Mutantes "Live - Barbican Theatre, London, 2006" 2007****

Another band I never expected to see live, I discovered Os Mutantes around the turn of the millennium, when Luaka Bop released a compilation of their 1960s material. It received rave reviews, and after hearing it myself I couldn’t help but agree: this eclectic, whimsical and experimental yet often poppy mix sounded as exciting and unique as anything from the era. The band disbanded in the early 1970s, having achieved little recognition outside their native Brazil until the Luaka Bop compilation introduced them to a new international audience. A few years later their albums were reissued on CD — and eventually vinyl as well — while a partially reunited lineup celebrated the band’s 40th anniversary with a major London concert, documented on the CD/DVD release reviewed here. The following years brought sporadic new albums and live appearances by a version of the band led by original guitarist Sergio Dias. They rarely venture into Europe, so last year’s Amsterdam performance — their first Dutch show since 2016 — felt unmissable. They no longer wear outlandish costumes onstage, and, at 75, Sergio Dias isn't in great shape physically, singing and playing seated for most of the show, but his guitar work remained superb, with echoes of Hendrix and Santana throughout. The band alternated between proggy psychedelia and pure pop (e.g. "Baby"). The harmonies were as strong as ever, while Esméria Bulgari handled the lead vocals admirably. Rita Lee, of course, who left the band in 1972 and died in 2023 remains irreplaceable. The other great absentee was Sergio’s brother, Arnaldo Baptista: he has often struggled with mental health issues linked to his past excessive LSD use, and took his leave from the band, long ago.

He nevertheless can be heard on this live CD, alongside Dias, original drummer Dinho Leme, and guest singer Zélia Duncan. Esméria Bulgari was also present on this occasion, albeit only as a backing singer. As I mentioned earlier, Os Mutantes have always been a very peculiar band, drawing on everything from Beatlesy pop and bossa nova to ballads and psychedelic rock, all filtered through a lens of whimsy and anarchic humor not unlike that of the Bonzo Dog Band—while sounding nothing like them in practice. Such eclecticism often left them difficult to categorize. For many years they were mentioned—if at all—only as part of the Tropicália movement, which also included more celebrated Brazilian artists like Caetano Veloso, Gilberto Gil, Gal Costa, and Tom Zé. This was too restrictive, since all of those artists were closer to Brazilian musical traditions, whereas Os Mutantes explored a much wider range of styles. This live CD manages to encapsulate most of them, making it one of the best entry points into the band's music. The performances are uniformly strong, while the arrangements benefit from a fuller band and generally sound more polished than the original versions. Some listeners may miss the rough edges of the originals, but I believe very little is lost in the process. Opener "Don Quixote" is an impressive psychedelic mess, incorporating everything from an orchestral fanfare to the band's signature harmonies and Dias' electric-guitar outbursts. This is followed by "Virginia", a charming Beatlesque ballad. The pace then picks up with a pair of upbeat Latin rockers: "Cantor de Mambo"—reminiscent of Santana and featuring some first-rate electric guitar in this live rendition—and "El Justicero". Hilariously, Tony Blair and "Jorge" Bush are portrayed as Old West gunslingers in the song's intro. The mood changes once again with the exotic, chilled-out bossa nova of "Baby" and "I'm Sorry Baby", both sung in English. Later, "Dia 36" and "Ave Lucifer" drift by as stoned psychedelic ballads awash in vocal distortion and spaced-out effects, while "Fuga No. 11" and "Balada do Louco" evoke a dreamlike meeting point between Gilberto Gil and John Lennon. The acoustic "Le premier bonheur du jour" adds a Rennaissence flavor, while "I Feel a Little Spaced Out" (original Portuguese title was "Ando Meio Desligado") perfectly embodies the sound of The Summer of Love: Imagine throwing The Zombies, Jefferson Airplane, early Pink Floyd, and the soundtrack to Hair! into a blender and ending up with something surprisingly coherent. As the concert nears its end, Os Mutantes showcase their riotous carnivalesque side on "A Minha Menina" and "Bat Macumba" before bowing out with an ecstatic English-language rendition of "Panis et Circenses" that once again recalls The Beatles circa Sgt. Pepper. The above track listing corresponds to my own (UK) version of the album, which combines a single CD and DVD video. There is also a US double-CD edition that adds five songs but omits the visual content. Those tracks are reinstated on my DVD, which also includes a short documentary, video clips from the concert and rehearsals, and a photo gallery. The DVD offers both stereo and surround-sound audio options, as well as subtitles for the lyrics. To be honest, neither the video quality nor the surround mix is particularly impressive, which means I find myself returning to the CD far more often than the DVD. Now, I know that many fans may find Rita Lee's absence difficult to overlook, English translation of the lyrics somewhat incongruous, and the band's live sound a little too down-to-earth for their liking. For myself, I believe that Live In Barbican, 2006 successfully captures the eclecticism, humor, musicianship, and sense of adventure that made Os Mutantes so special in the first place. For newcomers, it serves as an ideal introduction; for existing fans, it's a rewarding celebration of this unique band. Having finally seen the band in concert, I can confirm that, sixty years on, the magic is still there.

