Ataulfo Alves – A Você – Volume 2 (1936-1962)

A VOCÊ – ATAULFO ALVES VOL. 2
Ataulfo Alves
1996 Revivendo RVCD 112
1 A você – 1937, Carlos Galhardo
(Aldo Cabral, Ataulfo Alves)
2 É um que a gente tem – 1941, Carmen Miranda
(Torres Homem, Ataulfo Alves)
3 No meu sertão – 1937, Augusto Calheiros
(Ataulfo Alves)
4 Ela sempre ela – 1950, Ataulfo Alves
(César Brasil, Ataulfo Alves)
5 Infidelidade – 1948, Déo
(Américo Seixas, Ataulfo Alves)
6 Geme negro – 1946, Ataulfo Alves
(Sinval Silva, Ataulfo Alves)
7 Eu não sou daqui – 1941, Aracy de Almeida
(Ataulfo Alves, Wilson Batista)
8 Sinto-me bem – 1941, Nelson Gonçalves
(Ataulfo Alves)
9 Ironia – 1938, Odete Amaral
(M. Nielsen, Bide, Ataulfo Alves)
10 Reminiscências – 1939, Carlos Galhardo
(Ataulfo Alves)
11 Lá na quebrada do monte – 1941, Ataulfo Alves
(F. Martins, Ataulfo Alves)
12 Vai, mas vai mesmo – 1958, Nora Ney
(Ataulfo Alves)
13 Mania da falecida – 1939, Cyro Monteiro
(Ataulfo Alves, Wilson Batista)
14 Positivamente não – 1940, Aracy de Almeida
(Marino Pinto, Ataulfo Alves)
15 Mal de raiz – 1951, Déo
(Américo Seixas, Ataulfo Alves)
16 Pela Luz Divina – 1945, Ataulfo Alves
(Mário Travassos, Ataulfo Alves)
17 Saudade dela – 1936, Sylvio Caldas
(Ataulfo Alves)
18 Na cadência do samba – 1962, Jorge Veiga
(Paulo Gesta, Ataulfo Alves)
19 Talento não tem idade – 1952, Ataulfo Alves
(Ataulfo Alves)
20 Arrasta o pé moçada – 1951, Carlos Galhardo
(Maria Elisa, Ataulfo Alves)
21 Errei… erramos – 1938, Orlando Silva
(Ataulfo Alves)
 
Recordings originally released on Odeon, Star, Continental, Victor, RCA Victor, and Todamérica labels

 

Meus companheiros do samba
Do samba bem brasileiro
Ouçam o lamento de um triste
Que tem na alma um pandeiro
O samba foi lá em casa
E disse a mim soluçando
Tiraram tudo de belo que eu tinha
Pediu socorro chorando
Onde andarão os valores
Daqueles tempos de outrora
Seus lindos versos de amores
Que até hoje o povo chora
Voltem de novo que é grande a saudade
Talento não tem idade

So all hell has broken loose in Brazil since the last time I made a blog post of Brazilian music.  I’m not even going to touch it today – if you want to read about it English, there are some good sources out there (but mostly mediocre ones).  Otherwise, poor yourself a glass of something – wine, whiskey, milk, the blood of the workers, orange juice, I don’t really care – and prepare to enjoy some great music.

A long time ago, in a galaxy next door, I posted the first of these two Ataulfo Alves collections from the Revivendo label and, naturally, implied strongly that the second one would be soon to come.  If you’ve been following this blog for a while you should know better than to believe such silver-tongued assurances.  Like the fortune teller told me once, it is my destiny to let people down.

