Nara Leão, Chico Buarque, Maria Bethania – Quando o Carnaval Chegar (1972)

nara chico

Nara Leão, Chico Buarque, and Maria Bethania
“Quando o Carnaval Chegar”
Original film soundtrack
released in 1972
This pressing Universal/Mercury 04228264112

1 Mambembe (Instrumental)
(Chico Buarque)

2 Baioque (Chico Buarque)
Interpretação: Maria Bethânia

3 Caçada (Chico Buarque)
Interpretação: Chico Buarque

4 Mais uma estrela

(Bonfiglio de Oliveira – Herivelto Martins)
Interpretação: Nara Leão

5 Quando o carnaval chegar (Chico Buarque)
Interpretação: Chico Buarque

6 Minha embaixada chegou (Assis Valente)
Interpretação: Maria Bethânia / Nara Leão

7 Soneto (Instrumental)
(Chico Buarque)

8 Mambembe (Chico Buarque)
Interpretação: Chico Buarque

9 Soneto (Chico Buarque)
Interpretação: Nara Leão

10 Partido alto
(Chico Buarque)
Interpretação: MPB-4

11 Bom conselho (Chico Buarque)
Interpretação: Maria Bethânia

12 Frevo (Tom Jobim – Vinicius de Moraes)
Interpretação: Chico Buarque

13 Formosa
(J.Rui – Nássara)
Interpretação: Maria Bethânia / Nara Leão

14 Cantores de rádio (Alberto Ribeiro – João de Barro – Lamartine Babo)
Interpretação: Chico Buarque / Maria Bethânia / Nara Leão

Film Credits

Ficha Técnica:
Título Original: Quando o Carnaval Chegar
Gênero: Musical
Duração: 98 min.
Lançamento (Brasil): 1972
Distribuição: Livio Bruni
Direção: Cacá Diegues
Roteiro: Cacá Diegues, Hugo Carvana e Chico Buarque
Produção: Cacá Diegues, Zelito Viana e Mapa Filmes
Música: Chico Buarque
Fotografia: Dib Lutfi
Figurino: Fernando Bede
Edição: Eduardo Escorel

Elenco:
Chico Buarque de Hollanda (Paulo)
Nara Leão (Mimi)
Maria Bethânia (Rosa)
Hugo Carvana (Lourival)
Antonio Pitanga (Cuíca)
Ana Maria Magalhães (Virgínia)
José Lewgoy (Anjo)
Elke Maravilha
Wilson Grey
Luiz Alves
Odete Lara
Vera Manhães
Scarlet Moon
Joaquim Mota
Zeni Pereira
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I don’t know much about this film, or the involvement of Nara, Chico, and Maria in it. I do know that Nara Leão was married to Carlos Diegues during this time. They all acted it in, and there were appearances by other notables like Odette Lara. Chico is credited with helping out on the script (he’s a renowned novelist too at this point, for those who don’t know). In fact this is essentially a Chico Buarque record. It contains other material released elsewhere. Particularly noteworthy is the unbelievably catchy “Partido Alto” which is the stand-out track for me, the one that sticks in your memory. Performed by the group MPB-4, it was in fact written by Buarque.

I did, however, find this synopsis of the film:
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O empresário de um grupo de cantores sem sucesso, lhes consegue um contrato para que se apresentem em homenagem a um rei que chegará à cidade para o Carnaval. Discussões internas, romances inesperados e defecções impedem que o espetáculo se realize. Mas os artistas voltam a se juntar, apresentando-se em shows mambembes.

Flabber translation:

The manager of a group of unsuccessful singers secures a contract for them to present a show in homage to a king when he arrives to the city for Carnaval. Internal debates, unexpected romances, dissent and defections impede the realization of the show. But the artists come together and join as one, and put on spectacular minstrel shows.

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Hmmm…. Haven’t seen this film, but it sounds like it belongs to a long tradition of films with great soundtracks (Superfly, The Harder They Come, Shaft, any Quinten Tarantino film): the music is the high point, and perhaps the only reason to see it.. I could be wrong though, maybe someone who has seen it can correct me. But one thing is certain, it seems like they were having a good time on the set…

Meet Chico Buarque, international man of letters…
chico dude

*Flabbergasted Vibes does not condone the use of illicit mind-altering substances.