***** for Cantor de Mambo, Baby, I Feel a Little Spaced Out

**** for Virginia, El justiciero, I'm Sorry Baby,  Dia 36, Fuga Nº II, Ave Lucifer, Balada do Louco, A Minha Menina, Bat Macumba, Panis et Circenses

*** for Don Quixote, Le Premier Bonheur du Jour

Os Mutantes "A Divina Comédia Ou Ando Meio Desligado" 1970*****

A couple of weeks ago I presented a compilation of Rita Lee containing hits of the 1975-83 period. I'm afraid it was a poor testament to the lady's talent, so I've returned with a better one, Os Mutantes' third LP A Divina Comédia Ou Ando Meio Desligado (The Divine Comedy or I Am a Bit Disconnected).

People talk of Os Mutantes as being "the Brazilian Beatles" which is misleading; firstly, because they never achieved that kind of success; and secondly, because The Beatles started off as a simple rock'n'roll, then pop, group, and only started writing more complex compositions during later stages of their career. Os Mutantes, on the other hand, were sui generis right from the start. The trio of Arnaldo Baptista (vocals, keyboards and bass), Sérgio Dias (vocals, guitars) and Rita Lee (vocals etc.) started off in '66 São Paulo as a sort of garage band with very little "proper" rock music knowledge. They must have been influenced by The Beatles and early Pink Floyd but also by French chanson, acoustic folk, jazz, and bossa nova. Together with a bunch of kindred spirits from the Bahia region (Caetano Veloso, Gilberto Gil, Gal Costa, Tom Zé) they formed the Tropicália movement, mixing Brazilian traditions with Anglo-centric pop, psychedelia and the avant-garde. Os Mutantes' use of electric instruments, as well as their whimsy, dadaistic humor, and studio experimentation brought them closer to Sgt. Peppers-period Beatles than anybody else in the movement. In this, their third LP, the Latin element in the music has subsided further, which may have to do with the absence of collaborators Gil and Veloso due to their incarceration and subsequent exile by the military regime. Starting with the cover, which is a black-and-white live photo inspired by a 19th Century engraving for Dante's Divine Comedy, there's a sinister tone here that didn't exist in their previous work. The back cover pictures the trio together in bed, a scandalous insinuation that isn't improved by the nonchalant pose of the guy with the cane and black leather overcoat standing above them. Is he a kinky voyeur, or maybe something worse? Could he be Satan, and the photo an allegory on sin and hell? It doesn't help that the lyrics are in Portuguese, but there seems to be a dark undertone to the whole album - e.g. in the lyrics and psychedelic effects of the otherwise charming acid folk ballad "Ave, Lúcifer", or the car crash sounds following the nostalgic doo wop of "Hey Boy". Each song is in a different style, but they defy simple categorization as there's a million things happening in the same time: a Hendrix-y guitar solo here, Carousel music there, psychedelic effects everywhere. Opener "Ando Meio Desligado ("I Am a Bit Disconnected" but usually translated as "I Feel A Little Spaced Out") seems to be a drug reference. It starts off very pleasantly, reminding me of The Zombies "Time Of The Season". The piece is dominated by Rita's seductive vocals backed by groovy organ and fuzzed-out bass, ending in a mini-freakout of guitar noise and screams. Then there's "Quem Tem Medo de Brincar de Amor" with sweet Mamas and Papas harmonies, soul beat, nice organ, and psychedelic effects alternating with carousel music - like I said before, a million things happening all at once, which is how the whole LP plays out. "Ave, Lúcifer" reminded me of certain Pink Floyd ballads circa 1968-71, while "Desculpe, Babe" is a melodic old-timey ballad, followed by the incredible "Meu Refrigerador Não Funciona" - a heavy electric blues in Anglo-Portuguese that sees Rita Lee give Janis Joplin a run for her money. She never did it before or since, who could have guessed she had it in her? And all that just because her refrigerator doesn't work? Os Mutantes' zany sense of humor at work once again! On the very next song, 50's pastiche "Hey Boy", Rita goes from screaming banshee to playing the ingénue female. "Preciso Urgentemente Encontrar um Amigo" is introduced with a burp, and features heavy guitar and organ interplay à la Atomic Rooster but that's offset by the melodic vocal harmonies. "Chão de Estrelas" is another schizophrenic entry, introducing itself with Spanish folk to continue with ragtime jazz, sounds of aerial combat, and circus music. "Jogo de Calçada" is more conventional West Coast-style psychedelic rock, and "Haleluia" a rockified religious hymn sung with sincere-sounding elation. Album closer "Oh! Muhler Infiel" features wild drumming and bombastic guitars as well as a serene middle section with piano and wordless singing. That's 11 songs, each one different from the other, and each one containing enough ideas to make a whole album. It's amazing that a psychedelic masterpiece like that remained for decades undiscovered to the Western world - well, the Northern world to be precise, Brazil is pretty much to the West geographically! It wasn't until 1999 that David Byrne compiled a compilation of Mutantes songs for his label Luaka Bop, which proved hugely influential. I believe that this, once "lost", LP can now take its rightful place among such 60's milestones as Sgt. Peppers, Velvet Underground & Nico, and Are You Experienced. It's that good!

