Harlem River Drive (1971) {Eddie and Charlie Palmieri} 24-bit/96khz vinyl

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Harlem River Drive – Harlem River Drive

Originally released on Roulette Records (SR 3004), 1971
this pressing, reissue – year unknown
1 Harlem River Drive (Theme Song) (4:05)

Bass – Victor Venegas
Organ – Charlie Palmieri
Timbales – Nick Marrero
Guitar – Bob Bianco
Drums – Reggie Ferguson
Congas – Eladio Perez

2 If (We Had Peace Today) (2:56)

Guitar – Cornell Dupree
Trombone – Bruce L. Fowler
Trumpet – Burt Collins
Bass – Gerald Jemmott
Drums – Dean Robert Pratt

3 Idle Hands (8:27)

Bass – Gerald Jemmott
Timbales – Nick Marrero
Saxophone [Tenor] – Dick Meza
Guitar – Cornell Dupree
Drums – Bernard Purdy
Trombone – Bruce L. Fowler
Congas – Eladio Perez

4 Broken Home (10:35)

Guitar – Bob Bianco
Organ – Charlie Palmieri
Congas, Cowbell – Manny Oquendo
Bass – Victor Venegas
Drums – Nick Marrero

5 Seeds Of Life (5:07)

Bass – Victor Venegas
Bass [Fender] – Andy Gonzalez
Timbales – Manny Oquendo
Guitar [Lead] – Bob Mann
Saxophone [Tenor] – Dick Meza
Drums – Bernard Purdy
Trombone – Barry Rogers
Trumpet – Randy Brecker
Congas – Eladio Perez
Guitar [Accompanying] – Cornell Dupree

Produced by Lockie Edwards and Eddie Palmieri
Engineer – Fred Weinberg
Remix engineer – Jay Messina
Artwork By – Ruby Mazur’s Art Department

Technical info
Vinyl repressing -> Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply) > Creek Audio OBH-15 -> M-Audio Audiophile 2496 Soundcard -> Adobe Audition 3.0 at 24-bits 96khz -> Click Repair light settings, additional clicks and pops removed in Audition -> dithered and resampled using iZotope RX Advanced -> ID Tags done in foobar2000 v.1.0.1 and Tag & Rename.

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Still a criminally under-appreciated album and were it not for the blogoshere it would be even more so. I’ve been sitting on this one for a long long time without sharing it, waiting for stars to align perfectly for me to write something inspired about this exhilarating album, and then I remembered that it made an appearance on the Orgy In Rhythm blog a few years back. The write-up there is so well-down it would superfluous to add much to it. I will only add that, since the post at Orgy, it has apparently been reissued on CD although I haven’t personally seen a copy.

As you can see below, he also states that he forked out the cash for a pricey Japanese vinyl pressing. The links are dead there so I can’t make any comparisons, but I think my rip — made from a recent reissue, year unknown, on inferior-quality vinyl — still sounds pretty nice. There is surface noise on some of the atmospheric parts of Broken Home, for example, that has been there since I tore the plastic off the LP jacket – this is NOT virgin , but it was also priced accordingly. And generally I think the sound is pretty warm and full. I hope you enjoy and encourage people to leave comments about what you think.

