Mina – Mina Canta o Brasil (1970)

folder cópiaMina is the greatest Italian singer of all times, but not only. For Italians, Mina is an icon equally as important as the biggest and best-known names about which they boast as proof that Italy has the highest quality everything in the world, like Ferrari, Armani, Fellini or Antonioni. During the ’60s and the ’70s, Mina embodied the very essence of the ultra-talented superstar on stage, in TV and in her records. (!)

She sang Italy’s greatest hits, which for over 40 years have been the leitmotiv of the everyday life of the Italian people. Nowadays Mina releases one record a year.

Let’s go to our artist:

Anna Maria Quaini or Mina Mazzini (25 March 1940)known for her three-octave vocal range, the agility of her soprano voice, and its image as an emancipated woman. In performance, Mina combined several modern styles with traditional Italian melodies which made her the most versatile pop singer in Italian music.

19 Year Old 'Rocker'
19 Year Old ‘Rocker’

Mina dominated the Italian charts for fifteen years and reached an unsurpassed level of popularity in Italy. She has scored 77 albums and 71 singles on the Italian charts!

Mina’s TV appearances in 1959 were the first for a female rock and roll singer in Italy, the public at the timelabeled her as the Tiger of Cremona for her wild gestures and body shakes. When she turned to light pop tunes, Mina’s chart-toppers in West Germany in 1962 and Japan in 1964 earned her the title of the best international artist. Mina’s more refined sensual manner was introduced in 1960 with Gino Paoli‘s ballad This World We Love In’, entering on the Billboard Hot 100 in 1961.

Mina & Massimiliano Pani
Mina & Massimiliano Pani

Mina was banned from Italian TV and radio in 1963 because her pregnancy and relationship with the married actor Corrado Pani did not accord with the dominant Catholic and bourgeois morals (sic). After the ban, RAI tried to continue to prohibit her songs, which were forthright in dealing with subjects such as religion, smoking, and sex. Mina’s school act combined sex appeal, with public smoking, dyed blond hair, and shaved eyebrows to create an (unprecedented) bad girl image!

Mina’s voice has a distinctive timbre and great power, her main themes are anguished love stories performed in high dramatic tones. The singer combined classic Italian pop with elements of blues, R&B and soul music during the late ’60s, especially when she worked in collaboration with the singer-songwriter Lucio Battisti.

Live
Live

Top Italian songwriters created material with large vocal ranges and unusual chord progressions to showcase her singing skills, particularly ‘Brava’ (Bruno Canfora) and the pseudo-serial ‘Se Telefonando’ (Ennio Morricone)Shirley Bassey carried Mina’s ballad Grande Grande Grande’ to charts in the U.S. and U.K. in 1973.

Mina’s easy listening duet Parole Parole’ was turned into a worldwide hit by Dalida and Alain Delon in 1974. Then, Mina suddenly gave up public appearances in 1978 but has continued to release popular albums on a yearly basis to the present day.

Let’s go to our album:

Mina is an eclectic, versatile artist completely at ease with a repertoire spanning all musical genres, all of which she has sung with masterful panache!

The Tiger of Cremona!
La Tigre di Cremona!

By 1970 Mina was already an established star, flirting with Brazilian music since the mid-’60s, passing through bossa nova and samba, here she relies on the amazing arrangements of maestro Augusto Martelli to bring a vigorous overview of the so-called MPB (Brazilian popular music). With a stellar team of composers, Mina sings with wild passion, splendid technique and darting Portuguese to our delight!

The ‘IM’ highlights are Todas as Mulheres do Mundo and Tem Mais Samba.

Приятной поездки!