Nara, Chico, and Maria – Quando o Carnaval Chegar (1972) in 320kbs

Nara, Chico and Maria – Quando o Carnaval Chegar (1972) in FLAC LOSSLESS AUDIO

senha / pass in comments

Paulinho da Viola – 2 for 1 (1971)

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Record #1 called Paulinho da Viola released in 1971

01 – Perder e ganhar
02 – Sol e pedra
03 – Dona Santina e Seu Antenor
04 – Para um amor no Recife
05 – Mal de amor
06 – Depois da vida
07 – Moemá Morenou
08 – Oculos Escuros
09 – Cuidado, teu orgulho te mata
10 – Lenço
11 – O acaso não tem pressa
12 – Um certo dia para 21

Paulinho da Viola – Vocals, guitar, cavaquinho
Flute and Clarinet: Copinha
Rhythm and percussion: Elton Medeiros, Marçal and OScar
Drums: Elizeu, Juquinha
Bass: Dininho
Trombone: Norato
cornet: Maurilio

Produced by Milton Miranda
Musical director and orchestrator: Lindolfo Gaya
Technical director: Z.J. Merky
Recording technicians: Jorge and Nivaldo

Cover photo: Geraldo Guimarães

Record #2 called Paulinho da Viola released in 1971….

13 – Num samba curto
14 – Pressentimento
15 – Para ver as meninas
16 – Nas ondas da noite
17 – Filosofia do samba
18 – Consumir e viver
19 – Lapa em três tempos – Abre a janela
20 – Coraçao
21 – Minha vez de sorrir
22 – Reclamação
23 – Abracando Chico Soares
24 – Vinhos finos… cristais

Paulinho da Viola, 1971 #2
Musicians uncredited but probably much the same as #1, except who played te harpsichord!!
Produced by Milton Miranda
Musical director: Lyrio Panicali
Arrangements and orchestration: Maestro Gaya
Technical Director: Z.J. Merky
Recording engineers: Jorge ann Nivaldo

Cover photo: Marisa Alves de Lima

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I’ve been wavering back and forth on whether to share this here. Not because of the music – these two records are absolute classics, no problems there! But I do not know who mastered these 2-for-1 Paulinho pressings, and to my ears this is definitely NOT the work of Peter Mew at Abbey Road, who gave such a loving treatment to Paulinho’s catalog in the mid 90s as well as others like Milton Nascimento’s classic records (the good ones..) and non-Brazilian but personal favorite Kevin Ayers. Although music freaks and audiophiles are prone to disagreement over remasters, I find Peter Mew’s work to be some of the best out there, very gentle, maintaining dynamic range, and doing very LITTLE to the original recording. To my ears this 2-for-1, while it doesn’t sound terrible, sounds harsher and more compressed than Mew’s work in general and his work with Paulinho in particular. The careful listener will notice some distortion and modulation in places, and that is a sure sign of an assembly-line style rush job. So, I have been meaning to replace this disc with the individual releases. But not knowing who did the mastering for certain on THIS pressing has kept me from doing that — whoever it is, they are not credited.

BUT — as many of you are now probably saying to yourself, for @#$%’s sake its the music that matters, right? But of course. Even Charles Gavin couldn’t mess up these records (although I’m sure he would give it his best shot). Two records released in 1971 showing Paulinho at the height of his powers, still young and drinking at the font of the Portela samba school. “Pelo Amor em Recife” is one of his best-known compositions; I was lucky enough to hear him perform it IN Recife (well, Olinda actually, but they’re literally connected to each other). With other classics like “Mal de amor” and “Oculos escuros,” there is not a dull moment on this album. “Moemá morenou” is another classic, a samba-de-roda penned with his friend and frequent partner Elton Madeiros. This whole record is more of a classic, straight-up samba recording, and to speak more of production – everything is clear as a bell, especially Paulinho’s voice which is like crystal but does not dominate the balance, rather sitting nicely just barely on top of the instrumentation.

