Brazil — All Formats  

An amazing collection – every single Jorge Ben album recorded for Philips – one hell of a massive legacy in music, packaged here with a bonus CD of rare material too! The albums in the collection are the stuff of legend – amazing discs that forever changed the face of Brazilian music with Jorge's unique blend of samba and soul, plus a touch of funk as the 70s came on – and together, the music is a mindblowingly heavy batch of work that few other artists could ever match! Titles include Samba Esquema Novo, Sacudin Ben Samba, Ben E Samba Bon, Big Ben, Jorge Ben (1969), Forca Bruta, Negro E Lindo, Ben, 10 Anos Depois, A Tabua De Esmeralda, Solta O Pavao, Gil E Jorge, and Africa Brasil. Rarities disc is unique to this set, from what we can tell – and is filled with goodies too!

Titles include "Mariana Mariana", "Pra Dizer Adeus", "Ronda", "Coracao Ateu", "Olhos Nos Olhos", and "Cheiro De Amor".

An overlooked gem from Chico's mid 80s period – a record filled with strong and subtle songs, often backed by some nicely jazz-tinged arrangements from Cristovao Bastos! The album's not as revolutionary as some of Chico's earlier records, but it more than makes up for that with an incredibly solid quality overall – and a mature, sophisticated approach to songwriting that easily matches some of Caetano Veloso's best work of the same time. Titles include "Pleas Tabelas", "Samba Do Grande Amor", "Mil Perdoes", "Vai Passar", "As Cartas", and "Suburbano Coracao".

If you've ever been wondering which album to get by Chico Buarque – this is it! The record's a stunning batch of sophisticated sides, done in collaboration with Roberto Menescal, and with help from Jobim and MPB4! The album builds on the style of Buarque's excellent late 60s songwriting, and adds in some of the more complicated approaches to arrangement that were being developed in Brazil at the end of the 60s – in a way that pushes Chico's work to the next level, and which makes this record sit right up there with work at the time by Jobim or Edu Lobo. Titles include "Samba De Orly", "Valsinha", "Acalanto", "Deus Ilhe Pague", and "Construcao". Really beautiful – with a lot of soul, and a great sound!

A wonderful mid 70s album by Chico Buarque – proof that he was still one heck of a songwriter, and a pretty decent singer, despite the fact that he'd grown a silly-looking moustache! The production's very nice, too – with that excellent compressed sound that was being used on some Brazilian vocal albums at the time, like work by Joao Donato. Includes the "O Que Sera", a sublime duet with Milton Nascimento that's one of the best versions we've ever heard of the song. Other tracks include "Vai Tabalhar Vagabundo", "Voce Vai Me Sequir", "Corrente", and "Passaredo".

Chico pays tribute to a host of other Brazilian composers – but he manages to make the work entirely his own, thanks to a deeply personal approach! Styles here run the gamut from samba to sophisticated, often handled with slightly jazzy undercurrent – and backings are by Perinho Albuquerque, in a warm mode that sometimes has fuller flute, guitar, and percussion – but which also drops out at times to give the record a much more intimate approach. Tunes are written by Tom Jobim, Gilberto Gil, Noel Rosa, Nelson Cavaquinho, Vinicius De Moraes, and Sebastiao Nunes – and titles include "Festa Imodesta", "Filosofia", "Cuidado Com A Outra", "Lagrima", "Voce Nao Sabe Amar", "Ligia", and "Sem Compromisso".

An album with as much depth and richness as the title might imply – a wonderful record from Chico Buarque's newly sophisticated years at the end of the 70s! The set's got a quality that's almost timeless – an interwoven blend of styles that features some of Chico's modes from earlier years, but also an influence that's almost European at times – an approach that has Buarque rising up with some of the great global singer/songwriters, transcending standard MPB with a sense of confidence and personality that's really amazing. Arrangements are by Francis Hime, Tom Jobim, and Roberto Menescal – and most tracks have some prominent guitar played gently, but effectively next to the vocals – handled by players who include Octavio Burnier, Arthur Verocai, and Geraldo Azevedo. Titles are nearly all originals by Chico – with tracks that include "Vida", "Ja Passou", "Fantasia", "Qualquer Cancao", "Nao Sonho Mais", "Bye Bye Brasil", "Morena De Angola", and "De Todas As Maneiras".

Gal Costa runs through a set of Dorival Caymmi's classics, with a good set of 70's arrangements, and some excellent accompaniment by Joao Donato, Roberto Menescal, and Antonio Adolpho. Donato also did a number of the arrangements, and the tracks include "Sao Salvador", "Vatapa", "Nem Eu", "O Vento", and "Pescaria".