From Orgy in Rhythm, 2006

Eddie Palmieri’s supergroup Harlem River Drive was the first group to really merge black and Latin styles and musicians, resulting in a free-form brew of salsa, funk, soul, jazz, and fusion. Though it was led by pianist Palmieri, the group also included excellent players from both the Latin community (his brother Charlie, Victor Venegas, Andy GonZalez) and the black world (Bernard “Pretty” Purdie, Ronnie Cuber). Named as an ironic reference to the New York City street which allowed predominantly suburban drivers to bypass East Harlem entirely on their way to lower Manhattan, Harlem River Drive released their groundbreaking debut album in 1970 on Roulette, including Latin and underground club hits like the title track and “Seeds of Life.” Unfortunately, Harlem River Drive was their only album, though the group did appear co-billed on Eddie Palmieri’s two-part 1972 release, Live at Sing Sing, Vols. 1-2.
The reason this record is “legendary” is because it marks the first recorded performances, in 1970, of Eddie and Charlie Palmieri as bandleaders. The reason it should be a near mythical recording (it has never been available in the U.S. on CD, and was long out of print on LP before CDs made the scene), is for its musical quality and innovation. The Palmieris formed a band of themselves, a couple of Latinos that included Andy Gonzales, jazz-funk great — even then — Bernard “Pretty” Purdie, and some white guys and taught them how to play a music that was equal parts Cuban mambo, American soul via Stax/Volt, blues, Funkadelic-style rock, pop-jazz, and harmonic and instrumental arrangements every bit as sophisticated as Burt Bacharach’s or Henry Mancini’s or even Stan Kenton’s. One can hear in “Harlem River Drive (Theme)” and “Idle Hands” a sound akin to War’s on World Is a Ghetto. Guess where War got it? “If (We Had Peace)” was even a model for Lee Oskar’s “City, Country, City.” And as much as War modeled their later sound on this one record, as great as they were, they never reached this peak artistically. But there’s so much here: the amazing vocals (Jimmy Norman was in this band), the multi-dimensional percussion section, the tight, brass-heavy horn section, and the spaced-out guitar and keyboard work (give a listen to “Broken Home”) where vocal lines trade with a soprano saxophone and a guitar as snaky keyboards create their own mystical effect. One can bet that Chick Corea heard in Eddie’s piano playing a stylistic possibility for Return to Forever’s Light As a Feather and Romantic Warrior albums. The band seems endless, as if there are dozens of musicians playing seamlessly together live — dig the percussion styling of Manny Oquendo on the cowbell and conga and the choral work of Marilyn Hirscher and Allan Taylor behind Norman. Harlem River Drive is a classic because after 30-plus years, it still sounds as if listeners are the ones catching up to it.

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Rabbits & Carrots – Soul Latino (1969)

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Rabbits & Carrots
“Soul Latino” 1969
Reissue on Vampisoul 2007 with extra tracks (Vampi CD 088)

1. Pais Tropical
2. Hip City
3. Romeo Y Julieta
4. Funky Chicken
5. Jarabe
6. Las 4 Culturas
7. Everyday People
8. Oh Calcuta!
9. Los Pelos Tiesos
10. Workin’ On A Groovy Thing
11. Spill The Wine
12. We Got More Soul
13. Sex Machine
14. Express Yourself

The first time I heard this all-instrumental record I was skeptical. Why bother, I asked myself, covering James Brown and Sly Stone in the late 60s when those artists were still putting out great music at incredible levels of productivity? The second time I listened to this, I asked myself, “Why the hell not?” This record is a lot of fun, even if the hype from Vampisoul about the hip DJ’s who spin it doesn’t do anything to excite me (in fact its more likely to make me ignore it..)

How can I *not* like a record that opens up with a soul-jazz take on País Tropical with a slightly-overdriven pseudo-Wes Montgomery guitar lead playing the vocal melody? If you can’t find that catchy then you’re hopeless. On first hearing this record I had thought that maybe these guys were Nuyorican because of the emphasis on black American music. Imagine my surprise to find out they were a bunch of Mexicans. Rabbits & Carrots were basically a nightclub / bar band in Mexico City, founded by Salvador Aguero with his brothers, that included mostly a lot of anglophone contemporary hits in their repertoire. But whereas there were tons of Mexican rock bands at the time with fuzzed-out guitars playing psychedelic or progressive rock with long wanky guitar solos, English lyrics, and beards, these guys were enamored with soul and funk music. Jorge Ben, Rufus Thomas, Kool & The Gang… Neil Sedaka.. Oddly enough the liner notes mention that the song “Las Quatras Culturas” is the one original composition on the album, somehow “about” the May 1968 massacre of students in Mexico City, when really the song is a blatant James Brown rip-off. But no matter, it’s still pretty cool albeit a little too upbeat for a song ostensibly about state repression. My favorite tune on here is an arrangement of a traditional tune, “Jarabe” that shows off just how well this band could cut loose in a style that really did blend a Latin rhythmic sense with soul from its northern brothers. On the whole this record has a lounge lizard, rather cheesy quality that must be what the ironic hipsters are enamored with, but the band approaches their material with enough inspiration (and some serious jazz chops from saxophonist Ramón Negrete) to make them stand apart from just a generic bar band.

The unique musical synthesis that was Rabbits & Carrots can perhaps best be expressed by way of a photo essay that I’ve composed just for this occasion.

