By request, and to toast the arrival of new readers, here is a repost from Wilson Simonal. Fixed links and all the rest. Just remember to check the comments, the legend Carlos Imperial left us something important!
See the original post HERE
p.s. I promise there will be new blog posts soon. I’ve been insanely busy for the last few months.
WILSON SIMONAL
Wilson Simonal na Odeon 1961-1971
9 CD Boxset
Released on EMI, 2004
Disc 1 – Tem Algo Mais and A Nova Dimensão do Samba (1963-64)
1- TUDO DE VOCÊ
2- AMANHECENDO
3- TELEFONE
4- SAUDADE
5- SAMBA CROMATICO
6- MENINA FLOR
7- LAGRIMA FLOR
8- BALANCO ZONA SUL
9- MENINO TRISTE
10- MEU COMPORTAMENTO
11- SAMBA E VERBO
12- MANHA NO POSTO SEIS
13- NANA
14- MAIS VALIA NAO CHORAR
15- LOBO BOBO
16- SO SAUDADE
17- ELA DIZ QUE ESTOU POR FORA
18- SAMBA DE NEGRO
19- JEITO BOM DE SOFRER
20- ELA VAI, ELA VEM
21- RAPAZ DE BEM
22- INUTIL PAISAGEM
23- CONSOLACAO
24- NANA
25- MAIS VALIA NAO CHORAR
Disc 2 – Simonal and S’imbora (1965)
1- GAROTA MODERNA
2- SELECAO DE SAMBA DE ARY BARROSO
3- SO TINHA DE SER COM VOCÊ
4- MARINA
5- MESTICO
6- AS MOCAS DO MEU TEMPO
7- RIO DO MEU AMOR
8- OPINIAO
9- JUCA BOBAO
10- CHUVA
11- DUVIDO DIVIDIR
12- BRUXARIA
13- MANGANGA
14- FICA MAL COM DEUS
15- SONHO DE CARNAVAL
16- SAMBA DO CARIOCA
17- DUAS CONTAS
18- SE TODOS FOSSEM IGUAIS A VOCÊ
19- LADEIRA DO PELOURINHO
20- BALANCO ZONA SUL
21- NOS DOIS
22- O APITO NO SAMBA
23- O TEU AMANHA
24- LENDA
25- LADEIRA DO PELOURINHO
DISC 3 – Vou Deixa Cair and Tempos De Pilantragem (1966-67)
1- VENTO DE MAIO
2- MEU LIMAO MEU LIMOEIRO
3- O CARANGO
4- MINHA NAMORADA
5- SEM VOCÊ EU NAO VIVO
6- ENXUGUE OS OLHOS
7- MARIA
8- A FORMIGA E O ELEFANTE
9- MAMAE PASSOU ACUCAR EM MIM
10- FRANQUEZA
11- TEM DO
12- SAMBA DO MUG
13- SE VOCÊ GOSTOU
14- A BANDA
15- DISPARADA
16- QUEM SAMBA FICA
17- MASCARA NEGRA
18- TRIBUTO A MARTIN LUTHER KING
19- DEIXA QUEM QUISER FALAR
20- ELA E DEMAIS
21- BALADA DO VIETNAM
22- O MILAGRE
DISC 4 – Show Em Simonal (1967)
1- BARRA LIMPA
2- RODA
3- THE SHADOW OF YOUR SMILE
4- CANTIGA BRAVA
5- ESTRELA PRINCIPAL
6- ROCINHA ESTUPIDA (SOMETHING STUPID)
7- CONSOLACAO
8- O MORRO NAO TEM VEZ
9- O QUE FACO P´RA ESQUECER
10- PEGUEI UM ITA NO NORTE
11- UN HOMME ET UNE FEMME
12- NEM VEM QUE NAO TEM
13- MEXIRICO DA CANDINHA
14- QUEM TE VIU QUEM TE VE
15- CONSELHO
16- ARUEIRA
17- MEU LIMAO MEU LIMOEIRO
18- TRIBUTO A MARTIN LUTHER KING
19- ESTA CHEGANDO A HORA
DISC 5 – Alegria, Alegria Volumes 1 and 2 (1967-68)
1- OS ESCRAVOS DE JO
2- AGORA E CINZA
3- VESTI AZUL
4- AOS PES DA CRUZ
5- BELINHA
6- PRA QUE ?