Gilberto Gil's first album after a few years exile in England – and a really explosive record that recalls the brilliance of his Tropicalia years! The record's an incredible blend of rootsy percussion, raspy guitar, and tripped-out production – all delivered with an instrumental sensibility that's even more sophisticated than before, and a lyrical interplay that's really amazing – extremely poetic at points, even if you can't understand the language! As with Gal Costa in the early 70s, Gilberto Gil manages to keep some of the best experimental elements of his music burning bright, even after the collapse of the Tropicalia movement – and as with some earlier Tropicalia gems, this album features some great work on bass and guitar from Lanny Gordin, not to mention drums and percussion from Tutty Moreno, who's better known for his later work with Joyce. Tracks include "Back In Bahia", "Expresso 2222", "Oriente", "Chiclete Com Banana", "Pipoca Moderna", and "O Sonho Acabou".

The rare 3rd album by Gilberto Gil, and a key piece of the Tropicalia puzzle – one of the most wildly experimental albums from those years, and Gil's last before going into exile! The sound is much more electric than his other albums from the late 60's – and the production, songwriting, and instrumentation get very crazy at times – but never too crazy to cover up Gilberto's excellent singing, which is still as filled with feeling as ever. Arrangements are by the mighty Rogerio Duprat, who does as great a job here of balancing Gil's sensitivities as he does on Gal Costa's sublime efforts from 1969 – and the instrumentation is a weird and wonderful mix of Bahian rhythms, fuzzy guitar, and crazy electronics – all heartfelt one minute, freaked out the next. Tracks include "Cerebro Eletronico", "Volks Volkswagen Blue", "Futurivel", and "2001", which was written by Tom Ze and Rita Lee – plus the wild cut "Objecto Semi-Identificado", which is sort of a John Cage-esque track of found radio and electronics, with vocals by Gil!

The first solo album by Rita Lee – cut back when she was a member of the groundbreaking Tropicalia trio, Os Mutantes! The album's got a very different feel than her work with that group – and has Rita stepping out as a sophisticated pop singer, almost in the way that Nico did on the Chelsea Girl album, after leaving the Velvet Underground. Arrangements have a weird twisted edge – as Rita makes her way through a set of originals and a few covers, in an almost deadpan, ice-blond mode that reminds us of some of Jane Birkin's early work. Arrangements are by the great Rogerio Duprat, and titles include "Sucesso, Aqui Vou Eu", "Prisioneira Do Amor", "Hulla Hulla", "Tempo Nublado", "Precisamos De Irmaos", and "Calma" – plus a nice cover of "And I Love Him".

A beautiful album of jazzy vocal tracks with a definite bossa feel, recorded by the group O Quarteto – a harmony group whose style is very reminiscent of earlier Brazilian ones – like Os Cariocas and The Tamba Trio! The record's a sparkling batch of bossa tracks, produced with an electric groove that's sort of similar to some of the late 70s MPS material – with soaring harmonies, warm keyboards, and a killer mellow jazzy groove – the kind of sound that was probably overlooked at the time, but which really sounds great all these years later! Titles include "Ceu E Mar", "Vo Ceitar E Rolar", "Desafinado", "Moca Flor", "Preciso Aprender A Ser So", and "O Barquinho". Very nice, and one not to pass up!

The third album from the legendary Os Mutantes – part of the essential trio of sides released during the Tropicalia years! The record's got a sound that's tighter and a bit more straightforward than their previous efforts – stricter song formats, and styles that lean heavily on rockish guitars and organ. But as the odd cover images on the front and back will attest, the band is still in a very creatively arty mode here – still working strongly with arranger Rogerio Duprat, in a wash of sounds and moods that fold contemporary music back upon itself with plenty of odd twists, turns, and surprises! Titles include "Desculpe Babe", "Oh Mulher Infiel", "Quem Tem Medo De Brincar De Amor", "Hey Boy", "Haleluia", "Ave, Lucifer", and "Meu Refrigerador Nao Funciona".

A very cool 70s album from Quarteto Em Cy – done with a sound that's quite different than their earlier work, but still pretty darn great! There's a compressed approach used to record the vocals here – a style that takes off from their 1972 album, but has a slightly more electrified feel – almost the warmth of some of the best French work of the 70s. The vocals are still wonderful, and really sound great in this setting – never cheesy and instead almost expanded by the new approach. Titles include a great version of Joyce's "Feminina", plus "Maria Maria", "Sabia", "Vinho Amargo", "Bom Dia", and "Nada Alem".