One of my favorite blog readers, Valladão, commented on the first installment that he honestly didn’t expect to enjoy the CD too much because of the age of the recordings, but instead found himself loving it.  That struck me as an interesting comment because I suppose it is a natural enough bias no matter where you come from.  Even though as a teenager I spent countless hours borrowing old jazz and blues records from the public library, I think  a few decades would pass before I could appreciate pre-war American jazz and blues beyond a detached, almost academic interest and begin to hear it in a more personal way.  Perhaps in a similar way, the extremely dense and layered bedrock of Brazilian popular music can sometimes goes unacknowledged by music fans, regardless of nationality.  You know it is there under your feet, supporting the present and making possible so many of the things in life that you appreciate, but it remains unexamined, taken for granted.  Well, I was delighted to hear that Valladão was turned on to one of his country’s great samba composers because of an innocuous blog post here.  I also think there is something extremely “modern” or at least forward-thinking about Ataulfo Alves’ compositions that keeps them sounding fresh (although he is definitely not alone in that regard).  He churned out a dazzling variety of material, performing chameleon-feats of tailored stylizations, until it is difficult to comprehend how the same person could have written everything represented in this and other collections.  There are threads that tie them together, but I will leave that to the musicologists to explain in depth while I simply marvel at the work, deliberately dumbfounded.  If I could meet Ataulfo today, or summon his spirit to ask detailed and nuanced questions about his life and career, I would probably just end up asking him: “Are you a wizard?”

This collection features so many different artists who recorded Ataulfo’s compositions that it becomes kind of impossible to properly present the disc without writing a post that would exceed the patience of most readers.  The scant liner notes from Revivendo are kind of disappointing in that regard as well.  Suffice it to say that all of the artists collected here have their own squares in the quilt of Brazil’s “Golden Age” of samba.  I like these Ataulfo collections so much that I’ve included several tracks in various podcasts over the years: in fact, two on this disc (the Carmen Miranda and Jorge Veiga cuts) appeared on my first ever genre-specific podcast from February, dedicated to samba.  I’ll just single out a couple below that tickle my eardrums.

The wonderful Odete Amaral performs the carnival hit “Ironia.”  Odete put in a lot of time on sessions as a backup singer, appearing on many great recordings by Francisco Alves and Mario Reis and others from the Golden Age.  She married Ciro Monteiro, who also appears on this collection more than once.  Thirty years after this recording, incidentally, she would appear on the historic “Fala, Mangueira” album alongside Nelson Cavaquinho, Cartola, and Clementina de Jesus.

Many of Ataulfo’s compositions show a strong influence of choro or chorinho, like Infidelidade sung by Déo.  Is that Pixinguinha and Abel Ferreira I hear playing? Strains of that inspiration are heard on a great deal of the instrumental ornamentation woven throughout this material like filigree.  Listen to the flute flourishes dancing around Aracy de Almeida singing “Eu Não Sou Daquí” and Nelson Gonçalves on “Sinto-me Bem.”  Later on, Déo is featured again and gets downright jazzy as he croons over some punchy blasts of horns that wouldn’t sound out of place on a big band record.  The popularity of Latin dance band styles like mambo is evident throughout this collection as well.

My first exposure to Nora Ney was an early 70s record for which Vinicius de Moraes wrote the liner notes.  At the time, not being familiar with her classic material, I was left indifferent.  The track “Vai, vai mesmo” from 1958 has a wicked kind of edge to it, a deliciously cool “get out of my life” break-up tune.  It was also a carnival hit.  Also, it has a tuba bass line.

I mentioned in the post for the first volume how Ataulfo is that rare specimen for the era who was both a composer widely-recorded by the top singers of the day, and a first-class performer of his own material at the same time with a successful singing career.  He shares that accomplishment with Noel Rosa and some others, but the trajectory of composers like Ismael Silva or Cartola, who came back as performers in another subsequent wave of music, seems to be more common.

Although there are the exact same number (5) by Ataulfo himself on both volumes, for some reason these didn’t jump out as me as much. Or perhaps they just fit in better with the rest of the material?  The influence of jazz once again bleeds all of “Ela, Sempre Ela.”  Then there is a kind of seresta waltz with a country or caipira vibe, “Lá No Quebrada Do Monte.”  I was considering featuring a clip of “Pela Luz Divina” because it’s awesome, but this post is getting rather thick with YouTube clips and I want to chose just one more track.  The aforementioned Jorge Viega puts in a memorable rendition of the much-recorded “Na Cadência Do Samba” from 1962, the “newest” track on this disc.  This is a trademark tune for Ataulfo, and the liner notes state that Viega’s recording might be the first but they’re not really sure, because several versions were released almost simultaneously. You can hear Viega’s version tucked into that podcast I mentioned, so let’s feature an Ataulfo performance from this disc (which happens to have a similar melody in the refrain),  “Talento Não Tem Idade,” where he is backed by Guio de Moraes e Seu Conjunto, kind of a Brazilian Pérez Prado.  This recording features an electric guitar on it, a decade before certain purists would start claiming that electricity was killing samba, as well as a full drum kit swinging the beat with panache.  But there is no doubt the song is 100% samba. The drummer plays a floor-tom fill halfway through the song that bangs out the rhythm where the surdo drum would be, which kicks the song into another level of intensity, slowing down slightly for the ending so that you aren’t left too disappointed that the it’s over.  The notes observe that the recording had no impact on the public via chart success, but I imagine musicians and composers of the upcoming generation playing this one on the Victrola and having their mind’s blown.  The sub-genres of jazz-samba (and samba-jazz) were really still nascent, developing phenomena when this record was made in 1952.  This was guy was so nonchalantly on the cutting edge of his musical times, he was the definition of “cool.”