7- NEM VEM QUE NAO TEM
8- FIM DE SEMANA EM PAQUETA
9- PARA PEDRO
10- ESTA CHEGANDO A HORA
11- REMELEXO
12- DISCUSSAO
13- ALEGRIA, ALEGRIA
14- PATA PATA
15- SA MARINA
16- CAE CAE
17- MANIAS
18- RECRUTA BIRUTA
19- NESTE MESMO LUGAR
20- ZAZUEIRA
21- NAO TENHO LAGRIMAS
22- DE COMO UM GAROTO APAIXONADO PERDOOU POR CAUSA DE UM DOS MANDAMENTOS
23- CARTAO DE VISITA
24- PARAÍBA
25- GOSTO TANTO DE VOCÊ
26- VAMOS S’IMBORA
27- NAMORADINHA DE UM AMIGO MEU
DISC 6 – Alegria, Alegria Volumes 3 and 4 (1969)
1- SILVIA LENHEIRA
2- MUSTANG COR DE SANGUE
3- MENININHA DO PORTAO
4- SILÊNCIO
5- PRECE AO VENTO
6- WHAT YOU SAY
7- MOCA
8- ALELUIA, ALELUIA
9- MAMAE EU QUERO
10- MEIA-VOLTA (ANA CRISTINA)
11- PENSANDO EM TI
12- ATIRA A PRIMEIRA PEDRA
13- MULHER DE MALANDRO
14- SE VOCÊ PENSA
15- MAQUILAGEM
16- PORQUE HOJE E DOMINGO
17- EVIE
18- BRASILEIRA
19- OLHO D’AGUA
20- CANCAO DA CRIANCA
21- EU FUI NO TORORO
22- QUE MARAVILHA
23- UMA LOIRA
24- QUEM MANDOU
25- PAÍS TROPICAL
26- ADIOS, MUCHACHO v
—————–
DISC 7 – Simonal and Jóia (1970-71)
1- SEM ESSA
2- DESTINO E DESATINO DE SEVERINO NONÔ NA CIDADE DE SAO SEBASTIAO DO RIO DE JANEIRO ( OH YEAH! )
3- COMIGO E ASSIM
4- O MUNDO IGUAL DE CADA UM
5- SISTEMA NERVOSO
6- NA BAIXA DO SAPATEIRO
7- MORO NO FIM DA RUA
8- DEIXA O MUNDO E O SOL ENTRAR
9- AI VOCE COMECA A CHORAR
10- NAO TEM SOLUCAO
11- NA TONGA DA MIRONGA DO KABULETÊ
12- OURICO
13- AFRICA, AFRICA
14- DE NOITE NA CAMA
15- GEMEDEIRA
16- IMPOSSIVEL ACREDITAR QUE PERDI VOCE
17- TRISTEZA
18- TUDO E MAGNÍFICO
19- LAMPIAO EM PROSA E VERSO
20- GAROA DIFERENTE
21- VOCÊ ABUSOU
22- NA GALHA DO CAJUEIRO
23- FOTOGRAFIA
DISCs 8 and 9 – Singles, lados B e raridies (Singles, B-sides, and rarities)
1- TEREZINHA
2- BIKINIS E BORBOLETAS
3- EU TE AMO
4- BEIJA MEU BEM
5- TEM QUE BALANCAR
6- OLHOU PRA MIM
7- ESTA NASCENDO UM SAMBA
8- GAROTA LEGAL (You Must Have Been A Beautiful Baby)
9- FALE DE SAMBA QUE EU VOU
10- WALK RIGHT IN
11- SO DANCO SAMBA
12- NAO PODE SER
13- EU SOU MAIS EU
14- DE MANHA
15- DAS ROSAS
16- CUIDADO CANTOR
17- TA POR FORA
18- MAMAE PASSOU ACUCAR EM MIM
19- MAMAE PASSOU ACUCAR EM MIM ( Versao em Espanhol inedita )
20- A PRACA
21- SAMBA DO CRIOULO DOIDO
22- A ROSA DA RODA
——————————————
1- TEREZINHA DE JESUS
2- A SAUDADE MATA A GENTE
3- CORRENTEZA
4- PAÍS TROPICAL
5- ECCO IL TIPO CHE IO CERCAVO
6- NO CLARAO DA LUA CHEIA
7- AS MENININHAS DO LEBLON
8- KIKI
9- EU SONHEI QUE TU ESTAVAS TAO LINDA
10- AQUI E O PAÍS DO FUTEBOL 11- HINO DO FESTIVAL INTERNACIONAL DA CANCAO
12- CANCAO Nº21
13- QUE CADA UM CUMPRA COM O SEU DEVER
14- RESPOSTA
15- BRASIL EU FICO
16- OBRIGADO PELE
17- O XOTE DAS MENINAS
18- MADALENA
19- A NOITE DO MEU BEM
========================================
208 songs
Nearly-complete artwork (booklet will not scan)
Composer credits embedded in ID tags
Correct Portuguese orthographic characters in ID tags
This box is out of print
========================================
So a few days ago, stuck in a mire of holiday malaise, I considered closing this blog completely. Five years is a long time to keep one of these things going, even though I don’t update it as often as I would like. I took it offline temporarily, and the only way to do that was to “restrict” access to blog authors, but the settings here made it look like it became an invitation-only place. Don’t worry, you were not excluded from the club, it was just a party of one.