Tracks Include:

A1 Canto de Ossanha (B. Powell, V. de Moraes)

A2 Com Acúcar, Com Afeto (C. Buarque de Hollanda)

A3 Upa Nequinho (E. Lobo, G. Guarnieri)

A4 Todas as Mulheres do Mundo (Erasmo Carlos)

A5 Que Maravilha (Jorge Ben, Toquinho)

A6 A Banda (C. Buarque de Hollanda)

B1 Canção Latina (O. Stocker, V. Martins)

B2 Tem Mais Samba (C. Buarque de Hollanda)

B3 Sentado a Beira do Caminho (E. Carlos, R. Carlos)

B4 A Praça (Carlos Imperial)

B5 Nem Vem Que Não Tem (Carlos Imperial)

Credits

Arranged, Conductor (Orchestra): Bob Mitchell (Augusto Martelli)

PDU ‎– Pld.A.5026

Today
Today

‘If I didn’t have my own voice, I’d like to have the voice of a young Italian girl named Mina’ / Sarah Vaughan, 1968. (!)

Vanusa – Vanusa (1969)

capa cópia

As promised, we came back at least for now in a slightly smaller format, we intend to return to the old layout, with historical facts and further analysis in another cycle of our wide galaxy. We will improve the tag system, increase our rotativity (with the same quality) and start bringing exclusive rips, like this wonderful Brazilian gem today.

Vanusa Santos Flores (22/9/1947, Cruzeiro, São Paulo) on its only second LP release is somewhat between romanticism, psychedelia, soul and a bit of experimentalism, Tropicalia like, though their composers aren’t top-notch stars, this is the testament that even Brega (tacky) artists always subjugated by critics and the so-called intelligentsia produced fantastic examples of vanguard inside the commercial musical market (Universal, Sony, Warner, EMI).Psychedelic Diva

Vanusa’s visceral performance throughout the album is simply dazzling, a foxy Janis Joplin on its peak moments, accompanied by a garage band brushstrokes with a beautiful brass and strings arrangements by maestro Portinho.

Radical 1969, post-AI-5 scenario.

Though she appeared with the Jovem Guarda movement, Vanusa circulated freely by all spheres of Brazilian popular music to long-70s, slowed the pace in the ’80s and now in 2014 is up to release a new album in more than 10 years!

Live, 1969
Live, 1969

The ‘IM’ highlights are for Sunny and CaminhemosRelish all spices and शुभ यात्रा!

Tracks Include:

A1 Meu Depoimento
(Fábio / Paulo Imperial)

A2 Que Você Está Fazendo Neste Lugar Tão Frio
(Tom Gomes / Luis Vagner)

A3 O Que É Meu É Teu
(Sílvio Brito)

A4 Teu Regresso
(Fábio / Paulo Imperial)

A5 Espere
(Carlos César / Alexandre Cirus)
              
A6 Hei Sol
(Dom)

B1 Atômico Platônico
(Jean Pierre / Fernandes)

B2 Sunny
(Bobby Hebb)

B3 Eu Sei Viver Sozinha
(Vanusa / Juca)

B4 Hey Joe
(Demétrius)

B5 E Você Não Diz Nada
(Meirecler)

B6 Caminhemos
(Herivelto Martins)

Credits

Coordenador Artístico: Fábio

Diretor Artístico: Alfredo Corleto

Arranjos:  Maestro Portinho

RCA Victor BBL 1505

The Diva, lately
The Diva, lately

Agentss – Compactos (1982 – 83)

coverThe Brazilian music scene from the 70s was not very favorable to Rock, much seen with reservations by the Generals of the time; Brazil was still a country devoted entirely to the MPB (phonographically speaking), even with names like Rita Lee and Raul Seixas, rock did not have a dedicated ground for the public, marginalized, without many projections in the mass media and also without a show-business structure that favored them. But with the turn of the decade, it began to assert itself and during 1981/82, the beginning of a new generation no longer restricted to the MPB arose. More open to the world musical context, as the ideal of the punk movement (do-it-yourself) and the colorful entertaining bands from the New Wave.