First, some famous rabbits:

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Second, some famous Mexicans:
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In conclusion,
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The last four tracks on this disc come from an EP released years later by their label Musart. The band rather tragically abandons the exclusively instrumental approach they had adhered to in favor of incorporating a singer, identified only as “Max” in the typically ramshackle liner notes provided by Vampisoul. Although I can appreciate the effort of attempting to translate “Sex Machine” into Spanish, this guy is no James Brown. The results are kind of hilarious, but still doesn’t qualify as “so bad it’s good.” In fact I would have to say that these four tracks are just fucking godawful. Repeated listens only confirm how awful they are. The version of “Spill The Wine” just makes me want to pull out my Eric Burdon & War LP from my dusty archives. These songs require a vocal swagger and charisma that the singer just lacks, and I must say the results of the translation are questionable. They fall flat, and are rather embarrassing, and I think Vampisoul would have done these guys a service by leaving them off the album. But they are kind of a sketchy label anyway, seemingly consulting with nobody on these reissues (they have even been sued by Fania, for example), but they have been unearthing some nice treasures from the musicial seen of D.F., Mexico, for the rest of the world.

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Colombia! The Golden Age Of Discos Fuentes. The Powerhouse Of Colombian Music 1960-76

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Colombia! The Golden Age Of Discos Fuentes. The Powerhouse Of Colombian Music 1960-76
Various Artists
Soundway Records (SNDWCD008)
Every Soundway compilation is a labor of love and this one is no exception. This collection focuses on the Fuentes label of Colombia, which has been active there since the 1930s. Covering a mighty chunk of stylistic territory and a span of over fifteen years is no mean feat and it’s remarkable the collection holds together as well as it does. It has its flaws but they are relatively minor and far outweighed by the fact that Soundway is making this music available to a wider audience that to a large extent have not had much access to it.

Trust me when I say you do not want to be in the middle of a conversation between a Puerto Rican, a Cuban, a Venezuelan, and a Colombian about who was the best salsa music or, Lord have mercy, it’s origins. This release does nothing to clarify that contentious morass. In terms of the salsa and descarga jams on this collection, the influence of the Nuyorican sound is definitely in force, not too surprising given its enormous popularity during the time period, as well as merengue and mambo. And while these tracks are excellent, what really interests me here is the costeña music, the sounds from Colombia’s pacific coast with its heavily African and indigenous elements. Particularly cumbia but also fandango, mapalé and other variants, this stuff is the shit you want off this compilation. Unfortunately there just isn’t enough of it to satisfy me.

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And you thought Colombia’s finest export was.. oh, nevermind

The liner notes by Costa Rican music scholar Roberto Ernesto Gyemant start out beautifully with a compelling narrative of his experiences as a crate-digger and fanatic of Colombian music trying to track down some of these records and the people who made them. They provide a lot of historical and cultural context for which I am always grateful, and a fair amount of detail. Unfortunately that detail starts to bog the text down after a while, and is perhaps catering to musicologists and specialists. After the strong initial pages the text takes on a hurried, somewhat sloppy quality, as if the writer was rushing to meet a deadline. Exhibit A is the sentence appearing at the end of one paragraph that says merely, “Sentence about cienaguera,” obviously a note the author made to himself… I know I am an asshole for pointing that out but it cracked me up. Besides, I am dying to know what he was going to write about cienaguera, it keeps me awake at night, restless and anxious.

The text also spends a lot of time focusing on Fruku e sus Tesos (see photo below) and The Latin Brothers to the exclusion of other artists included on the disc. Some of the personalities involved in this part of Discos Fuentes story went on to have huge international hits, none of which are included on this collection. Thus in a way, for the relative outsider to this scene it is as if you are missing some important elements of “the big picture”, as I imagine that some of those smash hits are still generating royalty revenue for the artists and are were thus not available for inclusion on a comp such as this.

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The tracks included by Wganda Kenya (the farfisa-driven “Tifit hayed” and the highlife of “Elyoyo”) are pure delight but relegated in the text to the last paragraph, where we are told this sound was popular in the mid-70s but nothing else beyond that declaration. (Actually Wganda Kenya is described as relying on “a new generation of synthesizers”, none of which are present on these two tracks..) I would really, REALLY like to know more about the band Afrosound, whose sole track here closes out the compilation and brings a genuine creole fusion of African and Latin American musical greatness.

