Just one of many gems on the wonderful "Simplesmente" LP. A fairly stripped-down arrangement and recording, but which still allows for the song's bright verse and chorus melodies to shine forth. The track is built from acoustic guitar, bass, drums and a hint of (what else?) percussion, which pulse gently along on the verses in a rhythm that reminds me of dancehall reggae somehow, while still being obviously a branch of the bossa nova tree. Fernanda's sweet croon and instinctive sense of swing navigate this terrain effortlessly. Who is Fernanda? Where has she gone? On the strength of this LP, she definitely had quite a bit to offer. But it was tough, back then, being Elis Regina's competition.......
13 Oct 04 ·n-jeff: Thats funny, I was talking only recently abou the similarity of the Baion rhythm to the pulse of the ragga beat. Along with "Its not unusual" having a Baion rhythm, its a neat way of tying up Tom Jones, Shabba and Marcos Valle.
Virtually every song on the utterly incredible parent LP is worthy of a separate entry, but I'll just go with this folksy-cum-spaced-out rumination on the way he identifies with the people he surrounds himself with, musically reminiscent of Pink Floyd in the best possible way. Great playing by various Azymuth and Som Imaginario members.
The dateline in the album's title, by the way, is a reference to the time period Erasmo had experienced from birth up to the album's release, he's fortunately still with us!
Gorgeous, sensitive piano-driven ballad with Valle and Nascimento trading lines. This reminds me of how rare it is to find a duet with two men (makes me wish I knew Portuguese to understand the lyrics!). Beautifully sung and arranged, the tune is pretty much an ideal melding of Valle's and Nascimento's sounds.
from Mustang Côr de Sangue, available on CD (Odeon)
This LP was recorded for export in 1968. The group is Dom Salvador (piano); Neco (guitar);Wilson Das Neves (drums); Pedro (percussion); Sergio (bass); and Joab, Zeze, Edgardo and Valeria on vocals.
P'ra Que Chorar is the opening track of this amazing LP. Its light, it moves, and the vocals are reminiscent of the landmark Sergio Mendes Brazil 66 recordings. Its also sung in English, as are several of the songs on the LP. Im not sure who penned the original version of the song, but its rendering here is wonderful and sets the tone for this entire landmark LP.
I plan to post the entire LP on my website www.sabadabada.com later this month.
astonishingly beautiful, early 70s brazilian masterpiece. a classical piece disguised as a pop song, with a simple piano playing a wistful melody punctuated by an amazing unexpected ascending chord hook. gismonti sings the original version, with a string section and morricone-like wordless vocal backing him. for the final minute the key changes and the vocals and accompaniment stop, and the solo piano veers off into satie territory, before resolving back into the refrain. gismonti re-recorded this a few times, after finding success in europe as an avant/classical composer. this song also inspired the guitar and mandolin trio agua e vinho, who cover it on their self-titled album along with a few other gismonti compositions.