***** for Ando Meio Desligado,  Ave Lúcifer, Desculpe Babe, Meu Refrigerador Não Funciona

**** for Quem Tem Medo de Brincar de Amor, Hey Boy, Preciso Urgentemente Encontrar um Amigo, Chão de Estrelas, Jogo de Calçada

*** for Haleluia, Oh! Mulher Infiel

Astrud Gilberto "The Essential Astrud Gilberto" 1963-1967(rec) 1984(comp)*****

Astrud Gilberto was probably the most well-known of the three great ladies of Brazilian song that we recently lost, and whose albums I presented here. She was also the least likely to become an international sensation, as she came to prominence by accident; the young housewife of guitarist João Gilberto just happened to be present at a recording session for a collaborative album by American saxophonist Stan Getz and Brazilian bossa nova stars Antonio Carlos Jobim (piano) and João Gilberto. To help the LP's commercial chances in the US, Getz's side had prepared some English lyrics, which João turned out to be unable to sing. Thankfully Astrud's English was remarkably better, so it was her who sang the English part in the two bilingual songs "The Girl From Ipanema" and "Corcovado". To the musicians involved she was still a nobody; she got a flat fee of $120 and wasn't mentioned in the album credits at all. But the public disagreed. "The Girl From Ipanema" single rose to No.5 in the charts, while the Getz/Gilberto LP (1964) gradually broke all sales records, starting off an international bossa nova craze. Everyone fell in love with Astrud's soft, naive vocals, and kept asking for more. Cue Getz Au Go Go (1964), credited to "the New Stan Getz Quartet featuring Astrud Gilberto". No Jobim or João but a great band nevertheless, including Gary Burton on vibraphone and Kenny Burrell on guitar. Purportedly a live album cut at New York's famous Cafe Au Go Go, it's actually a jumble of live and studio sessions. Some of Getz's sax and all of Astrud's vocals were recorded in studio and overdubbed after the fact; it nevertheless sounds fantastic. The Essential Astrud Gilberto, issued in Europe in 1984 to capitalize on a bossa nova revival going on at the time, includes two songs from Getz Au Go Go, Jobim's "One Note Samba" and "It Might as Well Be Spring", the classic Rodgers & Hammerstein composition that won the Oscar Award for Best Original Song in 1945. From there on, Verve Records took over Astrud's career, pairing her with some of their best musicians, arrangers and composers, trying to capitalize on the bossa nova fad. It didn't matter that her voice didn't have a lot of power, range, or versatility. They had other singers like that. Ella Fitzgerald. Sarah Vaughan. Nina Simone. That class of singers. Compared to them, Astrud was a one-trick pony. Her renditions of the great American songbook are absolutely charming in their own way but they don't stand comparison with those by the aforementioned artists. Her frail and nostalgic delivery, punctuated by soft scatting, works nevertheless fabulously on the bossa nova cuts, songs by Jobim, Luiz Bonfá and ex-husband João - soon after the Getz collaborations, their