Bezerra da Silva – O Samba Malandro de Bezerra da Silva (2005)

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O Samba Malando de Bezerra da Silva
4-CD Boxset
Released 2005 Sony-BMG/RCA (82876691992)

Disc 1 – Eu Sou Favela

1 Eu Sou Favela See All 5
2 Se Nao Fosse a Ajuda da Rapaziada
3 Saudacao As Favelas
4 Produto Do Morro
5 Candidato Cao Cao
6 Partideiro Sem No Na Garganta
7 E Esse ai que E O Homem
8 Quando O Morcego Doar Sangue
9 Vitimas da Sociedade
10 Pena de Morte
11 Vida de Operario
12 Assombracao de Barraco
13 Violencia Gera Violencia
14 Compositores de Verdade

Disc 2 – Malando É Malandro, Mané É Mané

1 Malandro Rife
2 Defunto Caguete
3 Bicho Feroz
4 Os Federais Estao Te Filmando
5 E O Bicho E O Bicho
6 Grampeado Com Muita Moral
7 No Hora da Dura
8 Defunto Grampeado
9 As 40 Dps
10 Fofoqueiro E a Imagem Do Cao
11 Meu Bom Juiz
12 Eu Nao Sou Santo
13 Preconceito de Cor
14 Ela Cagueta Com O Dedao Do Pe

Disc 3 – Cocada Preta e Branca no Terreiro

1 Malandragem Da Um Tempo
2 Sao Murungar
3 Semente
4 Pai Veio 171
5 Nunca VI Ninguem Dar Dois Em Nada
6 O Preto E O Branco
7 Nariz de Bronze
8 Vovo Tira-Tira
9 Garrafada Do Norte
10 Ze Fofinho de Ogum
11 Arruda de Guine
12 Cabeca Pra Vovo
13 Overdose de Cocada
14 Se Leonardo Da Vinte

Disc 4 – Cornos, Piranhas, Sogras, Pastores e OUtros Manés
1 Sequestraram Minha Sogra
2 Na Aba
3 Viuva de Seis
4 Necessidade
5 Quem USA Antena E Televisao
6 Minha Sogra Parece Sapatao
7 Vizinha Faladeira
8 Pode Acreditar Em Mim
9 Vou Lhe Dar Uma Colher
10 Sai Encosto
11 Pastor Trambiqueiro
12 Foi O Dr. Delegado Que Disse
13 Lugar Macabro
14 Os Tres Pagodeiros Do Rio

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I have a crapload of Bezerra da Silva on vinyl, including his albums with Os Partideiros 10, and there is no question his stuff sounds better on wax. But since some people see fit to bitch and whine about the sound of the vinyl rips here, I am not really inspired to do many more of them. Which is a shame, because I have hours and hours of vinyl transfers waiting to be edited. Too bad. Apparently people don’t realize that when they only show up to leave comments to complain about something, that this demotivates bloggers from doing what they do. I suggest to those people that they start their own blogs and see how all that works. Ah, but alas, this would presume you have something interesting to contribute and aren’t just a humanoid leech, a hungry mouth who is never satisfied. The sense of entitlement of people on the internet these days… it’s enough to make a person just say fuck it, why bother? So, this will be my last post for a while. I’m not going to write much either, not as much as this music deserves. Hardly anyone actually reads the write-ups anyway and now a few cyber-pricks have managed to sap my enthusiasm for this shindig. And don’t even think this is only about the comments that get published — The dozens every week that are just endless repetitive requests for favors from people I’ve never heard from before, or requests for re-ups from people who can’t be bothered to even say ‘hey thanks for the post.’ Those people get a big Fuck You. I don’t publish your “comments” because there is no point. And resending them every week isn’t going to get them published. They will be ignored, indefinitely. Currently, 98 unpublished comments on this blog. See, I don’t even have time to DELETE the stuff these people write to me.

Carnival is almost here. I had a bunch of posts I had planned in commemoration of carnival. Too bad for you I guess. I’ll be listening to my records at home or with friends.