The disc winds down with a marchinha sung by Carlos Galhardo, “Arraste O Pé, Moçada”, and a grand finale from Orlando Silva in “Errei, Erramos” (1938), arranged by Radamés Gnattali, in which Silva seems to be channeling Carmen Miranda in his phrasing.   Oh, I almost forgot to mention: the Carmen song featured here, “É um que a gente tem” (1941), is one of the songs she recorded to respond to her critics that lambasted her after her return from living and working in the US. They accused her of having become Americanized, her concert appearances were panned, and she quickly turned around and went back to the US to stay, but not before recording a handful of killer sambas fighting back at her attackers.  The most of famous of these had the rather forthright title of “Disseram que eu voltei americanizada” (They said I came back Americanized).  The Odeon sat on this recording here and didn’t release it until the scandal had passed, when they were scraping the vault for any more Carmen material.

Not a bad song here, folks.  Compilations like this one represent the best that the Revivendo label have to offer, so listen up.

 

  mp3 icon  flac button

password: vibes

Flabberform Focus No.1: Samba

A new atomic era of podcasts dedicated to particular styles and genre of music is being kicked off with a spontaneous homage to the endless wellspring of musical energy known as samba.  I hope you enjoy it, and with any luck I’ll make more of these. Saravá!I’ll provide direct links for MP3 and FLAC downloads for your convenience in the next 12 hours.  In the meantime here it is streaming on Mixcloud.

Direct download links:

Mp3 320 kbs

FLAC  16-bit

———————————

Os Originais do Samba – Lá Vem Salgueiro
Elza Soares – Bom dia, Portela
Xangô da Mangueira – Jequitibá do Samba
Darcy da Mangueira – Samba do Trabalhador
Clara Nunes – Candongueiro
Clementina de Jesus – Embala Eu
Giovana – Pisa nesse Chão com Força
Roberto Ribeiro – Coração Contrariado
Os Partideiros 10 – Barra Pesada and Compadre
Roberto Silva – Era Atômica
Francisco Alves – Ai, Ai Que Pena!
Luiz Ayrão – Porta Aberta
Caetano Veloso – Chuva, Suor e Cerveja
Os Demônios da Garoa – Um Samba no Bixiga
Cesar Costa Filho – Um Bilhete pra Longe
Leci Brandão – Decepção de uma Porta-Bandeira
João Nogueira – As Forças da Natureza
Dorival Caymmi e Bando da Lua – Acontece que Eu Sou Baiano
Carmen Miranda – É um Quê que a Gente Tem
Raul de Barros – Folhas Secas
Maria Creuza – Amor de Mãe
João Bosco – O Mestre-Sala dos Mares
Jorge Veiga – Na Cadência do Samba

Carmen Miranda – Os Carnavais de Carmen (2006)

