João Nogueira – João Nogueira (1972)

This share is dedicated to J Thyme ( in appreciation for all the great music he has introduced me to over the last few years. Not sure if you have this one already my friend, but if not I know you will love it!

João Nogueira
Odeon 1972
SMOFB 3749
Reissue 2008 EMI

1 – Morrendo verso em verso (João Nogueira)
2 – Maria Sambamba (Casquinha)
3 – Beto Navalha (João Nogueira)
4 – Mãe solteira (Wilson Batista – Jorge de Castro)
5 – Alô Madureira (João Nogueira)
6 – 7º Dia (Garça)
7 – Heróis da Liberdade (Silas de Oliveira – Mano Décio da Viola – M. Ferreira)
8 – Mariana da Gente (João Nogueira)
9 – Prum samba (Egberto Gismonti)
10 – Meu caminho (João Nogueira)
11 – Das 200 para lá (João Nogueira)
12 – Blá Blá Blá (João Nogueira) participação: Gisa Nogueira

Production by Milton Miranda and Maestro Gaya
Assistant Production – Adelzon Alves
Orchestral Arrangements – Maestro Gaya
Technical Director – Z.J.Merky
Recording Technicians: Nivaldo Duarte, Zilman Aráujo, and Toninho
Lab Technician – Willy Paiva Moreira
Remixing – Jorge Teixeira

Lay-out – Joel Cocchiararo
Photo – Calbert
Quote from 2008 reissue back cover:
“Debut album the renowned sambista, who had come to fame as the author of “Das 200 para lá”, recorded by Eliana Pittman. Here the repetoire is made up of classics by Wilson Matista and Silas de Oliveira, and songs that would come to be recorded later by Clara Nunes, Martinho da Vila and other major names of samba. The biggest curiosity of this album is on account of a samba by Egberto Gismonti, “Prum Samba.”
–Thiago Marques Luiz


I heard this album after his 2nd (E lá vou eu) and 3rd records (Vem que tem). I didn’t think those could be outdone, but good God is this album incredible from start to finish! I am particularly in love with the production, and the stereo Fender Rhodes electric piano and Hammond organ tones that adds an extra layer to an already-rich sonic stew. The arrangements managed to mix all this, along with occasional electric guitar, flute, and of course lots of percussion, in one of the best mixes I’ve ever heard on a samba album. This is samba of the first quality (primera qualidade!!). And the blurb from Thiago Marques Luiz is correct in pointing out the oddity of having a samba from Egberto Gismonti, who is known for his long-form jazz / fusion / classical compositions. There isn’t a bad song on this album. I should have more to say about this album — As J Thyme has observed, a person can spend months and months diving into the subtleties of some records, and Nogueira’s early stuff is a prime example. Textured, layered, rich and creamy samba.

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Jorge Ben – Negro é Lindo (1971) {Salve, Jorge! Boxset}

01 – Rita Jeep
02 – Porque é Proibido Pisar Na Grama
03 – Cassius Marcelo Clay
04 – Cigana
05 – Zula
06 – Negro é Lindo
07 – Comanche
08 – Que Maravilha
09 – Maria Domingas
10 – Palomaris

Original release:
Produced by Paulinho Tapajós
Recording technicians: Toninho and Mazzola
Studio: C.B.D.P.
Arrangements by Arthur Verocai
Photo: Wilney Cover design: Aldo Luiz

2009 reissue credits
Supervision: Alice Soares
Project conceptualization: Carlos Savalla
Liner Notes: Ana Maria Bahiana
Coordination: Rodrigo Faour
Remastering: Luigi Hoffer at DMS Mastering Solutions
Restoration of original LP covers and adaptation for CD: Leandro Arraes at LAStudio
Editing: Luiz Augusto
Graphic design: Geysa Adnet


Interestingly, the bilingual texts on the new CD jackets do not actually have the same information, both containing some tidbits of info that the other doesn’t have. In the interest of globalization I am going to do a quick free translation here (all errors are my own..):