Youngsters who were born under the years of lead, dreamed of a freer style of music, by the time psychedelia and progressive rock with their remote themes and 15 minutes trips, little or nothing dialogue with the backdrop of the beach, sun, and Rio’s sea. Note that in São Paulo (concrete jungle) those same longings became the Vanguarda Paulista and the birth of the punk movement, not as accessible as their brothers in Rio (these and other developments will be addressed in future posts).

Começo do Fim do Mundo
Começo do Fim do Mundo

The precursors of so-called BRock were the Cariocas from Gang 90, and his debut at the MPB-Shell festival in August 1981 with the song Perdidos na Selva. From there, three factors contributed to the formation and dissemination of a new musical explosion with its apex culminating in the realization of the first Rock in Rio in January 1985.

They are: the foundation of Circo Voador (a playhouse) in January 82 in Ipanema, the premiere of Fluminense FM (Maldita), first radio to play (solely) rock in national territory, and the organization of the first punk festival, Começo do Fim do Mundo on November 82, at the newly inaugurated SESC Pompeia.

Some BRock bands: Gang 90, Blitz, Paralamas do Sucesso, Barão Vermelho, Kid Abelha, Lobão, Lulu Santos, Legião Urbana, Ira!…

Circo Voador
Circo Voador

Let’s go to our history:

The political opening exhaustively repeated by the militaries as slow, gradual and safe, began at the end of the 70s, under strong repression of the right sectors that were contrary to the process initiated by the Amnesty Law in 1979. Numerous bombings throughout 1980 and 1981 attempted to cause a climate of political and social instability, culminating with the Rio Centro case: a bomb exploded in a parking lot inside a Puma car, killing the sergeant Guilherme Ferreira do Rosario and seriously injuring the captain Wilson Luís Chaves Machado, both linked to DOI-CODI (sic).

The bomb exploded while being handled, and prepared to be detonated near the Rio Centro lightbox in order to cut power and generate panic among the regulars of the show which was held in celebration of Labor Day, more than 20,000 people participating along with numerous music artists!

Riocentro Bombings
Riocentro Bombings

On occasion, the government blamed the radical left for the attacks. This hypothesis had no support at the time and has been debunked, including a confession, proved that the attack was an attempt of more radical sectors of government (the CIE and SNI) to convince more moderate sectors that were required a new wave of repression in order to paralyze the slow political openness that was in progress. (!)

Let’s go to our album:

After a trip to the U.S. in the early 80s, Kodiak Bachine decides to start a band inspired by punk and new waves groups that had watched and heard. With a new look, Kodiak has teamed up with guitarists Miguel Barella (Voluntários da Pátria) and Eduardo Amarante (Zero). Beyond them were part Lyses Pupo (bass) and drummer Elias Glik. The quintet had a strong line with the Talking Heads, B-52’s, Kraftwerk, Blondie, Devo, Gary Numan, and Brian Eno. The seminal group pioneer in Brazil’s new-wave movement incorporated elements of electronic music and minimalist, making extensive use of icons and scenery that aided in the spread of brand new musical ideas and concepts in the emerging Electro-Pop of the 80s.

Agentss
Agentss

Kodiak sang, he said, in eletrotranzlyric, a dialect of his own invention that mixed Portuguese, English, German, and extraterrestrial languages​​. (!) After the release of the first single, the band performed three shows in 1982, the first on 25 September at Ilhas do Sul theater. Soon it became a cult among youngsters in São Paulo, taking a loyal following of admirers who filled the places where the band performed. With only five shows in one year, they left a lasting impression on the scene. With no label support or sponsorship, the band was hampered and cannot make more shows.

Kodiak, Live
Kodiak, Live

The Agentss recorded only two compacts being the first, in 1981, an independent production, released in 1982. The second was released by WEA label with musical production by Pena Schmidt in 1983. The group broke up amicably at the end of 1983 for philosophical reasons, Miguel Barella formed Voluntários da PátriaEduardo Amarante and Thomas Susemihl formed Azul 29 (also a pioneer in Electro-Pop). Later, Eduardo joined Guilherme Isnard and formed Zero, while Kodiak went solo.

