Marcos Valle – Previsão do Tempo (1973)

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Photobucket

PREVISÃO DO TEMPO
Marcos Valle
1973 on Odeon (SMOFB 3788)
2011 Reissue in box Marcos Valle Tudo

1 Flamengo até morrer
(Paulo Sergio Valle, Marcos Valle)
2 Nem paletó, nem gravata
(Paulo Sergio Valle, Marcos Valle)
3 Tira a mão
(Paulo Sergio Valle, Marcos Valle)
4 Mentira
(Paulo Sergio Valle, Marcos Valle)
5 Previsão do tempo
(Marcos Valle)
6 Mais do que valsa
(Paulo Sergio Valle, Marcos Valle)
7 Os ossos do barão
(Paulo Sergio Valle, Marcos Valle)
8 Não tem nada não
(Eumir Deodato, Marcos Valle, João Donato)
9 Não tem nada não
(Eumir Deodato, Marcos Valle, João Donato)
10 Samba fatal
(Paulo Sergio Valle, Marcos Valle)
11 Tiu-ba-la-quieba
(Paulo Sergio Valle, Marcos Valle)
12 De repente, moça flor
(Paulo Sergio Valle, Marcos Valle)

Marcos Valle – vocals, Fender Rhodes, acoustic guitar, orchestrations on tracks 1 & 10

with
Azymuth:
José Roberto Bertrami, Arp Strings, Hammond, synthesizers and orchestrations on 1, 6, 8, 9, 11 & 12
Alex Malheiros – bass
Ivan Conti (Mamão) – drums

Participation of O Terço on tracks 1 & 10
Sérgio Hinds – electric guitar
César das Merces – bass
Vinícius Cantuária – drumsWaltel Branco – orchestration on “Os ossos do barão”

Produced by Milton Miranda
Musical director – Lindolfo Gaya
Production Assistant – Paulo Sérgio Valle
Technical director – Z.J. Merky
Recording technicians – Nivaldo Duarte, Toninho, Dacy
Remix engineer – Jorge Teixeira

Photos – Paulo Sérgio Valle
Layout – Joel Cocchiararo

Remastered in 2011 by Ricardo Garcia at Magic Master Studio, RJ

My apologies for the long delay in getting this post up and out, but I think this album is probably worth the wait. ‘Previsão do Tempo’ (or “Weather Report” in English) is most certainly a career highlight for Marcos Valle and one of his best of the decade. Retaining some of the dreaminess of ‘Vento Sul’ (and some of the musicians from O Terço on a few tracks), whereas that album is dreamy-sedated-sprawling-spaced-out, this one is leaner, focused, funkier, but still grooving with the same bohemian vibe that permeates all that is The Brothers Valle at this point. The album opens with a musical tribute to the Flamengo football club. Kinda boring really. I find songs about sports fucking boring, sorry. But at least it gives us the tip that the tone of this album is a little ‘lighter’ than the last. Oddly enough it’s a fairly straight MPB-style samba as played by O Terço in 1973, whose other song on the album, “Samba fatal” is a hell of a lot darker and heavier. For the rest of the album Valle has Azymuth as his backing band. And it is an analog keyboard lover’s geekfest galore from this point out. Production is incredible. ‘Nem paléto nem gravatá’ is their celebration of adamant nonconformity, a hippie shout of “hell no!”, seeing as in 1973 everyone else but them were all wearing suits and ties.*

The song ‘Mentira’ teaches you the proper way to pronounce the word ‘mentira’ to a carioca. If you say it any other way, such as how the remaining 97% of Brazil pronounces the word, you will be invariably corrected by an American who has never been outside of Rio or treated like backward outside / off-worlder by a native resident of the city. Oh, and this tune was a huge hit in the European discos, as Marcos tells us in his introductory note.

They are able to follow this slab of funk with gorgeously delicate ballads like the instrumental title song, “Mais do que valsa,” and “De repente, moça flor”. While sill maintaining a texture like buttered velvet with Rhodes electric piano, analog synth gurgles, brushed drums, and blue-eyed soulsearching vocals. “Os ossos de barão”, an ode to the material world where all is for sale. And the two part “Não tem nada não” is actually just one tune with a false fade-out and an outro, but is divided here into separate tracks. Pan-Latin fusion post-bossa funk. Some of Paulo’s less interesting lyrics but I feel like he was writing more for the sound of the words and fitting them into the lockstep groove of the band than trying for profundity. The aforementioned “Samba fatal”, aptly named for its gravity, is timed well in the sequence. Not sure if these tracks with O Terço were a continuation of and/or outtakes from the Vento Sul sessions (neither Valle nor Gavin give us actual recording dates in otherwise pretty thorough info), but the two tunes with them do not sound to my ears like throw aways. Most likely they were recorded after they had been touring together and Marcos had a few songs he’d been working on during rehearsals. Its ominous minor-chord changes, organ, and fuzzy-braincell guitar (mixed just perfectly in the right channel) compliments some of Paulo’s best lyrics on the album.