Jorge Ben Jor’s trilogy of albums with Trio Mocotó closes with the powerful “Negro É Lindo” (Black is Beuatiful) in 1971, in a phase of the Brazilian culture industry where blacks began to be perceived as potential consumers. Negro é Lindo delivers an homage to Cassius Clay (later known as Muhammad Ali) and also to João Parahyba, nicknamed Comanche. It has delcarations of love for his beloved wife Maria Tereza Domingas and, at the same time, proposes a pact of goodwill and unity to Rita Lee, responsible for his trips to and from the studio to his house in Brooklin (*southside neighborhood of São Paulo, not the one in New York…).

One difference in relation to the other LPs is the fact that this one was to be more centered on the acoustic guitar in its arrangements, possibly the fruit of his partnership with Paulinho Tapajós, who directed Ben’s recordings between 71 and 75. In the studio, Tapajós prefered to record Jorge one his own and on stop of a platform, under which were placed microphones that captured the time-keeping beats of the artists’ shoes and foot-tapping, and the scrape of his pick across the guitar strings. Beginning with this base, the arrangements were built around him. “With the pulse of the foot-taps, his, voice, and the guitar pick, Jorge transformed himself into a machine of rhythm. Afterward, I embellished this with the other instruments in arrangements (of scale and tone) that wouldn’t conflict with what he was doing. We recorded 30, 40 songs for one single album and I believe there must be a lot of unreleased material. It was the best way to work, because the coolest thing about Jorge is the freedom. He does not have discipline. Therefore, we had to follow along after him.” One could analyze this liberty and freedom as a certain kind of alienation between the techniques and artifices of the studio and the process of practicing as a group. There are classic moments calling for the bridge, or the end of a sing, same as LPs recorded live (“Em cima!”, “Miudinho!”). Add to this the fact that Ben, aside from composing the lyrics and music for the vast majority of the songs he created, did not do arrangements for other instruments: in this era, he played his guitar and sang, and the arranger (or Trio Mocotó) did their work on top of this.


Side note from Flabbergast… Interesting that Arthur Verocai, who at this point in time is probably more famous outside Brazil than within it, does not get any mention in these liner notes even though he was responsible for the arrangements as much or more so than producer Tapajós…

The notes also sidestep Ben’s involvement with and importance to the movement(s) variously referred to as Black Rio, Black Power, Samba Soul, Movimento Negro, in the 1970s. An embracing of black identity in an allegedly colorblind ‘racial democracy’ where bring up something like “Black Pride” is likely to spark an argument. In fact doing so led to just such an argument for me TODAY — one has to remember this was even more polemical in the early 70s. It’s not the first foray into this territory in Ben’s music or lyrics, by any means, but probably the first where he is self-consciously integrating his work around Afrocentric ideas, making him part of a global phenomenon happening at the same time in the US, the Caribbean, in other parts of Latin America, and in Africa itself. The liner notes would almost imply that this was a marketing strategy (the black woman or man as potential consumer), an interpretation which I hope is just me being reactionary and radical and indignant as I sometimes tend to be… Because if that IS the implication, then its an insult to Jorge Ben and the massive accomplishments of his music during this period.

This pressing hails from the 12-CD boxset released just a week ago. There will be more of it to come…

With complete artwork, m3u playlist, and proper ID-tags

Jorge Ben – Negro é Lindo (1971) in 320 kbs em pee three

Jorge Ben – Negro é Lindo (1971) in FLAC LOSSLESS AUDIO

Elizeth Cardoso – A Enluarada Elizeth (1967) with Pixinguinha, Clementina de Jesus, Cartola

Elizeth Cardoso (1967)
With special guests Pixinguinha, Clementina de Jesus, Cartola, and Codô
CLP 11509

