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In episode #28 we discuss the making of "Clube da Esquina" released in March 1972. Considered one the best albums of Brazilian history, Milton Nascimento decided to come up with a collective effort of musicians signed as a duo with 19-year-old prodigy Lô Borges. It is a double LP impossible to define in one genre: folk, MPB, rock, psychedelia, prog, classical, indigenous. Clube da Esquina is everything. In this podcast, we discussed the making of the album, from its iconic cover to its arrangements, the meaning of lyrics, and metaphors, and how and why the album was named that way, the Corner's Club. Don't forget to follow our playlist on Spotify:
In episode #27, we celebrate Brazilian female singers such as Flora Purim, Joyce, Célia, Wanderlea, and Claudia. We also bring some more obscure names such as Dila, Silvinha, and Elizabeth.
Brazil always had a large tradition of female superstars, so for this episode, I've decided to put a spotlight on some great singers that are not as recognized as they should be.
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Hosted on Acast. See acast.com/privacy for more information.
In episode #24, we talk about the life and music of João Donato, Eumir Deodato, Egberto Gismonti, and Hermeto Paschoal. Each one of them achieved greatness beyond the Brazilian frontier and, in fact, they're all likely more successful worldwide rather than in their own country. These four artists blend Brazilian rhythm with psychedelia, funk, jazz, and experimentalism. As they all have a long and vast record catalog under their names, we have selected a few of their albums that should not be missed.
In episode #23, we continue our conversation celebrating albums released 50 years ago in 1971. From the classics of Tim Maia, Gal Costa, and Marcos Valle, Ivan Lins, to obscure gems such as Antonio Adolfo e a Brazuca and the magnificent Claudia.
In episode #22 we discussed Chico Buarque's eighth album, "Construção", released 50 years ago by Philips in December 1971. Considered by many the best Brazilian album of all time, it was Chico's first studio record after returning to Brazil following a period living in Europe due to the Brazilian dictatorship.
Perhaps not by consequence, it is Chico Buarque's more political record, surrounded by themes such as the social-economic issues in the country and lack of freedom, all that encapsulated by Chico Buarque's superb lyrics.
In episode #21 we discussed the album "Negro é Lindo", released by Philips in November 1971. It was Jorge Ben's third and last studio album recorded with Trio Mocotó as his backup band. An ending to a trilogy, the arrangements are more centered on the acoustic guitar, possibly the fruit of his partnership with Paulinho Tapajós, who directed Ben’s recordings between 71 and 75, including his future masterpiece "A Tábua de Esmeralda". It is also Jorge Ben's more political record to date, like its own title Negro é Lingo suggests, a translation of the slogan Black is Beautiful.
In episode #20, we continue our conversation about Som Livre from Brazuca Sounds #19. After releasing a generation of newcomers, such as Novos Baianos, and Alceu Valença, SOM LIVRE decided to invest in high-profile names like Rita Lee, Tim Maia, Jorge Ben, and Marcos Valle. Producer Lincoln Olivetti had a tremendous impact on Som Livre from the late 70s until the mid-80s when its iconic SOM LIVRE green logo was then replaced by a modern version. Follow our playlist on Spotify: "Soundtrack Brazuca Sounds".
Hosted on Acast. See acast.com/privacy for more information.
Hosted on Acast. See acast.com/privacy for more information.
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