marriage collapsed with Astrud staying permanently in USA and João remarrying and returning to Brazil soon after. The compilers here rightfully put the emphasis in the Brazilian element, which takes up more than 80% of this compilation, while the parent albums whence these songs came were at best a 50/50 mix of bossa nova and easy listening jazz. The Astrud Gilberto Album (1965) is her first, and probably best, LP as it contains Jobim's songs and guitar alongside some great musicians and rich strings and reeds arrangements. "Meditation", "O Morro Nao Tem Vez", and the playful "Agua De Beber" are included here. The next one The Shadow Of Your Smile (1965) follows the 50/50 approach, featuring 5 selections written by Bonfá, including the wistful "Tristeza" and "Manha De Carnival" as well as mid tempo "O Ganso" featuring Astrud scatting over a tastefully arranged Latin piece. Upbeat "Take Me To Aruanda" and a version of Sinatra hit "Fly Me To The Moon" round up the selections from that album. The next one (Look to the Rainbow, 1966) was apparently arranged by the great Gil Evans. We only get one short Latin song from it, João's "Bim Bom". The same year's A Certain Smile, A Certain Sadness is a collaboration with organist Walter Wanderley. Astrud's vocals here very good; Wanderley is likewise good but his organ playing roots this more to 60's lounge music than jazz. We get three selections from this album: "Goodbye Sadness (Tristeza)", "So Nice (Summer Samba)", and the short, bittersweet, "A Certain Smile". Last of the albums anthologized here is Beach Samba (1967). It contained a more-than-usual percentage of contemporary pop material, but at least "Beach Samba (Bossa Na Praia)" had all the marks of her best work. By this time, bossa nova had fallen out of fashion completely in the US. Verve backed the singer for a few more albums containing mostly covers of contemporary pop hits, but the compilers steer way from those. Which is just as well; I mean this LP is called The Essential Astrud Gilberto, and no-one would argue that her covers of songs by The Beatles, Nilsson, Lovin' Spoonful and The Doors (!) justify that title. But what we do have here is some of the most charming, irresistibly fresh, beautiful music made in the 60's. That's enough of a legacy for anyone!

***** for The Girl From Ipanema, Meditation, O Morro Nao Tem Vez, Corcovado, Agua De Beber, Goodbye Sadness (Tristeza), Take Me To Aruanda, So Nice (Summer Samba), Tristeza

**** for A Certain Smile, Beach Samba (Bossa Na Praia), Bim-Bom, One Note Samba, O Ganso, Fly Me To The Moon, It Might As Well Be Spring, Manha De Carnival

Rita Lee & Roberto "Rita Hits" 1975-1983(rec) 1984(comp)**

After publishing my latest post on Gal Costa, it dawned on me that we lost in the space of a few months arguably the greatest ladies of Brazilian popular song: Gal Costa in November, Rita Lee in May, and Astrud Gilberto in June. I thought it'd be a good idea to dedicate the rest of the month to them; after all this is exactly the appropriate kind of music for a hot summer like this one. 