This is one of those bands where you wonder why you haven’t known them before (?!), their leader Kodiak Bachine, is one of the most underrated keyboardists, a specialist in short bands but with great importance in the Brazilian context. With its futuristic synths and a vanguard proposal for the time, the band, unfortunately, did not achieve much publicity, being limited to São Paulo. A curious fact from the second compact is its cover, the first produced entirely on a computer, being photographed and reproduced because there was no way to print the same!

Computer Cover
Computer Cover

As it is only 4 songs, let’s give a chance to all of them, but let me advance you something, the title track Agentss is something beyond the expectations, being modern and exciting even to this day. With satyrical and humorous lyrics about radiation, robots, and computers this domestically unknown band goes way off our traditional psychedelia so far, get ready for AGENTSS. நல்லபயணம்!

Some more BRock bands: Inocentes, Capital Inicial, Titãs, RPM, Violeta de Outono, Plebe Rube, Camisa de Vênus, Ultraje A Rigor, Cólera…

Tracks Include:

1982

A Angra (Orion)

B Agentss (Duo, Kodiak)

Scorpius 22.101.003

Guitar – Orion Mike (Miguel Barella)

Guitar – Duo Enkanativa (Eduardo Amarante)

Voice, Synths & Keyboards – Kodiak Bachine

Drums – Roberto L. Antônio

Bass – Luiz F. Portela

Drums on AngraArmando Tibério Júnior

Credits

Engineered by – Pedro Franck Nemeth

Assisted by – Dom Elder

Mixed by – Pedro Franck Nemeth + Duo + Kodiak

Photo – Fritz Nagib

Recorded in São Paulo, August, 1981

Flyer, Logo
Flyer, Logo

1983

A Professor Digital

B Cidade Industrial

Elektra ‎BR.12.123

  • Bass, Backing Vocals – Thomas Susemihl
  • Drums – Elias Glik
  • Guitar – Miguel Barella
  • Guitar, Bass, Synthesizer – Eduardo Amarante
  • Voice, Synthesizers – Kodiak Bachine
  • Engineer – Ivo Barreto
  • Art Direction – Guti
  • Producer – Pena Schmidt

Recorded At – Estúdio Áudio Patrulha

Computer Vax 11/700

Rock In Rio, 1985
Rock In Rio, 1985

Orquestra Afro-Brasileira – Obaluayê (1957)

cover

Brazil. A country of only 500 years, geographically privileged, with multiple natural resources, tropical climate, different biomes and a distinct formation of its society. The three genetic fronts that formed this multicultural country: the Portuguese (European), the indigenous (Amerindian) and the black (African). Since the XVI century these cultural strands live together under rules that went from Colony to Empire and then Republic; apart of all conflicts and slavery past the black heritage in Brazilian culture was dominant in at least two aspects, the religious and the musical.

Religion in Brazil has a higher adherence level compared to other Latin American countries and is more diverse. The dominant religion of Brazil historically was and still is Christianity. Brazil possesses a richly spiritual society formed from the meeting of the Roman Catholic Church with the religious traditions of African slaves and Indigenous peoples. This confluence of faiths during the Portuguese colonization of Brazil led to the development of a diverse array of syncretistic practices.

Candomblé Novice ~ 1951
Candomblé Novice ~ 1951

Afro-Brazilian syncretic religions, such as Candomblé (with many followers) are concentrated mainly in large urban centers in the Northeast, such as Salvador, Recife or Rio de Janeiro in the Southeast. In addition to Candomblé which is the survival of West African religion, there is also Umbanda which blends Spiritism, Indigenous and African beliefs. There is prejudice about African cults (called ‘Macumba’) in Brazil’s south, but there are Catholics, Protestants and other kinds of Christians who also believe in the Orixás, and go both to Churches and Terreiros.