The next album from 1971 is a bit more of an elaborate affair. Immediately you know you are in different territory when you hear the chiming notes of a harpsichord tinkling your samba. Even if you detest harpsichord (I have heard of such people, although I do not quite understand hating an entire instrument), you have to credit Paulinho for a characteristically modest innovation and expansion of his sonic palette. A lot of this record has some post-bossa nova ensemble arrangements that make the record perhaps more “modern”-sounding than his release from earlier in the year, although hinted at on that record with the track “Cuidade, teu orgulho te mata” (Be careful, your pride will kill you…) . “Para ver as meninas” is yet another amazing samba-canção ballad, with what appear to be castinettes in the right channel yet are more likely to be somebody playing a box of matches (samba is excellent at improvising anything around your house into a percussion instrument) and — yet again — harpsichord in the left channel playing modal variations on the melody. This song was, unfortunately, covered by over-rated chanteuse Marisa Monte, but don’t let that keep you away. It is a great song. “Filosofia do samba” is a very famous composition by Candeia (another Portela luminary) and here Paulinho gives it a more than worthy interpretation, perhaps the best version committed to tape. “Consumir e viver” sees Paulinho moving into Samba-Rock territory, something of a rarity to hear him approaching a song with a swinging backbeat worthy of any Jorge Ben (that is Jorge Ben from the mid-1960s; by 1973 Ben had moved on to making amazing records with esoteric lyrics about alchemists and aliens..). “Reclamação” also works the same ground, although a bit more on a heavy bossa nova tip. The material on this second album is on the whole not as strong and memorable as the first, but then that is sort of an unfair comparison — this first album from 1971 is one of the high points of his entire career. one strange thing I noticed, even if you start this disc at track 13 (where the 2nd of the two begins), by the end of it you may find yourself with listening fatigue. Again, this is a direct consequence of the mastering, and further evidence that it was not Peter Mew’s work… I’ll get to the bottom of this mystery yet!

Jackson do Pandeiro – Sua Majestade, O Rei do Ritmo (1960)

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Jackson do Pandeiro
“Sua Majestade – O Rei do Ritmo”
Copacabana records, 1960

1 Forró em Caruaru (Ze Dantas)

2 Cabo Tenório (Rosil Cavalcanti)

3 O canto da ema (João doVale – Alventino Cavalcanti – Ayres Vianna)

4 Sebastiana (Rosil Cavalcanti)

5 Cremilda (Edgar Ferreira)

6 Coco de improviso (Alventino Cavalcanti – Edson Menezes – Jackson do Pandeiro)

7 Xote de Copacabana (José Gomes)

8 A mulher do Anibal (N. de Paula – Genival Macêdo)

9 Um a um (Edgar Ferreira)

10 Coco social (Rosil Cavalcanti)

11 Falsa patroa (Geraldo Jacques – Isaías de Freitas)

12 O crime não compensa (Eleno Clemente – Genival Macêdo)

This long-player, which by all appearances seems to be a collection of the many singles put out by Jackson do Pandeiro in the decade or so before 1960, quite a few of them on 78s. Save Chiclete com Banana, most of his biggest hits are here, and it’s an incredibly fun listen. It is also one of the only releases from him you will find on CD besides a few anthologies. This is at least partly do the fact that Jackson recorded for at least four or five different labels during his career, and a lot of his output was in the form of singles. Hopefully someday there will be a boxset deserving of this huge figure in Brazilian music. Along with Luiz Gonzaga, he is a master of the genre of forró, but also known for his interpretations of ‘samba de coco’ — traditionally a type of samba found in the sertão or backlands of Pernambuco and Paraíba, accompanied by hand-claps and group call and response singing, but reinvented by Jackson into an ensemble setting. The guy just oozed musicality out of his pores. The style of syncopation he injected into his music is credited with transforming Brazilian music, changing the way musicians and composers were rhythmically approaching their material. I can believe it.

Whereas, Luiz Gonzaga – the undisputed king of the baião ballad and sort of the ambassador of forró “pé de serra” style – was in a way more of a curator of the rich, musical and cultural heritage of the northeast (my opinion, feel free to dispute it), Jackson do Pandeiro was forging new sounds and textures, or as the music-writers’ cliché would have it, “pushing the boundaries” of the genre(s). This is not meant to be a dig against Luiz Gonzaga: I adore him and his musical legacy, but there is a real way in which that legacy has become almost a stand-in for the culture itself, and Gonzaga was deliberately “reinventing tradition” to promote a previously devalorized part of the country. But Jackson, man, Jackson do Pandeiro was as ‘modern’ as any bossa nova, as charismatic and tempestous a stage presence as any rocker. Even if he wasn’t jumping around the stage, his performances would leap off of it and into your consciousness.
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Why does Almira look so scared and horrified?
I’ll tell you.
It’s because Jackson do Pandeiro was an unstoppable rhythm machine. And, he was dancing right next to her.