1 Meu consolo é você
(Roberto Martins, Nássara)2 Depois de tanto amor
(Paulinho da Viola)

3 Amor e lágrimas
(Cláudio Santoro, Vinicius de Moraes)

4 Canto de Pedra Preta
(Baden Powell, Vinicius de Moraes)

5 Modinha
(Antônio C. de Brito, Hermínio Bello de Carvalho, Maurício Tapajós)

6 Carinhoso (with Pixinguinha)
(Pixinguinha, João de Barro)

7 Capoeira três (with Codô)

8 Isso é que é viver (with Pixinguinha)
(Hermínio Bello de Carvalho, Pixinguinha)

9 Demais
(Tom Jobim, Aloysio de Oliveira)

10 Melodia sentimental
(Lobos, Dora Vasconcelos)

11 Seleção de Sambas da Mangueira (with Clementina de Jesus and Cartola):

Fiz por você o que pude (Cartola)
Pranto de poeta (Nelson Cavaquinho-Guilherme de Brito)
Mangueira (Assis Valente-Zequinha Reis)
Mundo de zinco (Wilson Batista-Nássara)
Semente do samba (Hélio Cabral)
Lá em Mangueira (Herivelto Martins-Heitor dos Prazeres)
Onde estão os tamborins (Pedro Caetano)
Levanta, Mangueira (Luiz Antônio)
Sabiá de Mangueira (Benedito Lacerda-Eratóstenes Frazão)
Exaltação à Mangueira (Enéas Brites-Aloísio Augusto da Costa)
Praça Onze (Herivelto Martins-Grande Otelo)
Despedida de Mangueira (Benedito Lacerda-Aldo Cabral)

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Grupo Fundo de Quintal – Seja Sambista Também (1984)

I had been planning a different samba album for today, a vinyl rip of a somewhat-scarce album, but I just couldn’t manage to finish editing it before the weekend. So instead I am bringing you yet another title from Fundo de Quintal, their fourth LP, and the second on which Arlindo Cruz plays a huge roll (appropriate for a huge guy) as a player and songwriter. The band is really hitting its stride here. I had the honor of seeing him play a live show for free this year and I have never seen so many women going crazy over a large man. I swear I saw some panties thrown on stage although the night is kind of hazy in my memory. Among the great “in-house” songwriters in the group there is also a collaboration between Zeca Pagodinho and Cruz in the credits, as well as a closing number from Jorge Aragão who had left at this point.

Not a dull moment here, folks!
For more info — and for more great music — be sure to visit the page for “Samba é no Fundo de Quintal” (1980) also here at Flabbergasted Vibes

Grupo Fundo de Quintal – Seja Sambisa Também (1984) in 320kbs

Grupo Fundo de Quintal – Seja Sambisa Também (1984) in FLAC LOSSLESS AUDIO

Demônios da Garoa – Trem das 11 (1964)

Demônios da Garoa
“Trem das 11”
Released 1964 on Chantecler
This reissue, 1995 – Warner / Continental

1. Saudosa maloca
2. Barracão pegou fogo
3. Abrigo de vagabundos
4. A promessa de jacó
5. Prova de carinho
6. Chum-chim-chum
7. As mariposas
8. Trem das onze
9. Iracema
10. Lenço na molera
11. Conselho de mulher
12. Samba do arnesto

The Demônios in 1964 were: Arnaldo, Atoninho, Claudio, Narciso and Roberto.

This is THE classic record from the Demônios da Garoa, one that could easily be titled “Adoniran Barbosa’s Greatest Hits,” since 8 of the 12 tracks are authored by him. The Demônios have always been most recognizable by their impeccable harmonies and uplifting sense of silliness and humor. I admit I don’t always get the regional colloquialisms and jokes, but it would be hard not to be in a better mood after putting this album on. I had been thinking this album was a collection, because a lot of these tunes appear on earlier records of theirs, but I seem to be wrong. It appears that they re-recorded a lot of the songs they had previously committed to tape. The result is a solid listen of huge historical importance to São Paulo samba. And virtually all of my favorite compositions by Adoniran are here — the title cut Trem Das Onze, Saudosa Maloca, Iracema, Abrigo de Vagabundos, As Mariposas… I first heard most of these tunes on Adinoran’s own albums from 1974 and 1975, so hearing these renditions was a bit jarring the first time. But a generation of Brazilian samba fans grew up on these versions from the Demônios da Garoa, I’ve grown to love them more with every listen.