I reconsidered. Thanks to M. for being reasonable when I couldn’t manage it, and to the handful of people who sent messages. They were much appreciated.
To make up for the brief lapse in judgment, I am sharing this behemoth of a boxset. I have contemplated doing to many, many times, but always felt this massive burden of having to write some insightful and elegiac homage to Simonal and so I never felt up to the task. This is in addition to feeling like I had to write reviews of every album here. The guy was putting out two records a year for a ten-year span, so excuse me if this write-up consists only of saying “Hey this is really good and you should check it out.” Simonal had been one of Brazil’s most popular singers before some unfortunate altercations with his accountant and/or the military government put him on the wrong side of history for a few decades. A documentary film about his career as well as this boxset – both mostly spearheaded by his sons – managed to reset the scales of justice a little. The guy was a force of nature, with a croony swagger that could evoke casino show-biz performances, chilling on the beach, or cruising in your favorite fashionable low-mileage automobile. This is the part of the write-up where I could just start dropping names to emphasize how important he was, so why not just get right to it – Carlos Imperial, Elis Regina, Som Três and César Camargo Mariano, Orlandivo, Stockhausen, Jorge Ben … Mug.
I am not even going to try and start singling stuff out, because some internaut hipster will inevitably come along and leave comments to the effect of “I can’t believe you didn’t mention X, Y, or Z, which is so obviously the best thing here yadda yadda”, like some people did for the Marcos Valle posts I did a few years ago. And then I would start thinking about closing the blog again. So to hell with it, it’s Christmas, you got this stuffed in your stocking and if that’s not enough then I can insert a piece of coal in your orifice of choice.
This is a lot of music. It will take anyone a while to digest it. One of these days I might start posting some needledrops of individual records, as I have mono pressings of some of these that sound quite different – in those days, a stereo hi-fi was basically a piece of furniture with speakers built in, so stereo panning tended to be quite dramatic by today’s standards. I think the mono mixes have a little more UMPH in many cases. So whenever I get around to that, I will give more individualized comments on these records.
Did I mention this is filled with rarities? Almost every disc has some bonus tracks, and then the final 2-CD set is entirely comprised of – you guessed it! – singles, B-sides, and rarities. In some cases this means we get versions of the same song in Portuguese, Spanish, and Italian but who cares.
TOBOGÃ
SOM Três
1970 EMI Music 541831 2
Reissue 2002, ‘100 Anos de Odeon’
supervised by Charles Gavin
1 Lola (Lamartine Babo)
2 Irmãos coragem (Nonato Buzar, Paulinho Tapajós)
3 Bajar no México (César Camargo Mariano)
4 Eu já tenho você (Sabá, César Camargo Mariano)
5 Eu só posso assim (Pingarrilho, Marcos Vasconcelos)
6 O telefone tocou novamente (Jorge Ben)
7 Oh happy day (Edwin R. Hawkins)
8 Tobogã (César Camargo Mariano)
9 Mulher brasileira (Jorge Ben)
10 A volta da maçã (Toninho, Sabá, César Camargo Mariano)
In the years between Som 3’s first album and this, their last (as Som Três), the trio had been racking up quite a bit of famous credentials. They had been accompanying the likes of Chico Buarque, MPB-4, and Beth Carvalho at the important music festivals (they recorded with Beth on her first single, ‘Andança’). They had also become Wilson Simonal’s regular backing band, and even toured with him in 1970 in Mexico when the World Cup took place there. Simonal’s influence is in full force by the time of this LP, ‘Tobogã.’ Much like the amusement-park ride named after the winter-regions sled from which the takes its title, it eschews seriousness in favor of fun, variation, and surprises. But it also as spotty as a geriatric’s hands, as spotty as a teenager’s face, as spotty as a woman at that time of the month, as… I must stop myself now before my reputation is utterly ruined. But my tackiness is matched by that of this album itself. Blogosphere mimesis.
