Dolores Duran – Canta Para Você Dançar (1957)

Dolores Duran – Canta Para Você Dançar…
1957 Copacabana CLP 11011
2010 reissue EMI 967873-2

1 Scapricciatiello
(F. Albano, P. Vento)
2 Por causa de você
(Dolores Duran, Tom Jobim)
3 Ohô-ahâ
(Kurt Feltz, Heinz Gletz)
4 Quem foi?
(Jorge Tavares, Nestor de Holanda)
5 Feiura não é nada
(Billy Blanco)
6 Que murmuren
(Ruben Fuentes, Rafael Cardenas)
7 Coisas de mulher
(Chico Baiano)
8 Viens
(G.Becaud, C.Aznavour)
9 Conceição
(Dunga, Jair Amorim)
10 Se papai fôsse eleito
(Billy Blanco)
11 Mi último fracaso
(Alfredo Gil)
12 Camelot
(Billy Blanco)
13 Only you
(A. Rand, B.Ram)
14 Estatuto de boite
(Billy Blanco)

Remastered by Luigi Hoffer and Carlos Savalla

Dolores Duran (1930-1959), not only had an unforgettable voice but also composed a lot of her best material.  A central figure in the early bossa nova scene, she succumbed to the occupational hazards of the bohemian lifestyle, dying in her sleep from a heart attack at 29 years old after an evening of music, drinking, and barbiturates.  Her lamentably short career left an solid recorded legacy but, having left this world so young, she is less celebrated outside Brazil than some of her bossa nova contemporaries who lived long enough to benefit from the global infatuation with the genre.  Here is a recording of her singing a song she co-wrote with Tom Jobim, released in 1957 on the LP featured in this post.

But Duran’s professional career reached back before the dawn of bossa to when a nightclub singer had to be able to sing a little of everything and have a broad repertoire.  That is reflected in choice of songs included here, which span foxtrots, boleros, rumbas, and of course samba.  Stylistic variation blurs into cosmopolitan sophistication too, as you realize that she sings in no less than six languages here.  In addition to her native Portuguese, she sings in Italian, Spanish, French, English, and Scat.  I don’t speak all these languages and am in no place to judge her
elocution, but as far as music is the language of love I deem Dolores to
have been more than fluent.  One fantastic track among these, which I highly recommend for your next dance party, is the French rumba number (how can you go wrong?) “Viens.”  The only English song is a rendition of The Platters “Only You.”  Here’s some side-by-side listening for you:

Oh and why the hell not, one more for good measure (sorry Ringo!):

I think Dolores’ version carries its weight quite well, and her English is lovely (although a Portuguese rewrite would have made it stand out more, and of course automatically make it more romantic, because it’s a Latin language, yo).  Apparently Duran had none other than Ella Fitzgerald in the audience at one of her performances, who complimented her version of “My Funny Valentine.” Man what heady days to have been hanging around the nightclubs of Rio.

The notes assert that the selection is culled from the most popular numbers in her repertoire, tried and tested in clubs, on the radio, at festivals, in films, and wherever else she could perform.  I believe it.  Everything here is sung with an easy confidence and charm of someone who knows her audience.  Her charm is so infectious, and her talent so seemingly effortless.  In addition to the collaboration with Jobim above, she also interprets first-rate sambas by the Titulares do Ritmo (“Coisas de Mulher”), and Dunga with Jair Amorim (“Conceição, originally recorded by Gaúcho vocal group Conjunto Farroupilha but immortalized by Cauby Peixoto a year before Dolores’ made her version).  There are two tunes penned by Billy Blanco here.  The first is “Feiura não é nada” (or “Ugliness ain’t no thang”), a satirical take on vanity, the transformative powers of the cosmetic industry, and its noble fight to eradicate world ugliness.  As far as I know the song was written specifically for Dolores to sing, which is the only way it comes off as humorous.  Blanco is brilliant but the humor in this song bugs me a little as a write this, but perhaps I am a bit tender on the topic of chauvinist, machista humor lately. Have you seen the guy in the 50’s? Here, have a look at Billy:

It may be just because there is a currently a hedgehog with a hair-weave running as a
candidate for Leader Of The Free World right now, and I’m burned out on
casual sexism, but I don’t think Billy was in any position of aesthetic or sartorial superiority.