Elis Regina hits the London scene of the late 60s – with amazing results that make the album one of her best from the early years! The style here is still quite bossa-oriented, but backings are done by Peter Knight – who'd worked with Scott Walker and some of the other hip British singers at the time – so the sound's a bit different than Elis' Brazilian records, too. Knight's quite sensitive to Regina's way of interpreting a tune – and he nicely follows the soaring, jazzy vibe that Roberto Menescal had given her at home. But the groove's also a bit more open and fluid too – with some slight Brit Easy touches that really send the whole album home! Titles include a great version of "Upa Neguinho", plus "O Barquinho", "Zazueira", "Giro", "A Volta", "Corrida De Jangada", "Watch What Happens", and "Wave".

One of the first albums ever by this legendary bossa singer! Even at this young age, Elis Regina diplays a talent for interpretation and an emotional power that few other Brazilian vocalists could match – a way of putting over a tune that brought a whole new level of sophistication to Brazilian music in the 60s! On the set, Elis manages to give the songs a great deal of life, without smothering them in the heavier over-emotional style used by other Brazilian singers at the time – and works with light, lively, jazzy backings that are totally great. The result is a crackling batch of samba and bossa tracks that shines with warmth and imagination. The set includes a lot of tracks by Edu Lobo, and titles include "Sou Sem Paz", "Reza", "Por Um Amor Maior", "Joao Valentao", "Aleluia", "Ultimo Canto", and "Preciso Aprender A Ser So".

One of the first albums ever by this legendary bossa singer! Even at this young age, Elis Regina diplays a talent for interpretation and an emotional power that few other Brazilian vocalists could match – a way of putting over a tune that brought a whole new level of sophistication to Brazilian music in the 60s! On the set, Elis manages to give the songs a great deal of life, without smothering them in the heavier over-emotional style used by other Brazilian singers at the time – and works with light, lively, jazzy backings that are totally great. The result is a crackling batch of samba and bossa tracks that shines with warmth and imagination. The set includes a lot of tracks by Edu Lobo, and titles include "Sou Sem Paz", "Reza", "Por Um Amor Maior", "Joao Valentao", "Aleluia", "Ultimo Canto", and "Preciso Aprender A Ser So".

2 amazing albums from Elis Regina – back to back on a single CD! First up is Elis Como Et Porque – one of our favorite albums ever from the incredible Elis Regina – a record that really has her hitting new levels in her style – moving past simple bossa into a realm of music that's all her own! The backings are arranged by Roberto Menescal, who also moves into some great new territory here – a soaring, spacious mode that's way different than his gentler bossa – and which really has some of the growing complications that were showing up in Brazilian music at the end of the 60s. There's a fair bit of jazz in the mix, but also a fair bit of majesty too – and the tunes soar out with a much livelier feel than some of Regina's later albums. Titles include amazing renditions of "Canto De Osssanha", "O Barquinho", "Giro", "O Sonho", "Casa Forte", and "Vera Cruz" – plus a tasty version of Michel Legrand's "Recit De Cassard", from Umbrellas Of Cherbourg. On Elis Regina In London, Elis hits the London scene of the late 60s – with amazing results that make the album one of her best from the early years! The style here is still quite bossa-oriented, but backings are done by Peter Knight – who'd worked with Scott Walker and some of the other hip British singers at the time – so the sound's a bit different than Elis' Brazilian records, too. Knight's quite sensitive to Regina's way of interpreting a tune – and he nicely follows the soaring, jazzy vibe that Roberto Menescal had given her at home. But the groove's also a bit more open and fluid too – with some slight Brit Easy touches that Really send the whole album home! Titles include a great version of "Upa Neguinho", plus "O Barquinho", "Zazueira", "Giro", "A Volta", "Corrida De Jangada", "Watch What Happens", and "Wave".

A wonderful gem from Emilio Santiago – soaring and hip all the way through! After some of his earlier funkier work, this may well be the best full album ever cut by Santiago – thanks to some warm jazzy arrangements from the likes of Antonio Adolfo and Meirelles, both of whom really make the set sparkle with a warm electric piano groove! Emilio's vocals are great – soulful and sophisticated at once, perfectly fitting with the light jazzy changes of the tracks, giving them the right dose of honest emotion. Titles include "Rola Bola", "Recado", "Logo Agora", "Caridade", "Bufete E Cascudo", "Trocando Em Muidos", and "Quase Sempre".

The stuff of legend – and one of the greatest albums ever from Brazil's Tamba Trio! The group have a sound here that goes way beyond standard bossa jazz – in that amidst the piano, bass, and drums, the trio also harmonize vocally too – swirling together the lyrics, which are often wordless, in these cool jazz riffs that are really amazing – soaring out above the instrumentation, to create a whole new layer of grooves! Arrangements are by the group's pianist, Luiz Eca – who really reaches a high point in his musical development here – and titles include the classics "Boranda", "Barumba", and "Consalacao" – plus "Yansa", "Moto Continuo", "Nuvens", and "Pregao".