*irony

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Marcos Valle – Vento Sul (1972) with O Terço

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“Vento Sul”
Marcos Valle
with O Terço

Released 1972 on Odeon SMOFB 3725
Reissued 2011 in the boxset Marcos valle Tudo

1 Revolução orgânica
(Paulo Sergio Valle, Marcos Valle)
2 Malena
(Paulo Sergio Valle, Marcos Valle)
3 Pista 02
(Paulo Sergio Valle, Marcos Valle)
4 Vôo cego
(Cláudio Guimarães)
5 Bôdas de sangue
(Marcos Valle)
6 Democústico
(Paulo Sergio Valle, Marcos Valle)
7 Vento Sul
(Paulo Sergio Valle, Marcos Valle)
8 Rosto barbado
(Paulo Sergio Valle, Marcos Valle)
9 Mi hermoza
(Paulo Sergio Valle, Marcos Valle)
10 Paisagem de Mariana
(Frederyko)
11 Deixa o mundo e o sol entrar
(Paulo Sergio Valle, Marcos Valle)BONUS TRACK
12. O beato

Marcos Valle – vocals, piano
Ian Guest- orchestration and arrangements on `Bodas de sangue`
Hugo Bellard – orchestration and arrangements on `Deixa o mundo e o sol entrar`

O Terço:
Sérgio Hinds – electric guitar and coro
Vinícius Cantuária – drums, second vocal on ‘Revolução orgânica’, coro
César das Mercês – bass, and coro

Cláudio Guimarães – electric guitar
Fredera – electric guitar on ‘Pasagem de Mariana’
Robertinho Silva – drums, percussion
Paulo Guimarães – flute

Produced by Milton Miranda
Musical director – Lindolfo Gaya

———————-

“Vento Sul, from 1972, is an album very different from the earlier records – I experienced a lot in terms of rhythms, harmonies, melodies, arrangements and instrumentation. O Terço, one of the best bands of the era, accompanied me in all this and we recorded it all together. I also counted on the collaboration of Fredera, Robertinho Silva and the talented twins Cláudio and Paulo Guimarães (they were also part of the band in our shows). The bonus track here is a verion I did for Odeon of “O beato”, a song that was part of the soundtrack for the novela ‘Selva de Pedre.’

I consider this album a very experimental one: it was practically created in a modest fisherman’s house that we rented in Búzios, in a communitarian spirit. It marked my ‘hippie’ era…
– Marcos Valle, liner note / blurb

So here were are (finally) with the next installment as the Brothers Valle continue their trend of changing the approach to songwriting and recording and continued to make ingenious decisions regarding their musicians and production choices. This album features the band O Terço as part of the backing band, which unfortunately for Brazilians of a certain age will be associated with wanky overblown progressive rock from the mid-70s. But in their early days they were much more psychedelic, and I make no apologies for my own soft spot for early 70s prog. And on this album O Terço sounds more like the earliest O Terço than O Terço actually did by 1972 — the dreamy, acoustic haze from when Jorge Amiden was in the band (see the ‘Karma’ album also posted here). Also in the musician credits are stalwarts like Robertinho on the drums and Paulo Guimarães on flute

The marriage is a happy one. The album was recorded in Búzios, which was practically a hippie commune that received famous visitors like Joplin and Mick Jagger in the years leading up to this album, before it blew up into an overpriced tourist trap. It is the first album since 1963’s “Samba Demais” to feature songs that were not written by at least one of the Valle brothers. The collective creative process on this album is evident by how smoothly tunes like “Vôo cego” by Cláudio Guimarães and “Paisagem de Mariana” (Frederyko) fit in with the Valle’s tunes. In fact “Vôo cego” (or ‘Blind Flight’ in English) is one of my favorite songs on the album. It is followed by a beautiful instrumental tunes, ‘Bodas de sangue’, that was arranged by Ian Guest, someone I don’t know much about other than the fact that he also has album credits on Donato’s “Quem é quem” and on some Milton Banana Trio albums; and that, contrary to his very English-sounding name, he was in fact Brazilian and an important figure in jazz circles and taught quite a few students a music professor. The song is followed up by the quirky, somewhat experimental, somewhat silly ‘Democústico’, where you’ll hear an agogô played in an afoxê rhythm balanced against squiggly wah-wah guitar lines.