Ruy Castro apresenta
Os Carnavais de Carmen
CARMEN MIRANDA

01 – Querido Adão
Benedicto Lacerda, Oswaldo Santiago
02 – Nova descoberta
Arlindo Marques Junior, Roberto Roberti
03 – Fala, meu pandeiro
Assis Valente
04 – O que é que você fazia ?
Hervé Cordovil, Noel Rosa
05 – Alô, alô, Carnaval
Hervé Cordovil, Janeiro Ramos
06 – Duvi-d-ó-dó
Benedicto Lacerda, João Barcellos
07 – Cantores de rádio
A. Ribeiro, João de Barro, Lamartine Babo
08 – Beijo bamba
André Filho
09 – Dou-lhe uma
André Filho, Alberto Rilbeiro
10 – Balancê
João de Barro, Alberto Ribeiro
11 – Minha terra tem palmeiras
João de Barro, Alberto Ribeiro
12 – Nem no sétimo dia
Benedicto Lacerda, Herivelto Martins
13 – Camisa listada
Assis Valente
14 – Onde vai você, Maria ?
Benedicto Lacerda, Darcy Oliveira
15 – A pensão da dona Stella
Paulo Barbosa, Oswaldo Santiago
16 – Cuidado com a gaita do Ary
Oswaldo Santiago, Paulo Barbosa

 

Well, dear readers, Carnaval is here again.  I am skipping it this year, since I recently rejoined the Jehovah’s Witnesses after my lapse, and promised Prince that I would spend a few days handing out fliers with him and the guy from The Revolution who always dressed like a surgeon on stage, Dr. Fink.  Maybe he will wear the hospital scrubs and mask while we go out, and it will feel like our own kind of private Carnaval, and I’ll feel less sad.
So this post goes out to all the other people who are missing Carnaval.  Because if you are within spitting distance of Carnaval right now, you should get off the damn internet and go outside.

Carmen Miranda deserves a more verbose entry on this blog than I can give her today.  The story of her life and career is so rich, complex, and fascinating that it often serves today as a didactic lesson on Brazilian history and culture.  But I’m not feeling teacherly this evening.  For now, suffice it to say that she was a tremendously talented woman, and the reigning queen of samba for many years in the 1930s.  She also featured in many musical comedy films of the day – one of which features prominently in the CD presented here – before she left for the US to star in Broadway shows and, of course, Hollywood films.This collection was released as a companion to the biography penned by Ruy Castro.  I haven’t read Castro’s book but I’ve no doubt that it’s excellent.  (His book on bossa nova is great fun, even if I suspect some of it is rather apocryphal, and I was just given a lovely Christmas present of his newest book on the golden age of samba-canção, which I am looking forward to reading.)  Castro gets to take all the credit at the excellent song selection here and on the other three discs that came out at the same time.  I’m not sure why they weren’t put out as a boxset, and in fact I find it rather irritating: one of the four discs has eluded me for several years now.

For the samba aficionados among us, a glance at the track list with the composer credits gives a clear idea of what we’ve signed up for.  Assis Valente, Lamartine Babo, Noel Rosa, João de Barro, Hervé Cordovil, Benedito Lacerda… Not much to complain about there.  These are all Odeon releases from the period after she left the Victor label.  Here’s one of my favorites from this set, Assis Valente’s “Camisa Listrada”

And she has guests to duet with like Silvio Caldas, Barbosa Junior, and – most famously – her sister Aurora.  She sings with her sisters Cecilia and Aurora on “Alô, Alô Carnaval”, a song from the film of the same name which is sadly the only one of her Brazilian-made films to survive the ravages of time.  There is a very famous, iconic scene in it where Carrmen and Aurora sing “Cantores do radio” in matching sparkly suits.  It is up on YouTube but the audio is barely listenable: somewhat disgracefully, it seems as if nobody has done a proper restoration of this film yet.  They did record it as a 78 single, which appears in this collection, so here’s an awesome still image and you can just play the CD and look at it:

Isn’t it great?
Some other musical highlights are Beijo Bamba, Balancê, A pensão da dona Stella, and her aforementioned duet with Silvio Caldas, Onde Você Vai, Maria? – for which I really wanted to post a YouTube clip but – shock and horror – it doesn’t exist on YouTube yet!  I guess you will just have to track down this CD or an approximation of it floating around the interwebs in the form of a random link somewhere…
mp3 icon
 flac button

 

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.


mp3 icon
flac button
p/w: vibes

Jamelão – A Voz do Samba Vol. 2 (2002)

Jamelão
A Voz do Samba, Volume 2
2002 Warner Brasil (092745933-2)


1. Vingança
2. Nervos de aço
3. Ela disse-me assim
4. Exemplo
5. Volta
6. Nunca
7. Meu natal
8. Torre de babel
9. Meu barraco
10. Loucura
11. Cadeira vazia
12. Esses moços (Pobres moços)
13. Quem há de dizer
14. Sozinha

All songs composed by Lupicínio Rodrigues, with the following tracks featuring co-authors: “Meu Barraco” with Leduvy de Pina; “Cadeira Vazia”  and “Quam Há De Dizer”  with Alcides Gonçalves.