These two religions were originally brought by black slaves shipped from Africa (Angola, Congo, Ghana, Benin, Guinea Bissau, Mozambique, etc.) to Brazil, these black slaves would summon their gods, called Orixás, Voduns or Inkices with chants and dances (Capoeira) they had brought from Africa. These cults were persecuted throughout most of Brazilian history, largely because they were believed to be pagan or even satanic. However, the Brazilian republican government legalized all of them on the grounds of the necessary separation between the State and the Church in 1889.

Orixás Deities
Orixás Deities

Brazil is well known for the rhythmic liveliness of its music, this is largely because Brazilian slave owners allowed their slaves to continue their heritage of playing drums, unlike U.S. slave owners who feared the use of the drum for communications. (!) These chants and dances evolved naturally and ascended into all spheres of society, influencing rhythms like Samba and Maracatu. Today’s album shows us in a pioneered way the study and understanding of this musical evolution.

Let’s go to our history:

For almost thirty years the conductor Abigail Cecílio de Moura led the Orquestra Afro-Brasileira, donating their effort as if it were a religious devotion. Before each presentation, he acted like a priest giving thanks, raising the stage for sacred space. The Orchestra was founded on April 10, 1942, with the purpose of studying and disseminating folk music and Brazilian customs, using sociology and anthropology to disseminate it. Mainly based on percussion instruments, at the time called barbaric, plus the civilized instruments: piano, sax, trombone.

Ceremony
Traditional Ceremony

In their research, the conductor Abigail incorporated percussive originals: agogô, adejá, urucungo, afoxé, atabaques and angona-puíta, kind of ancestor of the Brazilian cuíca. The contemporary school, relying on the harmonic instruments, would be the observation of the evolution in Afro-Brazilian music. An indispensable figure, whose name confuses itself to the Orchestra, Abigail Moura, was from Minas Gerais and died in 1970. By the end of his days led an honorable poor life, cherishing the dream of seeing his orchestra return to the brilliance of the great days. (RIP)

The Orchestra aroused interest because it was considered exotic at the time and many went to concerts by curiosity, his musical diversity would go to Maracatu, Frevo, Jongo, Folklore themes, Umbanda and Candomblé chants. Favoring the Nagô and Bantu legacies, passing through the Portuguese catholic and also the indigenous presence.

Capoeira by Rugendas
Capoeira by Rugendas

Let’s go to our album:

With a distinct brand from everything that has appeared in our galaxy until now, this obscure record brings the purest roots of Brazilian music. Passing away from the Afro-Cuban clichés that were so common to the international audiences and foreseeing the allure of the Exotica genre, this is closer to the ethnographic music since Malinowski or Levi-Strauss studies.

Exceptionally today I will not highlight any track, I believe in the strength of this album as a whole; the prejudice and difficulties that the African traditions passed (and still passes) throughout the eras deserves your full attention and respect!

Rum, Rumpi & Lê (R to L)
Rum, Rumpi & Lê (R to L)

The second album released by the Orchestra in 1968 is a bit more accessible, with western harmonies and arrangements, though it didn’t have the deserved commercial success as its predecessor and was followed, by Luciano Perrone’s series of Batucada Fantástica.

Lately, the Orkestra Rumpilezz led by the maestro Letieres Leite made a revival of African chants and traditions, with Afro percussion, modern harmonics and under the influence of jazz. The path started more than 70 years by Abigail Moura is now accessible to all. Geras Kelioné!