One of the building blocks of the late 60s Tropicalia scene in Brazil – and a standout solo debut from the young Caetano Veloso! The album's got an approach that's as dynamic and trippy as its cover image might imply – the same amazing blend of sounds and styles you'd hear on contemporaneous records by Gal Costa or Os Mutantes – served up with similar wit, wisdom, and charm! Caetano's vocals are amazing throughout – filled with raspy power that goes beyond the barriers of language – and the production has loads of surprising elements tripping through the mix – some rootsy, some slightly orchestrated – but with a softer approach that resonates strongly with more psychedelic use of organ and guitar. The album's as powerful today as it was decades ago – an essential recording that holds up beautifully year after year! The kickoff track is "Tropicalia" (surprisingly enough!), and the album is a non-stop ride through gems like "Alegria, Alegria", "Onde Andaras", "Paisagem Util", "Ave Maria", and the groovy "Soy Loco Por Ti America", written by Gilberto Gil.

A lively album that mixes Caetano's rich songwriting style with a hard percussive base, which gives the tracks a fast jumpy feel, and gives even more power to Caetano's strong voice. There's little psychedelic bits, with good guitars that get noisy in parts, but there's also a warm MPB feel to the LP. Kind of hard to describe, but another unique bit of brilliance from one of the true geniuses of pop music in the 20th century. Tracks include "Um Frevo Novo", "Chuva, Suor E Cerveja", "Cara a Cara", "Qual e, Baiana?", and "La Barca". This Japanese CD edition has 6 bonus tracks: ""Barao Beleza", "E Coisa Do Destino", "Frevo Do Trio Electrico", "O Bater Do Tambor" and "Samba Da Cabeca".

Amazing stuff from Jorge Ben – and the record that pushed him over the top! The album's a masterpiece of funky Brazilian soul – and it includes the huge hit "Taj Mahal", which still sounds great, even after all these years! Other great cuts include "Fio Maravilha", "Paz E Arroz", "Morre O Burro Fico O Homem", and "Que Nega E Essa" – but it all sounds great, and we can't think of a better Ben album from the 70s to recommend!

A fantastically soulful album from Jorge Ben – one of his greatest records ever, and a key part of Brazilian music in the 70s! The album marks an earthier shift for Jorge – a sound that's still rooted in the samba influences of the 60s, but which also takes on a bit more soul at the bottom – thanks to rhythmic contributions from Trio Mocoto, who work here famously to help Ben shape the overall feel of the set! There's still a bit of larger orchestrations at moments, but these are used sparingly just to sweeten the sound – leaving the main force of the music to come from Jorge's guitar, and the cuica, percussion, and tamborim of the trio. The vocals are wonderful too – slightly raspy, and with a bit more feeling than we ever remember Jorge having on record – sometimes a bit intimate, yet always with an undeniable presence throughout. One of those records that still sends chills up our spines, year after year – with tracks that include "Oba La Vem Ela", "Ze Canjica", "Pulo Pulo", "Apareceu Aparecida", "Terezinha", "Mulher Brasileira", "Forca Bruta", "O Telefone Tocou Novamente", and "Charles Junior".

Searing samba soul from Jorge Ben – one of his best-remembered albums of the 70s, and for good reason too! The album's got a slightly fuller feel than some of Ben's other work of the time – never slick, but with backings balanced nicely against his own raspy vocals and acoustic guitar – sweetening things up with a bit of the strings you'd find on Forca Bruta, but with a hint of the soul to come on Africa Brasil! The balance is great – thanks to arrangers Osmar Milito, Darcy De Paulo, and Hugo Bellard – and as usual, Jorge's vocals are the main attraction – dipping, turning, and rising with this really unique, personal feel – Ben-like brilliance at its brightest. The whole thing's wonderful – a key gem from the Philips years – and titles include "Cinco Minutos", "Zumbi", "Brother", "Os Alquimistas Estao Chegando Os Alquimistas", "Errare Humanum Est", "Menina Muler Da Pele Preta", "Hermes Tri", and "O Namorado Da Viuva".