Here is a bio of Jackson do Pandeiro from cliquemusic, translated by yours truly for your enjoyment:

BIO from CLIQUEMUSIC, translated by Flabbergast

Born in the interior of Paraíba, his first wish was to play the accordion. But since that instrument was very expensive, his parents gave him a pandeiro (tambourine). His mother was a singer of coco, and played the zabumba and ganzá. At 13 years-old he moved with his family to Campina Grande, where he worked at odd jobs and began to pay attention to the singers of coco and the guitar-playing minstrals at the open markets and fairs. It was in this city where his first stage name emerged, Jack, influenced by North American Westerns that he would watch at the cinema. In the 1940s he moved on to João Pessoa, where he played in cabares and on radio stations. Much later he went to Recife, Pernambuco, and it was there at the Rádio Jornal do Comércio that he definitively adopted the name Jackson do Pandeiro. In 1953 he recorded his first hits: “Sebastiana” (Rosil Cavalcanti) and “Forró em Limoeiro” (Edgar Ferreira). Three years later he married Almira, who would become his partner during performances. In the same year they moved to Rio de Janeiro, and Jackson was contracted by Rádio Nacional, where he was a popular and critical success for his way of singing baiões, cocos, rojões, sambas, and marchinhas of carnaval. His influence is felt still today in artists that have rerecorded songs that Jackson made famous, like “O Canto de Ema,” recorded by Lenine (*Flabber note: much better version recorded by Gilberto Gil on Expresso 2222… But I don’t like Lenine at all, he makes me cringe..), “Na Base de Chinela,” by Elba Ramalho,” “Lágrima” by Chico Buarque, or “Um a Um” pelos Paralamas do Sucesso.** An inspired composer and instrumentalist of rare talent, he popularized other classics of Northeastern music, like “Chiclete com Banana” (Gordurinha/Almira Castilho), “Xote de Copacabana” (José Gomes), “17 na Corrente” (Edgar Ferreira / Manoel Firmino Alvez), “Como Tem Zé na Paraíba” (Manezinho Araújo / Catulo de Paula), “Cantiga do Sapo”, “A Mulher do Aníbal”, “Ele Disse” (Edgar Ferreira) and “Forró em Caruaru” (Zé Dantas). In 1998 he was the honored figure at the 11th Prêmio Sharp de Música (Flabber note: I don’t know what this event is…)

** Flabber note: A glaring omission from this list by cliquemusic — “Sebastiana” was recorded by Gal Costa on her 1968 album, and its one of the wildest renditions of anything associated with Jackson do Pandeiro.

*** An even more glaring omission is Gilberto Gil’s version of CHICLETE COM BANANA, which is still performed by him frequently. Along with O Canto de Ema recorded by Gil on Expresso 2222, these songs were my first exposure to Jackson.

**** Flabber note: This brief bio also does not mention that Jackson became involved with the same religous sect, Cultural Racional, that had Tim Maia recording his wonderfully looney masterpiece(s) of funk in 1975. The album of Jackson’s where the Racional philosophy gets reflected most is titled “Alegria Minha Gente” from 1978 and as far as I know has never received a CD release.
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HAVE A LOOK AND A LISTEN!!!

SEBASTIANA – A fantastic song, also great for practicing your vowel sounds (and sometimes epsilon)

CHICLETE COM BANANA

This clip of “Chiclete Com Banana” is a rather odd piece compiled by someone wanting to make a statement about the Americanization of Brazilian culture, splicing in old footage of films and carnaval and cartoons. It may or my not have something to do with cineaste Jose Nelson, I don’t know, I can’t figure it out.. I like it though. And keep an eye out for a George Bush playing percussion!

Clip of a documentary made by TV Cultura — sign the petition to get this shown in full!

And more — A Globo documentary (using some clips from the TV Cultura one, incidentally), just the first bit

Nelson Sargento – Sonho de um Sambista (1979)

The first album on his own from Nelson Sargento, sambista of the Mangueira samba school (and sometimes Portela) is an excellent addition to any Brazilian music collection!