For the cool people who regularly stop by the blog and have something interesting to say — thanks, you folks make a huge difference, more than you probably realize.

Bezerra da Silva, while he began his recording career singing coco in the style of Jackson do Pandeiro until he gained more recognition as a sambista with Os Partideiros 10, he really didn’t hit the big time until he was nearly 50 years when he began releasing his samba albums for RCA-Victor and incorporated the archtype of the “malandro” into his stage persona. The figure of the malandro is an ubiquitous part of Brazilian folklore and culture – someone who survives on his street-smarts and wits while managing to avoid hard work as much as possible; a slick hustler anti-hero and trickster-figure; a figure that is both reviled and admired by people who play by society’s rules. Bezerra took on this identity like no other sambista, and was able to engage with the gritty realities of urban life with a characteristic humor and biting dark humor. He could level astute critiques about societal ills like violence in the slums, corrupt police officers and judges, and also weave comical yarns about smoking pot or any number of songs dealing with mother-in-law humor.. (One of my favorite tunes here is ‘Minha sogra parece sapatão’)

The boxset has a wonderful graphic design and layout and a nice informative and insightful essay from music critic Rodrigo Faour. The four discs are arranged thematically, grouped based on lyrical content, rather than chronologically, making this a fun listen even for people who own his individual albums.

I wish I had time to translate the wonderful essay in the booklet from Rodrigo Faour. All in all this is a wonderful little package, and priced very economically. You should go out and buy it, and then track down all the individual releases on vinyl.

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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

Os Originais do Samba (1969)


1969
RCA Victor
BBL 1475
2004 Reissue
RCA Victor Essential Classics1 Cadê Tereza
(Jorge Ben)
2 O rapaz do violão
(Dida)
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).

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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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O Fundo de Quintal – O Samba É no Fundo do Quintal (1980)

Fundo de Quintal
“Samba é no Fundo de Quintal”
Released 1980 on RGE

1 Você quer voltar
(Gelcy do Cavaco, Pedrinho da Flor)
2 Sou Flamengo, Cacique e Mangueira
(Luiz Carlos)
3 Prazer da Serrinha
(Rubens da Silva, Hélio dos Santos)
4 Olha a intimidade
(Diogo, Almir Baixinho)
5 Volta da sorte
(Luverci Ernesto, Almir)
6 Marido da madame
(Luiz Carlos, Beto Sem Braço)
7 Bate na viola
(Everaldo da Viola, Dida)
8 Gamação danada
(Flor, Almir, Neguinho da Beija)
9 Lá no morro
(Dona Fia, Marujo, Almir Baixinho)
10 Bar da esquina
(Jotabê, Jorge Aragão)
11 Voltar a paz
(Sereno do Cacique)
12 Zé da Ralé
(Diogo, Almir Baixinho)

“To my cherished public I say this: buy this album, that brings us a demonstration of the most authentic samba. As a sambista, friend, and godmother, I sign below.
-Beth Cavalho
Rio, September 5, 1980

Beth Carvalho, the reigning Queen of Samba Pagode, was not kidding around about these guys with her ‘blessing’ as godmother. Fundo de Quintal formed the backing band on some of her memorable albums from the late 70s and early 80s. And this, their first album on their own, is a classic record from classic purveyors of samba. Two of Fundo de Quintal’s luminaries — Jorge Aragão and Almir Guenito — would go their own ways for successful solo careers, but the heavyweights like Arlindo Cruz and Valter Sete Cordas would step in to fill the void. It is unfortunate that these days “pagode” has come to be a word commonly associated with an awful, saccharine, glossed-up pop-samba sung by boy-band-lookalikes. That stuff has nothing at all in common except a word with the original progenitors of “samba-pagode” like Fundo de Quintal, so if your palette has been spoiled by the former, do yourself a favor and give this disc a spin.

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O Fundo do Quintal – O Samba É no Fundo de Quintal (1980) in 320kbs mp3

O Fundo do Quintal – O Samba É no Fundo de Quintal (1980) in FLAC LOSSLESS AUDIO