Original recordings spanning from 1959 to 1987.

————————

In my last post on Jamelão, Volume 1 of this anthology, I was pretty emphatic in my disinterest for hearing an entire hour of samba-enredos back to back, as well as my belief that the record didn’t really do justice to Jamelão.  The man himself would probably have disagreed with me; at least regarding the first part of this complaint, because he was in fact exalted as a master of the form of samba enredo.  But I’ll continue to stand by the second half of my gripe:  the “Jamelão I know and love” is right here on THIS disc, which begins in the 1950s and is comprised entirely of compositions from his friend Lupicínio Rodrigues.  The 50s were an auspicious time for Jamelão:  he moved from the Sintér label to Discos Continental and began working with the wonderful Orchestra Tabajara, with whom he criss-crossed Brazil and made it as far as France on tour.  It was while touring with Tabajara that he crossed paths with Lupicínio in Porto Alegre, and soon after the two began a partnership that would make their names practically synonymous with each other.  A great many artists have recorded memorable versions of Lupicínios work, some preceding Jamelão like Orlando Silva and Francisco Alves, and many who followed him – two tracks on this collection, “Nervos de aço” and “Volta” both received impressive renditions by Paulinho da Viola and Gal Costa, respectively, which I happened to be listening to recently because I have become fixated on the magical year of 1973 for some reason.  The list of other renditions of these tunes would doubtless be quite large, but it was the voice of Jamelão that made Lupicínio Rodrigues a household name and etched him in the collective consciousness.  Orchestra Tabajara, who had relocated from Paraiba to Rio right about the time Jamelão approached them with songs to record, pull off some swinging performances with inventive arrangements.  Pianist and bandleader Severino Araújo,  could give the ubiquitous Maestro Gaya a run for his money.  The brass charts are all delicious, and check out the jazzy interplay on “Vingança” or “Meu barraco.”  

This collection is so good that I even like the tracks recorded in the 1980s, so often a decade of embarrassment for artists whose careers began elsewhere in time.   As is sadly typical of Brazilian reissues, this collection is sparse on detailed notes, apart from a brief text written by the stalwart Tarik de Souza.   Seems like typical record label suits skimping on the artistic patrimony of a giant like Jamelão who deserves better.  The dodgy mastering job is credited to a generic “Oficína de Áudio e Video”, and some of the cuts from the 60s sound like they had reverb added to them.   This was probably done to give more continuity to the collection – indeed, it is hard to distinguish what decade each song was recorded in without peeking at the credits – but this is also due as much to the infallible integrity of Jamelão and Orchestra Tabajara, without the “help” of any digital enhancement.   


Sometime this year I will post some of the Continental LPs I have Jamelão. I posted about the first disc in this series here.  And you can find more of his stuff at Orfãos do Loronix.

mp3 icon

flac button

Wilson Simonal – Na Odeon 1961 – 1971 (2004)




WILSON SIMONAL
Wilson Simonal na Odeon 1961-1971

9 CD Boxset
Released on EMI, 2004

 photo A-215605-1310489905_zps65f8092c.jpg

 photo CD1_1_zpsad6c9903.png

 photo noVADIMENSAO_zpsdfd0b10e.png

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

 

 photo CD2_1_zps9db28b60.png
 photo simbora_zpsf17b3ce2.png

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

 photo CD3_1_zpsfd37010c.png

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

 photo CD4_1_zps9015a7c2.png

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

 photo CD5_1_zps41e67af6.png
 photo CD5_3_zps62057969.png

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

 photo CD6_1_zps541dfe51.png
 photo CD6_3_zpsb274b383.png

 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

—————–

 photo CD7_1_zps23a08926.png
 photo CD7_3_zps1a6205df.png

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

 photo CD8_1_zps701eb151.png

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.

mp3 icon

flac button