One of Chico's strongest albums of the late 70s – a masterful set of sophisticated tunes, recorded with some great guest help from Milton Nascimento, Zizi Possi, and Elba Ramalho! The album's got a slightly melancholy feel overall – not completely somber, but a slightly world-weary sound that makes the album a bit different and more mature than some of Chico's earlier work – and which beautifully unlocks a new chapter in his tremendous talents. The style is great – perfect for Buarque's growing international fame at the time, but not in a way that's ever too commercial. Titles include "Calice", "Feijoada Completa", "Tanto Mar", "Apesar De Voce", "Pequena Serenata Diurna", and "Ate O Fim".

Heady heady work from the legendary Gal Costa – caught here right at her early best, smack dab in the middle of the Tropicalia years! The album's one of Gal's legendary collaborations with arranger Rogerio Duprat – and it's very much in the spirit of her other incredible session from 1969, but also features some even heavier and more tripped out guitar – in a way that really pushes the psychedelic aspect of the work! The sound here is really amazing – very fuzzy and freaky at times, in ways that make the album one of the most rocking sets of the entire Tropicalia scene, but in ways that still hang onto the quirky experimental qualities of work by Os Mutantes or Caetano Veloso. Gal's vocals really rip out amazingly at times – light years away from the sweet sound of the late 70s, and more in the frenetic, urgent style you'd expect from the politically-charged scene that spawned the set. Caetano Veloso and Gilberto Gil join Gal on a great version of "Pais Tropical", Jards Macale guest stars on the classic "Empty Boat" – and other tracks include "Tuareg", "Meu Nome E Gal", "Pulsars E Quasars", and "Cultura E Civilizaco". Essential!

One of the most mindblowing albums ever recorded – anywhere, anytime! This 1969 set stands as one of the greatest records ever cut by Gal Costa – done at the height of the Tropicalia movement, and featuring a sublime mix of styles that really gets the spirit of the movement right. Arrangements are by the legendary Rogerio Duprat – who effortlessly shifts the backings between stark electronics, sweet bossa, gliding strings, jazzy piano, and baroque orchestrations that dance around with a surprising amount of grooves! Tunes include some classics by Caetano Veloso, Jorge Ben, and Gilberto Gil – served up in amazing new versions by Gal and Duprat! Titles include "Nao Identificado", "Lost in the Paradise", "Que Pena", "Sebastiana", "Namorinho De Portao", "Divino Maravilhoso", and "Deus E O Amor".

Essential early material by Gal Costa! The record is her first after the immediate Tropicalia years, and it's a stunning blend of styles that seems to draw heavily from changes going on in the American rock scene at the time. The core of the music is still steeped in Brazilian elements – but there's a lot of influences coming into play on the album, like bluesy rock phrasing, showy nostalgia-heavy arrangements, psychedelic production elements, and some of the baroque orchestrations that would show up on Gal's later albums in the 70s. Includes a wonderful version of Caetano's "London London" and "Dixa Sangrar", the moody bossa "Falsa Baiana", Gilberto Gil's "Lingua Do P" and "Mini Misterio", and the tracks "The Archaic Lonely Star Blues", "Love, Try, & Die", and "Hotel Das Estrelas". Great cover, too!

An incredible bit of Brazilian music – both funky and baroque, with amazing compositions by Egberto Gismonti, and great production by Roberto Menescal! The record's got swirling strings, off-kilter piano, and rolling basslines – with a groove that's impossible to describe, and which is indescribably beautiful! We love this one to death, and never tire of playing it. Darn hard to find in any format, and with the tracks "Janela De Ouro", "Ciclone", "O Mercador De Serpentes", and "Lendas" – plus a version of "Sonho" that's different than the one on the album from 1969.

One of the loveliest of all the bossa singers is caught here in some superb arrangements by Oscar Castro-Neves, Maestro Gaya, and Dori Caymmi! This loaded compilation of material features the entirety of Nara Leao's classic self-titled Phillips album from 1967 and the album Vento De Maio – both excellent records that showcase a move away from simple bossa nova into the work that would make her one of the key figures of the Tropicalia scene! The tracks have a wonderful feel – with moments that are rootsier than your average bossa record, and others that are baroque enough to hint at the direction Nara would take a year later with Rogerio Duprat. Production is excellent, and Edu Lobo even guests on the track "De Onde Vens". 23 tracks in all! Other titles include "Quem Te Viu Quem Te Ve", "Vento De Maio", "Maria Joana", "A Praca", "Um Chorinho", "Lancha Nova", "Inspiracao", "No Corado Da Saideira", "Camisa Amarela", and "Se Voce Quiser Saber".