Biography by Alvaro Neder

The Demônios da Garoa recorded 26 78 albums and, in total, 67 singles, LPs, and CDs, enjoying massive national popularity in the ’50s and ’60s with a revival in 1994. Mentioned in the 1994 edition of the Guiness Book of Records as the oldest popular music group in activity, they completed 58 years of work in 2001. Interpreting the samba done in São Paulo with a very peculiar style, they chronicle the way of life of Brazil’s biggest metropolis and its characters as seen by a common person of the streets, where the corrupted Portuguese of the São Paulo state redneck and of the Italian descent paulistano perform a prominent role.

They formed in São Paulo in 1943 as Grupo do Luar, playing as amateurs in parties and serenatas. They opened in radio that same year in March at a novice show at the Rádio Bandeirantes. As the group won a radio contest, they were hired by Emissoras Unidas. The initial formation was Francisco Paulo Gallo (tam-tam), Artur Bernardo (violão), the brothers Cláudio Rosa (pandeiro) and Arnaldo Rosa (the oldest one, 15 at the time, percussion/vocals), and Antônio Gomes Neto (violão tenor). Gallo and Cláudio departed after a while and Artur died in 1955. In 1949, the group’s recording for the folkloric “Mulher Rendeira” was included in Lima Barreto’s film O Cangaceiro. The first 78 had the balanceio “Siri Malvado” (Jair Gonçalves) and the maracatu “Rio Verde” (Antônio Diogo/Juraci Rago). It was released in June 1950. In 1951 and 1952, they won the Carnival contest of the city of São Paulo with two Adoniran Barbosa sambas, “Malvina” and “Joga a Chave” (with Osvaldo Molles). The history of Barbosa and the Demônios is intertwined, as the Demônios made the basis of their repertory from Barbosa’s compositions. The first recordings of Barbosa’s later megahits “Saudosa Maloca,” “Samba do Arnesto,” and “Trem Das Onze” were by the Demônios. “Saudosa Maloca” and “Samba do Arnesto” were performed for the first time in 1954 at the Rádio Nacional (São Paulo) and recorded in the next year. In 1958, the group participated in the film Vou Te Contá (Alfredo Palácios), and, in the next year, in Dorinha No Society (Geraldo Vietri). In 1958, they recorded the first 8″ LP, Saudosa Maloca (Odeon), which had two hits with “Iracema” and “As Mariposas.” In 1964, they presented “Trem Da Onze” (Adoniran Barbosa) at the Rio de Janeiro Carnival contest, winning the competition. They continued to record extensively during the ’60s, ’70s, ’80s, and ’90s. In 1993 and 1994, they entered the Guiness Book of Records as the oldest popular musical group active in the world (in 1993 just as the oldest group in Brazil). The Demônios da Garoa continue their activities with the following formation: Arnaldo Rosa (afoxê), Sérgio Rosa (Arnaldo’s son, pandeiro), Antônio Gomes Neto, the Toninho (violão tenor), Ventura Ramirez (seven string violão), Osvaldinho da Cuíca (cuíca) and Sidney Cláudio Thomazzi, the Simbad (cavaquinho). Demônios da Garoa – 50 anos (Warner, 1994), commemorating 50 years of activity, was awarded with the Prêmio Sharp and had the hit “Seu Querer” (Sílvio Mury/Bembeco). The group also was paid homage by São Paulo’s municipality, which instituted the Demônios da Garoa Week. In 2000, the group recorded the CD Mais Demônios do Que Nunca.