Faixas:

1. Triângulo Amoroso
2. Falso Moralista
3. Agoniza Mas Não Morre
4. A Noite se Repete
5. Muito Tempo Depois
6. Minha Vez de Sorrir
7. Sonho de um Sambista
8. Infra Estrutura
9. Primavera
10. Por Deus Por Favor
11. Falso Amor Sincero
12. Lei do Cão

Biography
He moved to the Mangueira hill as a child, and there he met Cartola and Nelson Cavaquinho, with whom he learned to play the guitar. The nickname “Sargento” (Sergeant) came up when he was in the Army. He joined Mangueira’s composers group by the hand of Carlos Cachaça, and wrote sambas-enredo (theme-sambas) for the school during the 1950s, such as “Cântico à Natureza” (with Jamelão/Alfredo Português), from 1955. In the 60s, he became a regular at the bar Zicartola, where he met other samba artists and musicians. Nelson became a member of the group A Voz do Morro, recording the emblematic album “Roda de Samba 2”. His greatest hit, “Agoniza Mas Não Morre”, was released in 1978 by Beth Carvalho and turned into an anthem of the samba culture in Rio. Other hits are: “Idioma Esquisito”, “Falso Amor Sincero”, “Vai Dizer a Ela” (with Carlos Marreta), “Nas Asas da Canção” (with Dona Ivone Lara). In the 90s, he made albums in Japan which included previously unreleased Cartola songs. Sargento was the subject of the awarded documentary “Nelson Sargento” (by Estêvão Pantoja). Nelson is also a writer – having published two books -, an actor and a naïf painter.
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from Sacudinben blog

Só o nome do álbum já chama atenção e aguça a curiosidade pra ser ouvido, a expectativa de que tem coisa boa aí nos leva a correr até o aparelho mais próximo na ânsia de confirmar a suspeita. Basta o primeiro acorde. De fato têm coisas muito boas aí.

Primeiro disco solo do sambista, compositor, ator e artísta plástico carioca Nelson Sargento lançado em 1979. O repertório é composto por verdadeiras preciosidades, diamantes em forma de samba. Ao todo são 12 faixas, é desse álbum o clássico “Agoniza, mas não morre” uma espécie de hino de resistência do samba, coisa finíssima. O álbum é excelente de cabo a rabo, outras que são interessantíssimas: “Falso Moralista” que se não me engano foi gravada por Paulinho Da Viola, “A Noite Se Repete” poesia pura, singela ao extremo, “Infra Estrutura” que Nelson diz ter sido o primeiro a usar tal palavra num samba rsrsrsrs e “Falso Amor Sincero” samba realmente genial.

Acho que é isso…

“…Samba, agoniza mas não morre, alguém sempre te socorre, antes do suspiro derradeiro…

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Includes full artwork at 600 dpi and all the rest

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password: vibes

Paulinho da Viola – Foi um rio que passou a minha vida (1970)

PAULINHO DA VIOLA – Foi um rio que passou em minha vida
1970 (EMI 852504 2 )

1. para não contraria você ( paulinho da viola )
2. o meu pecado ( zé keti )
3. estou marcado ( paulinho da viola )
4. lamentação ( mauro duarte )
5. mesmo sem alegria ( paulinho da viola )
6. foi um rio que passou em minha vida ( paulinho da viola )
7. tudo se transformou ( paulinho da viola )
8. nada de novo ( paulinho da viola )
9. jurar com lágrimas ( paulinho da viola )
10. papo furado ( paulinho da viola )
11. não quero vocé assim ( paulinho da viola )
faixas bônus ( cd )
12. sinal fechado ( paulinho da viola )
13. ruas que sonhei ( paulinho da viola )

This is a fabulous record, with everything you would expect and nothing less from the inimitable Paulinho da Viola. Great musicianship, flawless songwriting, Paulinho’s voice (like butter!). It starts with a song, it ends with another song, it has highlights, it has a cool album cover, it is recorded really well, it is mastered by the masterful mastering engineer Pete Mayhew at Abbey Road, ba ba ba ba yadda yadda yadda, you get the idea.

What I REALLY wanted to write about was one of the bonus tracks on here, ‘Sinal Fechado’, released as a single.

I thought about providing a straight translation of it, but it would be hard to do it justice in any language but its own. The lyrics are simple, really, with scant repetition, arranged as a dialogue between two people in alternating lines. The idea is beautifully simple – two former lovers who have not seen each other in ages, running into each other on the street at the same corner. One of them (let’s say, a man – it’s never specified) is about to cross the street, and they have only a moment to talk before the traffic light changes. He apologies for not having more time to converse, “Forgive me, but hurry is the soul of our times…” [literally, ‘business’] The other implores him not to worry about it, she too has to run. When will you give me a call? We need to catch up. Next week I promise, maybe, we’ll see each other. Who knows? It’s been a long time… Yes, it has been a long time.
“I had so many things to say, but I disappeared in the dust of the streets.”
“I too had much something to say, but the memory hid from me.”
Please, call me, I need to
Drink something, quickly.
Next week….
The signal…
I’ll look for you…
It’s going to change, it’s going to open…
Promise, don’t forget, don’t forget…
Goodbye