Quite possibly the clearest moment of genius ever from the legendary Hermeto Pascoal – a tremendous album that helped reshape instrumental Brazilian music for many years to come! At one level, the record shares a sound with some of the fuller, richer orchestrations going on in the post-bossa years – especially the work of Edu Lobo and Marcos Valle – but at another, it's filled with the kind of inventive instrumental interplay that's always made Hermeto so great, but which has never come off so perfectly as it does here! As you might expect from Pascoal, there's some especially great reed passages – crafted in a flurry of colors and tones – but there's also a warmer, more flowing quality to the whole album – less of the dark notes and pointy edges that show up often in Hermeto's work from later years. Bits of strings help the whole thing glide tremendously – and the record's a genre-busting blend of jazz, Brazilian roots, and complicated arrangements – unlike anything else we've ever heard, and still one of our favorite albums of all time! Titles include "Bebe", "Asa Branca", "Carinhoso", "Plin", "Gaio Da Roseira", and "Sereiarei".

Nearly 3 albums' worth of music from the legendary Tamba Trio – one of the grooviest groups in the 60s bossa years in Brazil! The trio are quite unique – in that they not only play upbeat bossa rhythms, but also harmonize along with their grooves – in a soaringly sublime quality that really electrifies the tunes! Most of their lyrics are jazzy and somewhat scatted – kind of an added layer of music on top of the core jamming of piano, bass, and drums – and the production on these key 60s sides really helps their sound hit just the right level – a heavenly sound that's occasionally augmented by added percussion, flute, or guitar. The CD is one of the best introductions to their work we've ever seen – as it features material from the 60s albums Tempo, Tamba Trio, and Avanco, plus the rare Brasil Saluda A Mexico single – a whopping 26 tracks in all, with titles that include "Reza", "Tamba", "Batida Diferente", "Influencia Do Jazz", "Nos E O Mar", "O Amor Que Acabou", "Tristeza De Nos Dois", "Negro", "Rio", "Yansa", "Moto Continuo", "Barumba", "Danielle", "Pregao", "Boranda", "Consolacion", and "Morte De Um Deus De Sal".

A nice little solo record from guitarist Toquino – featuring a number of excellent original compositions, most of which are spare guitar instrumentals, with occasional other backing on sax or strings. Titles include "Caro Raul", "Regra Tres", "Suite Argentina", "Samba Do Ausente", "Dialogo", and "Turbilhao".

A warm, wonderful and spare record from the mid 70s, with Caetano's voice out front, and minimal accompaniment by percussion, guitar, and keyboards. It's anything but a snoozer, though – it's got a deep rich sound, and excellent songs throughout – with even more of an emotional focus thanks to the ample spaces to be filled by Caetanos vocals! Nothing but great tracks, including "Joia", "Lua, Lua, Lua, Lua", "Minha Mulher", and his excellent cover of "Help", sung in a breathy ballad with a twist that's totally different than the Beatles' version! Great stuff – and a real fave around the DGA offices!

An incredible album – and a landmark session that showed that the bossa nova was still alive and well in the 1970s! The album pairs the breathy jazz vocals of Elis Regina with the booze-soaked warmth of Antonio Carlos Jobim – in a set of spare arrangements that feature a lot of touches from Cesar Carmargo Mariano, whose work on Elis Regina's 70s sessions is still the stuff of legend! Elis' vocals dominate, but when Tom comes in, the result is even more spectacular – especially given the generally light instrumentation used on most tracks – which means that the vocals carry the bulk of the sound on the set! Includes the pair's sublime duet on "Aguas de Marco", plus the tracks "Fotografia", "Brigas, Nunca Mais", "Retrato Em Branco E Preto", "Chovendo No Roseira", "Modinha", and "Triste".

Sweetly jazzy, funky, and soulful work from Caetano Veloso – a great departure from some of his headier work of the early 70s – and proof that he still sounds great, even when in sweetly melodic territory! The album's got some full backings from Perinho Albuquerque, but the sound is never commercial or slick – just more in the mode of some of Caetano's other 70s contemporaries, particularly some of the groovier artists over at Odeon/EMI! There's sweet keyboards, nice guitar riffs, and other somewhat soulful elements that really bring a warm glow to the best tracks here – and Caetano's vocals, although gentle at times, have a great way of fitting right in with the groove. Titles include "Gente", "Um Indio", "O Leaozinho", "Odara", and "Alguem Cantando".

A landmark album – not just in Brazilian music, but in all modern music in general! The set's a legendary manifesto for the Tropicalia movement in Brazil – and features key works by all the leading musical luminaries in the movement – including a few later stars who are heard here at their most edgey! The work is as groundbreaking today as it was at the end of the 60s – a brilliant testament to the power of artists to really break down boundaries in art and music, and find a way to mix the political with the popular at the same time. Titles include a fantastic version of Gal Costa and Caetano Veloso singing "Baby", the "Tres Caravelas" duet between Caetano Veloso and Gilberto Gil, Gil's great reading of "Bat Macumba" with Costa and Veloso, Nara Leao singing "Lindoneia", Os Mutantes performing "Panis Et Circenses", Gilberto on "Geleia Geral, Caetano doing "Coracao Materno, and Rita Lee, Gal Costa, and Caetano Veloso singing "Enquanto Seu Lobo Nao Vem". Brand new remastering – approved by Caetano Veloso himself!