The album jackets included in the booklet are one of the best things here, a visual feast of kitschy contemporary design and layout. However the lovely sultry cover featured above appears to be unrelated to any of the music on the album, although I’m not about to complain about it’s inclusion.

On the whole this is not as organized and coherent a collection as Soundway’s Panama compilation (actually, there are three volumes now but I only have the first one and can’t comment on the others in the series). There is still plenty here to sink your teeth and ears into, so those who are interested should most certainly check this out.

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 in 320 em pee tree

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**P.S. There are typos in the archive folder that originated in the freedb (Free Database) information from which tracks and artists get downloaded within EAC. Thus, they are not my fault, I swear!! I know better than to spell Colombia with a “u”. However I will take the blame for not noticing it until now. I will probably rename the folder and rehost it, because I am obsessive-compulsive that way. Until then you can do it yourself. Just highlight the folder and press F2….

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Jorge Ben – Big Ben (1965) (Salve, Jorge! Box)


Jorge Ben
“Big Ben”
1965
Philips
P 632 768 L
Reissued with Salve Jorge! Boxset, 2009

1 Na Bahia tem
(Nestor Nascimento)
2 Patapatapatá
(Jorge Ben)
3 Bom mesmo é amar
(Jorge Ben)
4 Deixa o menino brincar
(Babu)
5 Lalari – olalá
(Gaya)
6 Jorge Well
(Jorge Ben)
7 O homem, que matou o homem, que matou o homem ma
(Jorge Ben)
8 Quase colorida (Veruschka)
(Jorge Ben)
9 Maria Conga
(Nélio da Silva)
10 Acendo o fogo
(Ivo Elias)
11 Telefone de brotinho
(Maurício Scherman, Max Nunes, João Roberto Kelly)
12 Agora ninguém chora mais
(Jorge Ben)

Produced by Armando Pittligliani
Sound Engineer: Sylvio Rbaello
Sound Technicians: Célio Martins
Layout: Rodgrigo Octavio
Foto: Armando Amaral

2009 Remastering by Luigi Hoffner at DMS Mastering Solutions

The sound on this disc seems harsher, brasher, and more compressed to me than some of the other CDs in the boxset. But since its almost impossible to find the original CD pressing, it will do for me! The albums rocks out more than his previous albums, at times approximating early Beatles and Beach Boys but with a over-stimulated jazz compo backing him up. “Agora ninguém chora mais” is a classic, “Na Bahia tem” is also great and vaguely similar to Dorival Caymmi’s famous “O que a Baiana tem?”. Lindolfo Gaya even has a song on here, the interesting “Lalali-olalá”.

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Jorge Ben – Ben é Samba Bom (1964) [Salve, Jorge! Boxset]



Jorge Ben
Ben é Samba Bom (1964)
Philips / Compania Brasileira dos Discos (P632.727 L)

This pressing, Salve, Jorge! Boxset 2009

1. Descalço No Parque (Jorge Ben)
2. Onde Anda O Meu Amor (Orlandivo – Roberto Jorge)
3. Bicho do Mato (Jorge Ben)
4. Vou De Samba Com Você (João Mello)
5. Samba legal (Henrique de Almeida – Claudionor Sant’Anna)
6. Ôba Lá Lá (João Gilberto)
7. Gabriela (Jorge Ben)
8. Zope Zope (Jorge Ben)
9. Saída Do Porto (Zil Rosendo)
10. Dandara Hei (Jorge Ben)
11. Samba Menina (Jorge Ben)
12. Guerreiro Do Rei (Jorge Ben)

Produced by Armando Pittigliani
Recording Technician – Célio Martins
Sound engineer – Sylvio Rabello
Cover design – Paulo Bréves
Photo – Mafra
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~Dusty Groove review of the SOUL & SAMBA pressing:
Amazing stuff! Jorge Ben never made a bad record in the 60s — and this is one of his best! The album’s filled with tight jaunty numbers that mix big band samba arrangements with quickly strummed guitar, and Jorge’s wonderfully raw vocals — all classic stuff for Jorge, but a style that we never tire of! Every track’s a winner, and the album glides effortlessly from number to number, grooving along with a stunning mix of instruments, vocals, and this incredible echoey production. Titles include “Vou De Samba Com Voce”, “Rip Rei”, “Descalco No Parque”, “Lamento Nago”, “Saindo Do Porto”, “Bicho Do Mato”, and “Zope Zope”.~~
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Flabber mini-review