As it’s presented this way, this is a stirring vignette of romance and estrangement, love and distance. The lyrics play off the halting arpregiated and rather dissonant chords of Paulinho’s guitar that run through the song, punctuated only briefly by syncopated chords more familiar to samba and bossa nova. The string arrangements accent the tension, weaving a second melody that feels like a third voice in the dialog, the unspoken subtext. Extremely powerful, the song manages to feel both stark and warm at the same time. It terms of structure and execution, it’s quite different from Paulinho’s usual styles of writing, creating the suspicion that this is more than just another melancholic love song among many. The entire piece also works as a metonym for the feelings of Brazilians held under the heel of the military dictatorship (which grew considerably more oppressive in the same time Paulinho was writing this song, after the passing of Institutional Act No.5 that decimated political rights and civil liberties). Looked at from that perspective, everything becomes multivalent and laced with double-meaning. This was a technique used by many Brazilian songwriters – Chico Buarque most famously – to evade the censorship to which all popular music at the time was being subjected. A certain grim satisfaction was attained by fooling the authorities, a joke at their expense in a way – and if any questions or doubts were raised by the censorship board, the composer could simply respond, “It’s a love song, that’s all.” Throughout the seventies, songwriters adopted this as a deliberate technique – however I am not sure if that’s what Paulinho da Viola was doing here. In many ways it’s a tired and academic question, to look for the ‘hidden meaning’ of a work of art. Part of the magical quality of so many varieties of song is the refusal to spell things out, to assign hard and fast correspondences to word, tone, context, hard facts… I am not interested in robbing the composer or the listener of that magic. But I think it’s safe to say that many listeners in 1970 heard this song with ears informed by the political and social oppression that was becoming more and more part of daily life. The song was covered a few years later by Chico Buarque on the record “Meus Caros Amigos,” and later by Elis Regina on “Tranvsersal do Tempo” as part of a show that was rife with this shuttling back and forth between the emotions of interpersonal relations and political realities. They are not, after all, discrete phenomenon. People loved and lost and married and had children all the while that people were being “disappeared” in Brazil, in Chile, in Argentina… Just as the unjust war in Iraq has affected so many lives for six years and counting, or the inexcusable massacres in Gaza leave scars on our eyes. People move on and live their lives and find ways to nourish their spirit, attempting dignity no matter how ignoble the situation, putting energy into their families, their work, their art. “Hurry is the soul of our times,” indeed, but songs as perfect as ‘Sinal Fechado’ make you stop, and listen.

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Vinicius & Odette Lara (1963)

All compositions by Baden Powell & Vinicius de Moraes
Arrangements by Moacir Santos

1. Berimbau
2. Só Por Amor
3. Deixa
4. Seja Feliz
5. Mulher Carioca
6. Samba Em Prelúdio
7. Labareda
8. E Hoje Só
9. O Astronauta
10. Deve Ser Amor
11. Samba da Bênção
12. Além Do Amor

Credits: Arranged By, Conductor – Moacir Santos
Liner Notes – Ruy Castro
Artwork By [Cover] – Cesar G. Villela
Artwork By [Original Covers Courtasy] – Caetano Rodriguez
Other [Lyrics Research] – Luiza Reis
Other [Tape Archives] – William Tardelli
Photography – Francisco Pereira
Producer [Assistant] – José Delphino Filho
Producer [Manager] – Peter Keller
Producer [Production Director] – Aloysio De Oliveira
Recorded By [Recording Engineer] – Norman Sternberg
Remastered By [Restored & Adapated From Original Lps] – Cilene Affonso
Remastered By, Edited By – Carlos Freitas , Jade Pereira
Vocals – Odette Lara (tracks: 2 to 8, 10 to 12) , Vinicius De Moraes (tracks: 1, 3, 5 to 7, 9 to 11)
Written-By – Baden Powell , Vinicius De Moraes
Notes: Recorded in 1963 at studio Rio Som S.A.
Originally released on the brazilian Elenco Label, 1963.
Remastered and edited at Classic Master, São Paulo in July/August, 2003.

THIS ALBUM can be a little uneven at times but it very much worth having. It has been sitting on my fileserver so long that people were starting to find it and DL even though there were no links to it anywhere, so it’s about time I made a post!!!