To be honest, this doesn't represent any of my favorite Rita Lee moments; those would be during her time with Os Mutantes (1966-72). I remember being disappointed when I first listened to this CD, thinking it was just mainstream pop and not that interesting at all. So I put it away for many years, but then I thought it'd be interesting to hear it again with fresh ears so I took it out for another spin. What I didn't remember about it is that it's not a proper best-of covering this particular period in her career (1975-1983). Rather, it is a medley of hits taken from albums of that time, either solo or under the name of Rita Lee and Roberto (De Carvalho, her husband). As expected, the DJ chose the most upbeat songs, with a preference for disco, latin pop, and rock and roll. Suffice it to say that the late 70's and early 80's saw Rita Lee leave her past as an acid folk and psychedelic rock singer behind to embrace the commercial sound du jour - but then again, didn't most of her contemporaries all over the world do the same? As a result, while her earlier music with Os Mutantes remains interesting, these songs sound quite outdated albeit still pleasant as commercial pop of that period goes. The thing is that, even if one feels nostalgic for that era, I honestly can't think of any use for a collection of truncated versions such as this. I do remember that when I was a kid there were some mix LPs like Stars On 45 or Jive Bunny & The Master Mixers that people would play at parties; the DJ would put on a vinyl and let the whole side play on (something like 15 songs in 22 minutes) while he went to the loo or for a drink or to chat up some girl. I guess this compilation may have had a similar function at some time. But this isn't 1984 any more, so I can't think of any reason to recommend it. Somewhere there must be a regular Rita Lee compilation with entire songs. Or, better yet, get anything by Os Mutantes. Seeing as we only get excerpts here (most of them less than 90 seconds each) it's no use grading individual songs. Therefore I'll just mention the tracks and the albums they were taken from. These are, in chronological order, the following:

Esse Tal De Roque Enrow (Fruto Proibido, 1975) / Arrombou A Festa (Refestança by Rita Lee & Gilberto Gil, 1977) / Jardins Da Babilônia, Miss Brasil 2000 (Babilônia, 1978) / Corre-Corre,  Papai Me Empresta O Carro, Mania De Você, Doce Vampiro (Rita Lee, 1979) / Bem-Me-Quer, Orra Meu! , Baila Comigo (Rita Lee, 1980) / Saúde, Atlântida, Mutante (Saúde by Rita Lee E Roberto, 1981) / Flagra, Barata Tonta, Só De Você (Rita Lee - Roberto De Carvalho, 1982) / On The Rocks, Desculpe O Auê (Bombom, 1983) / Caso Sério, Lança Perfume (Baila Conmigo by Rita Lee Y Roberto, 1983)

Gal Costa "Índia" 1973*****

20-something years ago, I discovered Tropicália through a Luaka Bop compilation of songs by Os Mutantes. It was something of a revelation, since I've always been a fan of psychedelic 60's music but had never imagined a possible hybrid of psychedelia, jazz, folk, and exotic Latin rhythms. In the course of the years I collected some tropicalia-related CD's and LP's, and this is one of my favorites. Gal Costa had been one of the movement's figureheads and made some experimental LP's in that vein, but by 1973 she had left that mostly behind. It still is a very inventive album, combining jazz, folk, pop, bossa nova, and psychedelia - just softer and more mainstream than the challenging psychedelic LP's that preceded it. Which didn't stop it from getting in trouble with the Brazilian dictators who had previously imprisoned tropicalia leaders Gilberto Gil and Caetano Veloso. This time the sensors took exception with the album cover: it presents a close up of Gal's bikini front, while on the back the singer is pictured half naked, wearing only a grass skirt and jewelry made from beads and feathers. IMO it wasn't the nakedness that offended them but the use of indigenous dress (after all, to the military regime, the Amazonian tribes were savages, rather than true Brazilians) and Gal's pose, which was insolent rather than seductive. The cover was then replaced with a simple blue one, until recent reissues like this reproduced the original in all its exotic glory. Musically, the album impresses from the beginning: the eponymous first track features gorgeous orchestral arrangements and nostalgic vocals which remind me of Portugese fados as much as they do of bossa nova. This is followed by "Milho Verde" a traditional Portugese folk song combining Afro Latin percussion with layers of vocals reminiscent of medieval European music - an innovative arrangement by Gilberto Gill who also plays guitar throughout this record. "Volta" is a melancholic early 20th Century composition with sparse piano backing, while side 2 opens with "Relance" a song with Argentinean bandoneon and a funky beat, and one of two contributions made by Caetano Veloso to this album. "Pontos De Luz"'s funky bass and horns riffs offer another detour from the so-called MPB (Brazilian Mainstream Pop) style dominating the rest of the LP, which closes with a great version of Tom Jobim's much-covered bossa nova classic "Desafinado". A perfect listening for warm summer nights, combining soft exotic vibes with those weird Tropicália touches. Gal Costa would go on to ever greater mainstream pop success to become a national idol while remaining a constant irritant to the country's extreme right; she alienated many of her compatriots with her ceaseless denunciation of former president Jair Bolsonaro, and lived just long enough to see him get ousted from office, as she died last November at the age of 77.