Without a charismatic singer like Simonal to lead the group in this direction, this album has so many weak points that I find it difficult to make it through from start to finish unless I relegate it to the background, a practice I am not fond of. The campy first cut, “Lola”, is a tune from famed composer of valsas, marchinhas, and football hymns Lamartine Bobo, whose own sense of humor is perhaps honored by the ‘whacky’ arrangement featuring gargling and silly voices, but personally I find it unlistenable even though the song turns tail and runs out in 30 seconds of very-believable salsa/descarga. If the song is a joke I suppose you just had to be there, but to me it is an awfully odd choice to open an album. Thankfully in the second track, ‘Irmãos coragem’, the trio redeem themselves with what is easily the most space-age and psychedelic track here. Opening and closing with judicious use of tape-delay on piano, organ, and electronics, the instrumental tune is driven by César’s organ and the playing of an uncredited percussionist on conga. The tune was also the theme for a successful telenovela at the time. The next track, ‘Bajar no México’, is perfect for painting your skin with day-glow and go-go dancing in a cage. “Eu já tenho você” is another unfortunate vocal number, and one of two cuts on the album to feature Toni Tornado who merely yelps and screams like a parody of James Brown, but also sings the bridge. (Some have said it is Gerson King Combo guesting on this album, which is a logical assumption given that he sang with Simonal’s band, but I have my doubts and will stick with my statement that I believe it to be Tornado). Maybe I need to lighten up and takes things less seriously, but I find this song pretty awful — although it ends up sticking in my head against my will. “O telefone tocou novamente” capitalizes on Jorge Ben’s success but ends up delivering a luke-warm and uninspired cover version. Again, it’s the unremarkable vocals that ruin this one for me — had the tune been a strickly instrumental cover version, I would probably like it a lot more, because Som Três were fantastic musicians. “Oh Happy Day” is the big surprise of the album. Originally recorded by the Edwin Hawkins Singers, this gospel tune went on to be an international hit recorded by artists as diverse from Aretha Franklin to Glen Campbell and Joan Baez at the time, and Som Três delivers a soulful, funky version that abandons any attempt at vocals except for the chorus of ‘Oh Happy Day’ dominated by female voices. It is triumphant, sweet, and worth the price of admission on this otherwise uneven album. The spell of enchantment is quickly interrupted, though, with another day-glow 60s soul number, Tobogã, which again features Tornado (or Gerson?) grunting, yelping and screaming like James Brown in a way that is hard to appreciate as anything but kitsch in retrospect. I suppose you could argue that it was important for breaking out of the straight-jacket of cultural nationalism in Brazilian music, but mostly its just silly. Another Jorge Ben tune, “Mulher Brasileira” is a hundred times more successful than “O telefone tocou..”, because it benefits from the soul-jazz cool vibe that Som Três was expert at creating. The low-key vocals even fit nicely on this one. The album closes with yet another throw-away piece of musical comedy, “A volta de maça.”
So while this album has its moments, only about half of its ten songs are particularly noteworthy, relegating the album to a footnote in the careers of everyone involved and perhaps a curiosity for the Simonal completists. It was probably a good place for Som Três to call it quits, in any case. Not exactly “quit while you are ahead” so much as “quit before you slide any lower down into mediocrity.” Perhaps that is the hidden symbolism of the album cover, the band slipping and sliding their way into musical obscurity…
Other listeners may react completely diffently to this album. Feel free to leave your opinions in the comments section. I like comments. Makes me feel like people actually READ the blog, you know?
in FLAC LOSSLESS AWDIO
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
————————————————-
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
————————
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
————————
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.