I probably wouldn`t give such an unconditional laudatory review to this album. It has its classics, for sure, but for me it might be the weakest of Ben`s early output. It is also the second album he released in 1964, and contains more songs written by other people than any other Jorge Ben album from this first phase of his career. His take on João Gilberto’s “Oba, lá, lá” is great (although it probably annoyed the hard-to-please Gilberto), the songs “Descalço no parque”, “Danderei, hei”, and “Guerreiro rei” are all classics. “Zope zope” was, I believe, a hit, and definitely aims itself at the youngsters under the spell of Wilson Simonal, in my opinion. A good solid album, just not as great as his first two.

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Wilson Simonal – Alegria! Alegria! Vol. 3 & 4 (1969)

Booklet notes:

Recorded under the uncontrollable shadow of the hit “Sá Marina”, Alegrie Alegria Vol 3, or Cada Um Tem o Disco que Merece, is a move in the direction toward a maturation of a style, of unity in the middle of the diversity that the public had already accustomed itself with Simonal. “Sá Marina” (from Alegria Vol. 2) loaned its soul-music romanticism to various songs on the album. “Meia Volta (Ana Cristina), “Moça” and “Aleluia Aleluia” all from Antonio Adolfo and Tibério Gaspar, are the clearest examples. But practically the whole album is calm and serene. From the delicate “Menininha do Portão” to the rhythm and blues “na lingua da matriz” of “What You Say,” Simonal and Som Três move their music into an area that is more adult, and more black. The reinterpretations of classics attest to this: ‘Pensando em ti” brings bassoons and flugelhorns to the old hit by Nelson Gonçalves; “Prece ao Vento” uses the riff from “Sunny”, a classic by Elizeth Cardoso; “Atire a Primeira Pedra” plays with Atualfo Alves for a generation enchanted with ‘Barbarella’.

Simonal and Som Três also grew in structure. Cesar debuts his electric piano and the synthesized sounds to the tone of different songs (especially “Mustang Cor de Sangue”). Sabá begins using to the electric-acoustic bass common to salsa groups. Also the “brass with mushrooms” (??) gain force here too, with the arrival of Aurino, Darcy and the singer’s brother, José Roberto Simonal, joining with the veterans Maurílio and Juarez. It is this era that saw the vertiginous sky-rocketing professional ascension of Simonal, exploding after his performance at Maracanãzinho on July 5, 1969, when the singer stole the show from Sergio Mendes and was dragged back to the stage by 30,000 fans. Soon after this show, Simonal joined up with Shell in a series of mega-events that brought him back to the sports arena, repeating the success of his first presentation.

The photo of this second show adorns the cover of Alegria! Aelgria! Vol.4. The alternative title (Homage to the Grace, Beauty, Charm and the Venom of the Brazilian Woman) comes from that which, maybe, could be the biggest hit of his career: “País Tropical,” composed by Jorge Ben and freely adapted by the singer, who cut entire passages of the lyrics, changed other parts, and through it created the expression “patropi”. Nothing seemed to conatin this great, exciting phase of Wilson Simonal.

—Ricardo Alexandre
Journalist and author of the biography “Nem Vem Que Não Tem: A Vide e o Veneno de Wilson Simonal”

Free translation by Flabbergast

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ALEGRIA, ALEGRIA VOL. 3 ou CADA UM TEM O DISCO QUE MERECE
Wilson Simonal (1969)
Released in April of 1969 as Odeon MOFB 3576

1 Silva lenheira
(Jorge Ben)
2 Mustang cor de sangue
(Paulo Sergio Valle, Marcos Valle)
3 Menininha do portão
(Nonato Buzar, Paulinho Tapajós)
4 Silêncio
(Eduardo Souto Neto, Sergio Bittencourt)
5 Prece ao vento
(Gilvan Chaves, Fernando Luiz Câmara, Alcyr Pires Vermelho)
6 What you say
(Wilson Simonal)
7 Moça
(Tibério Gaspar, Antônio Adolfo)
8 Aleluia aleluia
(Tibério Gaspar, Antônio Adolfo)
9 Mamãe eu quero
(Vicente Paiva, Jararaca)
10 Meia-volta (Ana Cristina)
(Tibério Gaspar, Antônio Adolfo)
11 Pensando em ti
(Herivelto Martins, David Nasser)
12 Atira a primeira pedra
(Ataulfo Alves, Mário Lago)
13 Mulher de malandro
(Celso Castro, Oswaldo Nunes)