Searing samba soul from Jorge Ben – one of his best-remembered albums of the 70s, and for good reason too! The album's got a slightly fuller feel than some of Ben's other work of the time – never slick, but with backings balanced nicely against his own raspy vocals and acoustic guitar – sweetening things up with a bit of the strings you'd find on Forca Bruta, but with a hint of the soul to come on Africa Brasil! The balance is great – thanks to arrangers Osmar Milito, Darcy De Paulo, and Hugo Bellard – and as usual, Jorge's vocals are the main attraction – dipping, turning, and rising with this really unique, personal feel – Ben-like brilliance at its brightest. The whole thing's wonderful – a key gem from the Philips years – and titles include "Cinco Minutos", "Zumbi", "Brother", "Os Alquimistas Estao Chegando Os Alquimistas", "Errare Humanum Est", "Menina Muler Da Pele Preta", "Hermes Tri", and "O Namorado Da Viuva".

An incredible album by one of our favorite Brazilian artists! This gem from 1972 is an album that we'd rank right up there with work by Caetano Veloso, Gilberto Gil, or Lo Borges from the same time – with an underground singer/songwriter style, performed in a manner that mixes rock and jazz styles, but all with a rough edge and a very rootsy feel. Macale is an enormous talent that's always been woefully overlooked by listeners outside of Brazil – but he's one of the greatest talents of the 70s, and this may well be his best album! Titles include "Farinha Do Desprezo", "Mal Secreto", "Hotel Das Estrelas", "78 Rotacoes", and "Movimento Dos Barcos".

The stuff of legend – and one of the greatest albums ever from Brazil's Tamba Trio! The group have a sound here that goes way beyond standard bossa jazz – in that amidst the piano, bass, and drums, the trio also harmonize vocally too – swirling together the lyrics, which are often wordless, in these cool jazz riffs that are really amazing – soaring out above the instrumentation, to create a whole new layer of grooves! Arrangements are by the group's pianist, Luiz Eca – who really reaches a high point in his musical development here – and titles include the classics "Boranda", "Barumba", and "Consalacao" – plus "Yansa", "Moto Continuo", "Nuvens", and "Pregao".

Some of the most beautiful work ever recorded by Caetano Veloso – an album that carries on the style of English language lyrics used on his session in exile in 1971, but which also introduces him back to the world of Brazilian popular music! The album's a great transition for Veloso – a set that's served up with some of the newly personal qualities his music developed in London, but which still has a good ear for experimentation and keeping things interesting. Titles include the wonderful "Nine Out Of Ten" – a haunting tune about his time in exile – plus "Neolithic Man", "Nostalgia", "Triste Bahia", "It's A Long Way", and "You Don't Know Me".

An overlooked gem from Chico's mid 80s period – a record filled with strong and subtle songs, often backed by some nicely jazz-tinged arrangements from Cristovao Bastos! The album's not as revolutionary as some of Chico's earlier records, but it more than makes up for that with an incredibly solid quality overall – and a mature, sophisticated approach to songwriting that easily matches some of Caetano Veloso's best work of the same time. Titles include "Pleas Tabelas", "Samba Do Grande Amor", "Mil Perdoes", "Vai Passar", "As Cartas", and "Suburbano Coracao".

An amazing record – one we'd easily rank right up there with some of our favorite 60s albums from Brazil – including work by Baden Powell or Elis Regina! This session has echoes of the best of both of those artists, but also predates their key moments too – a groundbreaking record that combines older folkloric themes and groovier rhythms of the post-bossa generation – all with an echoey brilliance that reminds us a lot of Powell's classic Afro Sambas record, but sung with the fierce emotion we've always loved in Elis. We've never seen another record from Zelia Barbosa, but this one moment of genius is more than enough to make us love her – a bold, righteous album that no doubt languished in the 60s in the world/folk underground of the Monitor label, but which would have exploded in Brazil had it been issued on Philips or Forma! Just about every cut's a winner, and titles include "Pedro Pedreiro", "Cheganca", "Nega Dina", "Zelao", "Cancao Da Terra", "Sina De Caboclo", "Feio Nao E Bonita", and "Opiniao".