Luiz Eça y La Familia Sagrada
Recorded 1970*
Released on Discos AVV SA (Mexico) – AVV-1136, 1978
My friend 
in Italy is setting me up with a bunch of music on one of my favorite labels, VampiSoul. This one is the first of the bunch I will share with you, and it is really an amazing delight for the ears. One of the biggest aural surprises I have had in a long time was putting this album on and thinking, how the HELL did this go unreleased for 8 years — and to all appearances has never seen an official release in Brazil itself.
Luiz Eça, the innovative pianist behind the Tamba Trio (and later the Tamba 4), explores more pop territory on this album, with only one of his own compositions making an appearance. Classic tunes from Milton Nascimento and Fernando Brandt, an original interpretation of the oft-covered ‘Pais Tropical’ from Jorge Ben features Wilson Simonal belting it out, several songs from my favorite freak Antônio Adolfo, and even a Roberto Carlos tune. The song ‘Yemele’ (by Luis Carlos Vinhas and Chico Feitoso, mispelled on the CD jacket), had been recorded in a very funky version by Maria Bethania a year or two earlier and may have been an inspiration for this reading.
Sr. Eça has help from a HUGE ensemble of amazing musicians. Check this out:
Wow you can possibly go wrong with this? Also it seems that Nelson Angelo, Joyce, and Nana Vasconcelos had a habit of working on albums that never got released in their day.
If you enjoy this album even a fraction as much as I do, I think it will improve your day considerably.
* According to VampiSoul this was recorded in Brazil, but I question this. Most if not all of the musicians participating on this album were hiding out in Mexico after the military counter-revolution issued constitutional act AI-5 and things got *really* bad. In fact the person responsible for the eventual release of the album, Rogelio Villareal, ran a hotel chain at which tons of bossa nova and MPB starts took refuge and performed regularly. As it seems rather unlikely to me that a huge group of musicians like this would go back to the dictatorship to record this album, all signs point to it being recorded in Mexico itself.
—————————————————————-
Luiz Eça y La Familia Sagrada – Onda Nova do Brasil (1970) in 320 em pee three
Luiz Eça y La Familia Sagrada – Onda Nova do Brasil (1970) in FLAC LOSSLESS AUDIO
This is a fantastic compilation to get you familiar with Wilson Simonal’s musical legacy. Other than the song featured on the well-known Samba Soul compilation (Não vem que não tem), most of his body of work has been underappreciated and mostly unknown outside of Brazil since his ‘fall from grace.’ His discography is vast and somewhat confusing, with only a small portion of it making it to CD. There is a tragic story behind why Simonal, at one time the most popular singer in Brazil, is so seldom talked about today, in spite of his importance to MPB and especially to Brazilian soul. The film for which this is the soundtrack tells that story. I have yet to see it, as sadly it only played in one theatre where I live and it was clear on the other side of the city. But you can check out the trailer on YouTube here.
Also the bio from allbrazilianmusic says a little about it.
The Rio de Janeiro native started his career singing calypsos and rock songs. From ball to ball, he was discovered by songwriter Carlos Imperial, who invited Simonal to perform on his TV show. His first single was the cha-cha-cha “Teresinha” (Imperial). From club to club, he ended up in Beco das Garrafas, the bossa nova temple. In 1963, Simonal released his first LP, which featured the hit track “Balanço Zona Sul” (Tito Madi). After touring South and Central America with the group Bossa Três, he put out the bossa nova album “A Nova Dimensão do Samba” (hit tracks: “Nanã” and “Lobo Bobo”). In 1966 and 67, he hosted the TV show Show em Si Monal. His career would peak soon, with hits like “País Tropical”, “Mamãe Passou Açúcar em Mim”, “Meu Limão, Meu Limoeiro” and “Sá Marina”, originating a style full of swing, known as Pilantragem (something like rascally). The downward spiral started in 1972, when he was accused of having hired cops to beat up his accountant, who had supposedly stolen money from Simonal – during the hearings, a police officer revealed that Simonal collaborated with the militaries (and against so-called communist artists). With this charge upon him, Simonal faced a long ostracism period that lasted until 1994, when the compilation “A Bossa de Wilson Simonal” was released.
One look at the track list below and you can see that along with original material, Simonal was recording memorable versions of tunes penned by Gilberto Gil, Antonio Adolfo, Moacir Santos, Tito Madi, and especially Jorge Ben. One can only hope that this new film will help spur a resurgence of interest and a more thorough reissuing of Wilson Simonal’s recorded legacy.
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