BONUS TRACK
14. Se Você Pensa
(Roberto Carlos / Erasmo Carlos)

Recorded in November 1968, January and March 1969
Arrangements and orchestration, César Camargo Mariano (1-3,5,6,8-10, 12) Laércio de Freitas (13), Erlon Chaves (4,7,11).
Artistic director: Milton Mrianda
Musical director: Lyrio Panicali
Technical director: Z.J.Merky
Sound engineer: Jorge Teixeira da Rocha
Mixing and editing of the LP: Reny Rizzi Lippi
Art director: Moacyr Rocha
Photos: Studio Maitiry

Som Três: Cesar Camargo Mariano (piano), Sabá (upright bass and voice), Toninho Pinheiro (drums and voice).

Brass: Aurino (baritone sax), José Roberto SImonal (alto sax), Maurilio and Darcy (trumpets), and Juarez (tenor sax)
Electric guitar: Geraldo Vespar
Percussion: Chacau

Bonus track recorded in July and released by Odeon as since 7B 380 in August 1969.

ALEGRIA, ALEGRIA VOL. 4 ou HOMENAGEM À GRAÇA, À BELEZA, AO CHARME E AO VENENO DA MULHER BRASILEIRA

Odeon MOFB 3613 released November 1969

15 Maquilagem
(Nonato Buzar, Wilson Simonal)
16 Porque hoje é domingo
(Tibério Gaspar, Antônio Adolfo)
17 Evie
(Jimmy Webb)
18 Brasileira
(Sergio Augusto, Rubinho)
19 Olho d’água
(Nonato Buzar, Paulinho Tapajós)
20 Canção da criança
(René Bittencourt, Francisco Alves)
21 Eu fui ao Tororó
(Foclore)
22 Que maravilha
(Jorge Ben, Toquinho)
23 Uma loira
(Hervé Cordovil)
24 Quem mandou
(Sergio Bittencourt, Eduardo Souto)
25 País tropical
(Jorge Ben)
26 Adios, muchachos / Adios
(César Vedani, J.C.Sanders. E. Madrigeura)

Recorded in July, October, and November of 1969.

Arrangements, orchestration, horn charts: Cesar Camargo Mariano (15,16,18-24,25) Lyrio Panicali (17), Erlon Chaves (18,26)

Musician credits and technical credits same as Alegria Alegria Vol 3

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Reissue info:
Remastered in 24 bits and digitally edited from the original master tapes by Carlos Freitas and Jade Pereira at Classic Master, São Paulo, in February 2004.
Production and project coordination: Max de Castro and Wilson Simoninha
Reproduction of original album covers: Rogério Alonso

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One more Simonal brings us two more albums full of joy in this series. Tons of gems here, with the hard-swing accompaniment of Som Três. More songs by Jorge Ben, Antonio Adolfo & Tibério Gaspar — definitely moving into more soul territory here. There is even a cover of a rather obscure song, Evie, by Jimmy Webb (By The Time I Get To Phoenix, Wichita Lineman, and the notorious MacArthur Park). On that song Wilson’s singing in English has improved from “What You Say” (on Vol.3), which is pretty frankly awful but also charming in its awful-ness.

These four albums of ‘Alegria! Alegria!’ mark a hugely important phase in Simonal’s career and in many ways, taken as a whole, could be the centerpiece of his discography. There was a live album (show em Simonal) released in the middle of them, recorded earlier in 1967, that I may share here although frankly it is kind of for the die-hard obsessive collectors (more details later).

More ALEGRIA for the holiday seasons from Flabbergasted Vibes!

Wilson Simonal – Alegria! Alegria! Vol. 3 & 4 (1969) in 320 kbs em pee three


Wilson Simonal – Alegria! Alegria! Vol. 3 & 4 (1969) in FLAC LOSSLESS AUDIO

Complete artwork included. Composer credits are included in the ID tags, as well as restored Portuguese orthographic and diacriticals.