would  push the envelope a little further with songs like Transamazônica, named after the pharaonic project of constructing a massive highway connecting parts of the Amazon region with the rest of the country.  The lyrics there are nothing special really, but musically the group is bolder and taking more chances.  But don’t let me sour anybody on this very fine album, because it’s  solid.  It just happens to be one of those cases where I was introduced to what I consider their superior effort first, so I can’t help making the comparisons between the two.  And idiosyncratic, impressionistic descriptions of long-player albums is what has made this blog tick for nine year so don’t expect me to change things too much now!  Anyway, enjoy this groovy debut from Antônio Adolfo e A Brazuca.

 


password: vibes