* 55 Anos de Garoa (1997)
* Demônios da Garoa Hoje (1995
* 50 Anos (1994)
* Esses Divinos Demônios da Garoa (1990)
* O Samba Continua (1980)
* 34 Anos de Música Brasileira (1977)
* Samba do Metrô (1975)
* Torre de Babel (1974)
* Abre a Gira (1973)
* Eu Sou de Lá (1972)
* Agüenta a Mão, João (1971)
* Sai de Mim, Saudade (1971)
* Doido Varrido (1969)
* Ói Nóis Aqui Tra Veis (1969)
* É De Samba Vol. 2 (1968)
* É De Samba (1968)
* Leva Este (1968)
* Eu Vou Pro Samba (1965)
* Trem das Onze (1964)
* Mas Demônios Que Nunca (1962, Argentina)
* Demônios Em Sambas Infernais (1961)
* Pafunça (1958)
* Demônios da Garoa (1957)
* Saudosa Maloca (1957)

Maiores Sucessos (ordem cronológica)

* 1951 – Malvina
* 1955 – O Samba do Arnesto
* 1955 – Saudosa Maloca
* 1956 – Iracema
* 1965 – Iracema (regravação do antigo sucesso de 1956)
* 1965 – Trem das Onze

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Os Originais do Samba (1969)

RCA Victor
BBL 1475
2004 Reissue
RCA Victor Essential Classics1 Cadê Tereza
(Jorge Ben)
2 O rapaz do violão
3 Enlouqueci
(Luiz Soberano, João Sale, Waldomiro Pereira)
4 No morro é assim
(Carlos Magno)
5 Bacubufo no caterefofo
(Bidi, Velha)
6 Despertar do lavrador
(Neoci, Dida)
7 Sei lá Mangueira
(Hermínio Bello de Carvalho, Paulinho da Viola)
8 Domingo da Rosa
(Neoci Dias)
9 Larga meu pé, reumatismo
(Ataulfo Alves)
10 Não ganha se não quiser
(Carlos Magno)
11 Canto chorado
(Billy Blanco)
12 Até meu final
(Bidi, Dida)From the back cover:”Considered the pioneers of the “Pagode” groups (samba with a romantic pop twist) that took our music scene by storm in the late 1980s, Os Originais do Samba were really “original” as their name says, with their joyful, pop samba tracks, with a lot of vocals and percussion. The band’s premier album released in 1969 made instant hits of upbeat samba tracks like Jorge Ben’s “Cadê Tereza”, and instilled a new kind of “swing” to traditional samba tracks. — Rodrigo Fauor”Well well… its a dubious legacy to say the least when you claim late 80s ‘pagode’ as a POSITIVE thing.. Nor would I credit Os Originais with adding some swing to samba as quite a few others were already working on that. Anyway, the review above is right about this being a more pop-oriented samba, but not in a negative way. They are a samba vocal group first and foremost, with a focus on entertaining us with well-executed songs and light humor — not unlike Demônios da Garoa, in that sense. One of their members was even involved in the famous Brazilian comedy TV show Os Trapalhões that ran for many years. They owed a lot of their early popularity to the explosive growth of television as a means of influencing popular tastes in culture consumption. They were a huge hit on the first samba festival televised on São Paulo’s channel 7 (1 Bienal do Samba), after which they became a highly-sought after commodity on TV. I will admit that I prefer their 1970s material to this debut album, as they were influenced by the 70s samba revival to lean towards a rootsier, less-orchestrated sound. But this album is great, and their version of Jorge Ben’s Cadê Tereza is pretty famous and important, so it`s worth having this album for that track alone!