Tracks Include:

A1 Apresentação Paulo Roberto / Chegou o Rei Congo (Batuque)

A2 Calunga (Batuque)

A3 Amor de Escravo (Jongo)

A4 Saudação ao Rei Nagô (Batuque)

B1 Festa de Congo (Maracatu)

B2 Badalaô (Cântico Noturno)

B3 Liberdade (Batuque)

B4 Abaluayê (Lamento)

Todamérica LPP-TA-11,  1957

(Originally released in 1949)

Regência: Maestro Abigail Moura

Solista: Yolanda Borges

Músicas e Letras: Maestro Abigail Moura

Orkestra Rumpilezz
Orkestra Rumpilezz

Abílio Manoel – Compacto Duplo (1974)

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Abilio Manuel Robalo Pedro (Lisboa, February 3, 1947 – Itacaré, June 30, 2010) was a singer, composer, and music producer. Portuguese settled in Brazil since he was seven years old, Abílio also worked as a radio broadcaster, advertising person, film director, audio operator and composer of jingles and soundtracks.

Let’s go to their history:

Brazil. He started his career in 1966, preparing himself to join the Physics course. The first performance took place at the program Show do Meio Dia, presented by Pagano Sobrinho on TV Excelsior. In 1967 he entered to University of São Paulo and, while studying physics, he used to perform in concerts promoted at the university campus.

That year, came an invitation to represent the USP on the first Festival Latino-América de la Canción Universitaria placed in Santiago, Chile. He won the award for best composer, thanks to the song Minha Rua. This presentation brought him the first contract with Odeon, who would record the following year, their first Lp, with musical direction by Milton Miranda and arrangements by Edmundo Peruzzi.

Newspaper Article
Newspaper Article

In 1968, he competed at the TV Excelsior festival with the song Quem Dera and in the Festival Internacional da Canção with Catavento. After the I Festival Universitário from TV Tupi, he participated with Samba de Roda and Tudo Bem, included on its first single. In 1969, won the II Festival Universitário, still on Tupi, with Pena Verde, perhaps his greatest success, whose single, reached the top of the charts in 1970, making it known throughout the country and Latin America!

He released its second Lp (Pena Verde), in 1970, making television appearances and concerts in Mexico, where he still recorded a compact. During the ’70s launches four more Lp’s and several singles. In 1977 began working at Radio Bandeirantes from São Paulo. In 1980 he composed the soundtrack to Pixote, directed by Hector Babenco. Its last album, Curso das Águas, came out in 1983, by RCA Victor.

70's Pomo
70’s Pomo

The year 1984 started with Abílio presenting the program América do Sol, on Radio USP in São Paulo. As a producer, he was responsible for launching the homonymous collection, by Band and Copacabana labels. From 1997 he devoted to making advertising jingles, soundtracks and promoting many artistic events. After decades of hiatus, he was preparing to return his artistic career, when he had a heart attack during the 2010 World Cup. He was holidaying in Bahia at the time. (RIP)

Let’s go to our album:

Even not being his most ardent fan, today’s record shows us, with only four songs, all the quality behind this unfamiliar author. Slightly recognized even in Brazil, Abílio’s music has a perfect blend between samba, rock, and folk.

Once more, Brazilian arrangers are over the regular, with exquisite horns, reeds and a whole context of scholar and pop music. With shiny moods that go from the yearning to funny, like Luiza Manequim, a spectacular horn-samba! And Tudo Azul N’América do Sul a satirical view about the early 70’s Rio: on one side the military terror (persecution, torture, and death), on another, the sea, clear skies, and blazing sun.

Portrait
Portrait

The alienation lyrics that music (falsely) proposes, talk directly with Pilantragem, a musical movement from the same epoch, led by Carlos Imperial and Wilson Simonalwho preached always to look to the ‘good’ side of the life, though, with selfish, consumerist and sexist values (sic). Ona Bidaia!

Tracks Include:

A1 Pena Verde (Feat. Rosa Rebelo) /// 1969

A2 Luiza Manequim /// 1971

B1 Andréa /// 1970

B2 Tudo Azul N’America do Sul /// 1971

Music and lyrics: Abílio Manoel (except B2 ~ Abílio Manoel – Carvalho)

Double Compact, Odeon S7-BD 1297

No credit to the musicians and arrangers.

Douro River, Portugal
Douro River, Portugal