***** for Índia, Desafinado 

**** for Milho Verde, Presente Cotidiano, Volta, Relance, Da Maior Importância, Passarinho, Pontos De Luz

Lula Côrtes e Zé Ramalho ‎"Paêbirú" 1975****

This collaboration of Brazilian artists Lula Côrtes and Zé Ramalho was recorded in 1974, released the following year and remained virtually unheard for 30 years due to a warehouse fire that destroyed almost all of the existent copies. A curiously fitting fate for an album dedicated to the four elements: earth, air, fire and water, each of which dominates one side of this double LP. When it finally emerged, people were surprised with how difficult it is to categorize. The obvious link with the Tropicalia movement is there, but "Paebiru" travels much further than that familiar mix of jazz, psychedelic rock, samba and avant garde. Sometimes it brings to mind the experimental Kraut rockers of the 70's like Amon Duul and Can, other times it sounds like the work of 21st century hipsters with a vast library of sounds and highly advanced mixing software. Now that I think about it, I could tell you it's Brazilian stoned hippie jam music and describe it as completely as I can in 2000 words. But it wouldn't be fair: "stoned jams" implies there isn't any melody or structure when in fact these exist, if only to provide the framework within which the musicians freely chase their muse. The Earth side starts with the almost conventional "Trilha de Sumé", a percussion-driven psychedelic samba with fluttering flutes and relaxed vocals not unlike Giberto Gil's early sides. This is followed by the almost cacophonous "Culto à Terra" with tribal drumming, chants and fuzzed out electric guitar, and the charming and melodic "Bailado das Muscarias" with its flute, piano and acoustic guitar. The Air side consists of the beautiful and introspective "Harpa Dos Ares" and "Omm" and the more experimental "Não Existe Molhado Igual Ao Pranto" with its chanted vocals and bebop sax. The Fire side starts with "Raga Dos Raios" shattering the quiet with acid fuzz guitars howling on a backdrop of Indian sounds. The rocking "Nas Paredes de Pedra Encantada" tries to lure us to the dancefloor with its propulsive beat, soul vocals and organ. That vibe continues with an experimental piece with a dancing beat called "Marácas de Fogo". The Water side opens with African-style chanting on "Louvação a Iemanjá" and continues with the psychedelic guitar improvisations of "Regato da Montanha". "Beira Mar" is an acoustic folk guitar interlude, followed by the joyous "Pedra Templo Animal" and instrumental coda "Trilha de Sumé part2". This album is a rare treat for the musically adventurous, but also has enough moments of pastoral beauty and exhilerated fun to hook in the casual listener. One can hardly believe that there are any "lost masterpieces" left in the world, but from time to time a record like "Paêbirú" emerges and proves us all wrong. Here's hoping there are more surprises like that to come...

***** for Bailado das Muscarias, Nas Paredes de Pedra Encantada

**** forTrilha de Sumé, Harpa Dos Ares, Omm, Raga Dos Raios, Marácas de Fogo, Louvação a Iemanjá, Regato da Montanha, Pedra Templo Animal