Biography by Alvaro Neder

With a particular blend of traditional samba and humor, Os Originais do Samba became a commercial success, achieving three gold records for their hits “Tá Chegando Fevereiro” (Jorge Ben/João Melo), “Esperanças Perdidas” (Adeílton Alves/Délcio Carvalho), “O Lado Direito da Rua Direita” (Luís Carlos/Chiquinho), “É Preciso Cantar,” and “Tragédia No Fundo do Mar” (Zeré/Ibraim). They also had hits with “Cadê Teresa” (Jorge Ben), “A Dona do Primeiro Andar,” and “Nego Véio Quando Morre.” They performed shows with such artists as Elis Regina, Duke Ellington, Earl Grant, Paulinho da Viola, and Jorge Ben Jor, among others, and recorded albums with Chico Buarque, Toquinho/Vinícius de Moraes, Martinho da Vila, and Jair Rodrigues. Os Originais do Samba was the first samba group to perform and record at the Olympia in Paris, France, also performing at the Carnaval Friends of Brazil Club in San Francisco, CA. The group enjoyed continued success in Brazil and abroad in its second formation. The group started in 1960 as Os Sete Modernos do Samba. The next year they were invited by Carlos Machado to perform the show O Teu Cabelo Não Nega, about Lamartine Babo, and they changed their name to Os Originais do Samba. It was followed by a six-month stay in Mexico and performances in Puerto Rico and Brazil. After settling in São Paulo in 1968 they were invited to back Elis Regina in the I Bienal do Samba on the winning samba “Lapinha” (Baden Powell/Paulo César Pinheiro). Their first album came the next year, Os Originais do Samba (RCA Victor), followed by 18 others through 1997. In 1977 the group’s formation was: Bigode (leader/pandeiro/vocals), Zeca do Cavaco (cavaquinho/banjo), Sócrates (guitar), Rubinho Lima (percussion), Valtinho Tato (percussion), and Gibi (reco-reco, tamborim).


From Cliquemusic

Grupo formado na década de 60 no Rio de Janeiro por ritmistas de escolas de samba, começou a se apresentar em teatros e show, incluindo o palco do Copacabana Palace, onde realizou o espetáculo “O Teu Cabelo Não Nega”. Fixaram-se em São Paulo depois de excursionar pelo México, e em 1968 acompanharam Elis Regina na música vencedora da I Bienal do Samba, “Lapinha”, de Baden Powell e P.C. Pinheiro. No ano seguinte gravaram a música “Cadê Teresa”, de Jorge Ben, que fez grande sucesso. Participaram de festivais e ganharam discos de ouro pela vendas de suas gravações, principalmente nos anos 70, combinando o canto uníssono, a roupa padronizada e boa dose de humor. Um dos integrantes do grupo, Mussum, sairia para formar Os Trapalhões ao lado de Renato Aragão e Dedé Santana. Tocaram com grandes nomes da música brasileira – como Chico Buarque, Jair Rodrigues, Vinicius de Moraes – e mundial – Earl Grant. Excursionaram pela Europa e Estados Unidos, e foram o primeiro conjunto de samba a se apresentar no Olympia de Paris. Alguns de seus maiores sucessos são “Tá Chegando Fevereiro” (Jorge Ben/ João Melo), “O Lado Direito da Rua Direita” (Luiz Carlos/ Chiquinho), “A Dona do Primeiro Andar”, “O Aniversário do Tarzan”, “Esperanças Perdidas” (Adeilton Alves/ Délcio Carvalho), “E Lá se Vão Meus Anéis” (Eduardo Gudin/ P.C. Pinheiro), “Tragédia no Fundo do Mar (Assassinato do Camarão)” (Zeré/ Ibrahim), “Se Papai Gira” (Jorge Ben), “Nego Véio Quando Morre”. Em 1997 gravaram um CD comemorativo pelos 30 anos de carreira, e atualmente continuam se apresentando no Brasil. Fizeram parte do grupo: Mussum, Rubão, Bigode, Bide, Chiquinho, Lelei, Zeca do Cavaquinho, Sócrates, Rubinho Lima, Valtinho Tato e Gibi.

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password: vibes