There is very little footage of her performing live aside from some scenes in musical chanchada films, but I can imagine her commanding a room with her presence.  I also wonder about the impact of her passing on the other rising divas of the day.  As young as Dolores was, she was actually five years older than contemporaries like Maysa and Alaíde Costa and, as we know, in young person time that made her, like, way old, dude.  Was she a figure that these other singers looked up to, or were they rivals?  I suppose I will have to read Rodrigo Faour’s biography to find that out.

Like many successful Long Player collections of the day, this one had a “part two” which I just may share with you in good time.  Meanwhile, one last comparison.  Here is Cauby Peixoto, before he became the inspiration for Austin Powers, singing “Conceição”, followed by Dolores’ version.


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p/w: vibes

Wilson Simonal – Na Odeon 1961 – 1971 (2004)




WILSON SIMONAL
Wilson Simonal na Odeon 1961-1971

9 CD Boxset
Released on EMI, 2004

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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

 

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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

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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

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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

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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

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 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

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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

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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
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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

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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.

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Toquinho e Vinicius – O Poeta e o Violão (1975)

O POETA E O VIOLÃO (1975)
TOQUINHO E VINICIUS
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RGE (303.0032)

1 Tristeza
(Haroldo Lobo, Niltinho)
2 Marcha da quarta-feira de cinzas
(Carlos Lyra, Vinicius de Moraes)
3 Morena flor
(Toquinho, Vinicius de Moraes)
4 Chega de saudade
(Tom Jobim, Vinicius de Moraes)
5 Dora
(Dorival Caymmi)
6 Canto de Ossanha
(Baden Powell, Vinicius de Moraes)
7 Rosa desfolhada
(Toquinho, Vinicius de Moraes)
8 Berimbau
(Baden Powell, Vinicius de Moraes)
Consolação (Baden Powell-Vinicius de Moraes)
9 Januária
(Chico Buarque)
10 Insensatez
(Tom Jobim, Vinicius de Moraes)
11 Apelo
(Baden Powell, Vinicius de Moraes)
12 Garota de Ipanema
(Tom Jobim, Vinicius de Moraes)
13 O velho e a flor
(Bacalov, Toquinho, Vinicius de Moraes)
14 Nature Boy
(Eden, Ahbez)

Toquinho (Antônio Pecci Filho) – guitar and vocal
Vinicius de Moraes – vocal

Luis Enríquez Bacalov – piano on “O velho e a flor”

TRANSCRIPTION INFO

Vinyl -> 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. No EQ or compression.

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It’s a simple enough idea, and it works beautifully. Take these two masters, these two entities incorporating the bohemian culmination of seventeen years of the bossa nova lifestyle known as Vinicius and Toquinho, and put them in a room with nothing but a guitar and some microphones and have them play for four hours. This album plays like we are listening in on a rehearsal or a casual backstage jam session with all the tunes spun off the cuff, but if you listen carefully the sheen of spontaneity dims a little as you realize there is no way that these two — especially the old lush, Vinicius – could have nailed all these tracks so angelically in one take. On their earliest collaborations, Toquinho and Vinicius didn’t always sound this confident in their vocals and often brought in one or another chanteuse to fill the spotlight (Maria Bethania, Maria Cruesa, Miucha). The tracklist is a leisurely stroll through the bossa nova songbook, and the in-between song banter makes it sound like they are deciding on the repetoire right there on the spot. But, again, I ain’t buying it. The song choices, sequence, and arrangments are just too damn perfect – but this is a compliment and not a complaint. The only slightly false step is `Chega de saudade`, to which they add a whole lot of nothing special. Among the other song interpretations that do NOT have the name of Vinicius in the credits, is a respectable version of Chico Buarque’s “Januária”, jazz standard, Nat King Cole hit and touchstone of the bossa nova crowd “Nature Boy,” and a tune from Caymmi, “Dora.” The latter is one of Dorival Caymmi’s rare compositions that is *not* about Bahia but instead is an homage to the city of Recife. The remainder of the tunes dip into all of Vinicius’ famous writing partnerships – Tom Jobim, Carlos Lyra, and especiallY Baden Powell. Toquinho’s guitar playing may not have had the mercurial energy and vision of Powell, but he has a great sense of dynamics and a lovely voice that blends excellently with Vinicius, giving an urgency and excitement to ‘Canto de Ossanha” and “Berimbau” that do justice to everyone involved, and in the case of “Apelo” make the song particularly suited to the style of this duo.