The lysergic textures of this record can hypnotize the unwary, so do not listen to this while operating heavy machinery. The title song “Vento sul” has an open, meandering, incompleteness to it that is equally charming and beguiling. Reflective lyrics dealing with the identity politics of alternative lifestyles in the tune ‘Rosto barbado’ give way to playfully schizoid moodshifts in ‘Mi hermoza’, which alternates between open acoustic strumming and big aural spaces to a chugging midsection that is about as hard-rocking as the Valles are likely to get. Sounds as much or more like an O Terço song than the tunes here actually written by O Terço members, in fact. It is followed by “Paisagem de Mariana”, a song that fits flows nicely in its surroundings and which bears a pretty heavy stylistic similarity to any number of Milton Nascimento/Ronaldo Bastos/Fernando Brandt compositions between 1970 – 72. “Deixa o mundo e o sol entrar” is a another gorgeous tune anchored in acoustic guitars with careful piano, occasional drums, and a meandering melody line that is as warm as the song’s title. It is a perfect finale for this masterpiece-in-miniature. For this reissue, I actually wish they had included a minute of blank audio / silence at the end in which to collect our wits. Not that “O beato” doesn’t fit with the rest of this — oddly enough, for a telenovela track, it is as equally hazy and tripped out as anything else on this disc. But the original album has a kind of poetic closure to it with “Deixa o mundo” that gets a bit lost when followed immediately by another song.

Since it is sandwiched in Valle’s discography between two giant albums, ‘Garra’ and ‘Previsão do Tempo’, it seems like `Vento Sul` may have gotten overlooked to some degree. At least one of my Brazilian friends who is old enough to have been alive when this album was released (unlike myself), and who is also more of an O Terço fan that I am, was completely unaware of it until I passed along this reissue to him. And as much as I personally love this album, it lacks any obvious hit singles or even anything that jumps out as particularly “catchy”, which could turn off listeners who are particularly enamored with the Valle Brothers’ pop sensibilities. Even though it has ‘big names’ attached to it, this album FEELS obscure, with repeated listenings never quite diminishing the sense that we are privy to some aural hidden treasure and secret between friends. These are qualities that should put it high up on the list of favorites for anyone into ‘cult’ favorite psychedelic Brazilian music from the late 60s and 70s. Marcos, in his blurb (too short to be called liner notes, really) seems to insinuate that this album is kind of an exception or even diversion in his discography, an experimental side-trip. It may be that, but it is also an exploration and perhaps a deepening of some of the aural territory he had already been traversing in the previous two albums. The next album, `Previsão do Tempo’, marks a return to more structured compositions, soul and funk influences, and songs that are easier to sing along to when you play them loudly. But don’t shrug off this album – it deserves a careful listen, with or without additional chemical enhancement.

Back cover liner notes, free translation (as in loose, as well as the fact that I don’t charge for this…)

I’m in the middle of the album. Five songs are already recorded. I’m certain that they are going to be some of the best things I’ve ever done. As good or better than “Samba Demais” (my first album) or “Viola Enluarda.”

The songs on this album were made with much care and tranquility, and I sincerely think that it’s been a long, long time since I’ve done anything that pleases me so much. I’ll say the same for the lyrics by Paulo Sérgio. We’re giving you the full picture of what we’ve recently been sketching out in our music. Nothing rushed, no worries about commercialism.

Paulo Sérgio came up with the idea to form a group. We formed one. It was a wonderful idea.

Sérgio, VInicius, Cézar, Frederico, Paulo e Cláudio (twins), Robertinho e Maurício Maestro. Musicians and people of the highest caliber.

We are working like eight arrangers. Every day we get together to hang out and talk and the ideas for each song keep coming. And the result couldn’t be better, I think; we all think so.

The album cover is from Juarez Macho, logically. Renato is responsible for the production and I can say that he also is part of the group, because he’s collaborating like a motherfucker with us on this album.

We are lucky to have the recording technicians are Zilmar and Nivaldo. Milton Miranda is the Director of Production, and is also one of the most sensational people I’ve ever known.

It’s all there.

– Marcos

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