*** forCulto à Terra, Não Existe Molhado Igual Ao Pranto, Beira Mar, Trilha de Sumé part2

Célia Mara "Santa Rebeldia" 2008**

I got this album last summer completely by accident. I was driving daily from my brother's house to the beach and had nothing to listen to on the way, so I went into a Public store and bought the cheapest interesting looking CD's: this one and a celtic punk record I've already presented here. Surprisingly, the latter got played more often. My first impression of Célia Mara, from the pose on the cover to the music, was that she was trying to be the female Manu Chao. Reading up on her now, she seems to have paved her own way, from playing tropicalia as a young girl in Brazil to emigrating to Vienna during the early 1990s and creating the style she calls bastardista: A mix of traditional Latin, Brazilian, and Jamaican rhythms and electronica. Her defiant posing, dressed in garbage bags, on the cover is probably an illustration of the grab-bag nature of her music. The lyrics are (apparently) socially conscious and sung in a variety of languages (Portuguese, English, German, and Spanish). The best tracks here are the Manu Chao-like salsa/ska "Matriaméricas" (duet with Amparo Sanchez) and "Fábrica De Armas" and English language ska "AnaMaria". "Ilegal Na Geladeria" marries funk and bossanova, while "Brigada Rosa" and "Alma Reciclada" are among the more danceable tracks with their mix of samba rhythms and electronic beats. "A Flor do dendê" is a slow dub/samba piece and "Dá-Me Um Beijo" a bluesy ballad. The album closes with two of the poppier songs, German language reggae "Du Und Ich" and worldbeat "Nanâ Burukê". IMO, despite a few good tracks, the album as a whole is rather underwhelming, hence the overall rating is lower than individual ones.

**** for Matriaméricas, AnaMaria

*** for Ilegal Na Geladeria, Brigada Rosa, Alma Reciclada, Fábrica De Armas, Du Und Ich, Nanâ Burukê

** for A Flor Do Dendê, Dá-Me Um Beijo

Marcos Valle "Garra" 1971****

Marcos Valle was born and bred in Rio de Janeiro, but the young man on his record covers is a blond Californian dude and not my idea of a Brazilian musician (which just shows how little I know about Brazil). He must have come from a rich family, having had piano and music theory lessons as a young child. The sounds of his native country soon won him over and he developed his own very successful mix of bossa-nova, samba, jazz and pop. His stay in U.S. (1965-68) must have influenced him because further albums saw him adding soul and psychedelic rock in the mix. Recorded in 1970, "Garra" is considered his best album of the period, an adventurous affair marrying jazz, samba, soul and psychedelic rock. It's impressively produced, utilizing session musicians, male and female backing vocalists, flutes and harpsichords, mellotron and orchestras. The lyrics, co-written with his brother Sergio Paulo, all convey a hidden meaning in order to get past the dictatorship's censors. Thankfully the recent Light In The Attic reissue contains not only English translations but also commentary by the songwriter. So we learn, for example, that psychedelic pop ballad "Jesus meu rei" is not really about Jesus. Initially it was called "Pobre Do Rei"(My Poor King) and is about a king, isolated from his people, making laws in contrast to the world around him. "Com Mais De 30 (Over Thirty)" and "Garra (Grab)" are two happy, upbeat songs about losing your dreams when growing up and chasing after money and success while life passes you by. The successful businessman's laugh in "Gatra" is not happy but bitter: "I run after money ha ha/'Til my whole body/Collapses to the ground,ha ha/ I'm gonna live downtown, ha ha/ I don't even know my city that well,ha ha/ But I'm gonna win (if I don't die)". Yet the casual listener is left with the impression of having listened to a careless dance song. The title also means "Claw", which explains the hawk on the album's cover. "Black is Beautiful" is a soul ballad addressing Brazil's racial problem. He sings "I Want a Goddess  from the Congo, or from here, to integrate with my European blood". Initial version ("to improve my European blood") must have almost given the censors a heart attack. "Paz E Futebol", "Wanda Vidal", "Vinte e Seis Anos de Vida Normal" and "O Cafona" are all light samba soul and "Minha Voz Vire Do Sol da America" a beautiful symphonic piece. The album is a must for fans of brazilian pop and tropicalia.

**** for Jesus Meu Rei, Com Mais De 30, Garra, Wanda Vidal

*** for Paz E Futebol, Que Bandeira, Minha Voz Vira Do Sol Da America, Vinte E Seis Anos Anos De Vida Normal, O Cafona

** for Black is Beautiful, Ao Amigo