It pays to remember that in 1975, there were not yet thousands of coffee shops, restaurants, airports and the like with some poor sap paid to sit on a stool plunking away at “Garota de Ipanema.” I sometimes feel empathy for these poor souls, unless they have decided to accompany themselves with a drum machine or sequencer, in which case I silently curse them and all of their offspring for seven generations. But I digress. Even without the official designation of this song to background restaurant dinner music (which, in fact, most likely had already occurred by 1975), there is just not a lot of room to make this song terribly interesting beyond the first, initial burst of recordings by singers and jazz-bossa combos. But Toquinho and Vinicius manage to give it a bit of a nudge back into relevance and remind us that we are, after all, listening to masters of the genre. Last but not least, the songs that Toquinho and Vinicius actually composed together are likely to lose place to their more famous brethren on this record, and there are only three selections out of fourteen songs represented here. But those three demonstrate that not only could they hold their own in the company of ‘the classics’ but that their partnership was really onto something during the first half of the 1970s. “Morena flor” featuring heavily their interwoven vocal harmonies; “Rosa desfolhada” is more of a solo vehicle for Toquinho and had heavy overtones of Chico; the penultimate track on the album “O velho e a flor” is one of the most interesting, as it also features Argentinian composer and arranger Luis Bacalov on the piano. (The casual between song banter becomes rather tongue-in-cheek here as Bacalov just *happens* to be hanging around the studio, and with a piano, to help them out…)

This album was recorded in Milan, Italy. As per the back cover:
“This album was recorded in 4 hours of studio time in Milan with the special participation of mestres Bacalov and Bardotti, in a climate of total amusement.”

16-bit 44.1 khz

 24bit

 

password: vibes

Elizeth Cardoso – A Enluarada Elizeth (1967) with Pixinguinha, Clementina de Jesus, Cartola


A ENLUARADA ELIZETH
Elizeth Cardoso (1967)
With special guests Pixinguinha, Clementina de Jesus, Cartola, and Codô
Copacabana
CLP 11509

1 Meu consolo é você
(Roberto Martins, Nássara)2 Depois de tanto amor
(Paulinho da Viola)

3 Amor e lágrimas
(Cláudio Santoro, Vinicius de Moraes)

4 Canto de Pedra Preta
(Baden Powell, Vinicius de Moraes)

5 Modinha
(Antônio C. de Brito, Hermínio Bello de Carvalho, Maurício Tapajós)

6 Carinhoso (with Pixinguinha)
(Pixinguinha, João de Barro)

7 Capoeira três (with Codô)
(Codó)

8 Isso é que é viver (with Pixinguinha)
(Hermínio Bello de Carvalho, Pixinguinha)

9 Demais
(Tom Jobim, Aloysio de Oliveira)

10 Melodia sentimental
(Lobos, Dora Vasconcelos)

11 Seleção de Sambas da Mangueira (with Clementina de Jesus and Cartola):

Fiz por você o que pude (Cartola)
Pranto de poeta (Nelson Cavaquinho-Guilherme de Brito)
Mangueira (Assis Valente-Zequinha Reis)
Mundo de zinco (Wilson Batista-Nássara)
Semente do samba (Hélio Cabral)
Lá em Mangueira (Herivelto Martins-Heitor dos Prazeres)
Onde estão os tamborins (Pedro Caetano)
Levanta, Mangueira (Luiz Antônio)
Sabiá de Mangueira (Benedito Lacerda-Eratóstenes Frazão)
Exaltação à Mangueira (Enéas Brites-Aloísio Augusto da Costa)
Praça Onze (Herivelto Martins-Grande Otelo)
Despedida de Mangueira (Benedito Lacerda-Aldo Cabral)

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Paulo Diniz – Quero Voltar pra Bahia (1970)

Photobucket

PAULO DINIZ
“Quero Voltar Pra Bahia”

1970
Odeon
MOFB 3664

1 – Piri Piri

(Odibar – Paulo Diniz)

2 – Um chope pra distrair

(Odibar – Paulo Diniz)

3 – Ninfa mulata

(Odibar – Paulo Diniz)

4 – Quero voltar pra Bahia

(Odibar – Paulo Diniz)

5 – Felicidade

(Lupicínio Rodrigues)

6 – Marginal III

(Odibar – Paulo Diniz)

7 – Chutando pedra

(Nenéo)

8 – Chega

(Odibar – Paulo Diniz)

9 – Canseira

(Odibar – Paulo Diniz)

10 – Ponha um arco-íris na sua moringa

(Odibar – Paulo Diniz)

11 – Me leva

(Nanuk)

12 – Sujeito chato

From cliquemusic

Nascido no interior de Pernambuco, foi para Recife trabalhar como crooner e baterista em casas noturnas. Foi locutor e ator de rádio e televisão, em Pernambuco e no Ceará. Em 1964 foi para o Rio de Janeiro, onde trabalhou na Rádio Tupi e passou a compor com mais freqüência. Sua primeira gravação saiu em 1966, com a música “O Chorão”. Quatro anos depois lançou dois LPs, e em seguida dedicou-se à tarefa de musicalizar poemas de língua portuguesa de autores como Carlos Drummond de Andrade (“E Agora, José?”), Gregório de Matos (“Definição do Amor”), Augusto dos Anjos (“Versos Íntimos”), Jorge de Lima (“Essa Nega Fulô”) e Manuel Bandeira (“Vou-me Embora pra Pasárgada”). Suas músicas foram gravadas por Clara Nunes, Emílio Santiago, Simone e outros. Entre seus sucessos destacam-se “Pingos de Amor”, gravado por vários intérpretes, “Canoeiro”, “Um Chopp pra Distrair”, “I Want to Go Back to Bahia” (uma homenagem a Caetano Veloso, então exilado em Londres) e “Quem Tem um Olho É Rei”, todas em parceria com Odibar.

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The first time I put this record on I thought to myself, “Groovy, man, groovy…”, and my second thought was, wow, this guy has a voice like a Brazilian Neil Diamond with a less emotive voice and more restricted range. Now, it depends on your personal taste whether or not this is a good thing, but I have a soft spot for Mr. Diamond and so kept an open mind. The album cover is much more psychedelic than anything you will hear in its contents, a visual tribute to the hit title song which was intended as an homage to then-exiled Caetano Veloso. Musically the record is in some weird plane of existance where Jovem Guarda, Tropicália, and Brazilian soul music, and harpsichord-laden baroque pop mingle and mutate. I can imagine Raul Seixas — who had yet to realize a solo album at this point — grooving out to this record. I think the main flaw in this record is that Diniz sings virtually every single tune the same way, with an overly-blown out belting that doesn’t have the nuance his own songs sometimes call for. It’s probably because of this that he is better known as the author of songs made famous by others. But this obscure little gem is rewarding for any fan of Brazilian music or early 70’s psych-inflected pop-rock. In addition to the title song, other highlights include “Felicidade” (not the bossa nova tune, but a reworking of Lupicínio Rodrigues), “Chutando Pedra”, and the gorgeous “Chega.”

Paulo Diniz – Quero Voltar pra Bahia (1970) in 320 kbs mp3

16-bit 44.1 khz

password: vibes