A beautiful package – as beautiful as the music of Jobim, and one of the true fitting tributes to his genius! The set is a retrospective of the work of Antonio Carlos Jobim – and it features tracks that stretch back to his early recordings for Verve, CTI, and Philips (from both the US and Brazil), work he did with other artists (including Astrud Gilberto, Stan Getz, and Elis Regina), and even recent work recorded slightly before his death. The booklet is every bit as beautiful as the music – an origami-like affair, with paper and plastic folding out to reveal some great notes and biographical information on Jobim, offering one of the coolest packages you've ever seen to hold the set's 3 CDs! Titles include "Wave", "Waters Of March", "Agua De Beber", "Bonita", "Photograph", "Dreamer", and so much more – and there's a total of 55 songs packaged with the 60 page booklet!

A legendary album! This previously unreleased album by Os Mutantes was supposed to be their breakthrough album to an English speaking market – but for years it's only been talked about in hushed whispers, and has only been heard by a lucky few! The record was recorded in Paris in 1970 – and it's ALL IN ENGLISH! (Not that we're biased against Portuguese, mind you – but since we're English speakers, it's kind of a nice thing to have a record that we can understand!) The record features a number of tunes from the Mutantes first two albums – redone here with translated lyrics, and in a compressed pop style that's a bit smoother than the original albums, but still very nice! In fact, the record's a sophisticated pop statement that would have stood well in the company of many of the best of 1970s rock elite – had the boneheads at Philips actually decided to release the record! No use crying over spilled milk, though – because the album's out now, and it's filled with loads of nice tracks like "Panis Et Circensis", "Batmacumba", "Tecnicolor", "El Justiciero", "I'm Sorry Baby", "Saravah", and a sublime reading of "Baby", a track that was virtually the manifesto for Tropicalia!

Overlooked later gems from Elis Regina – some of her late-life albums recorded for Warner Brothers! Essa Mulher is a killer – recorded in the company of arranger Cesar Mariano, whose masterful touch made for some of Elis' best albums of the 70s! Cesar arranged and conducted here, and although the production is perhaps a bit more contemporary than Elis' work for Philips, the vocals are sublime – much more driving and jazzy than a few years before, really working hard to dig deep and get the best sound out of each of the tunes! Saudade Do Brasil is a double-length set – very much in the spirit of Regina's classic work for Philips in the 70s! Like so many of those records, this one features arrangements and keyboards by Cesar Camargo Mariano – and the list of tracks is a stellar blend of work by some of Brazil's finest writers. Elis Por Ela features Regina taking on the music of Milton Nascimento, Antonio Carlos Jobim, and Joao Bosco – really showing her range of vocal strengths, set to backings that are a bit different than she would have received on such tunes a few years before when recording for Philips. Elis Vive is excellent live work – an extremely lively performance that brings out the best of her talents at the time – especially in the vocal department, as her singing comes through in a beautifully raw, vibrant way that differs greatly from her studio recordings of the time.

A classic double-length collection of work by Sergio Mendes & Brasil 66 – titled a "Foursider" because of the 2LP format! The package is overflowing with greatness by the group – and the extra space allows the set to include some real gems from the later A&M years – a time when the group were hitting the charts a bit less than before, and really deepening their Brazilian groove! These later tracks are all plenty darn great – and show echoes of changes going on in late 60s Brazilian music – not Tropicalia entirely, but some of the groovier moments at EMI/Odeon and Philips, with traces of influences from Edu Lobo, Marcos Valle, Jorge Ben, and Luiz Carlos Vinhas. 21 tracks in all – with titles that include "Ye Me Le", "After Sunrise", "Pais Tropical", "Crystal Illusions", "Mas Que Nada", "Bim Bom", "Look Of Love", "Chelsea Morning", "After Midnight", and their breakbeat version of "For What It's Worth".

An amazing record – one we'd easily rank right up there with some of our favorite 60s albums from Brazil – including work by Baden Powell or Elis Regina! This session has echoes of the best of both of those artists, but also predates their key moments too – a groundbreaking record that combines older folkloric themes and groovier rhythms of the post-bossa generation – all with an echoey brilliance that reminds us a lot of Powell's classic Afro Sambas record, but sung with the fierce emotion we've always loved in Elis. We've never seen another record from Zelia Barbosa, but this one moment of genius is more than enough to make us love her – a bold, righteous album that no doubt languished in the 60s in the world/folk underground of the Monitor label, but which would have exploded in Brazil had it been issued on Philips or Forma! Just about every cut's a winner, and titles include "Pedro Pedreiro", "Cheganca", "Nega Dina", "Zelao", "Cancao Da Terra", "Sina De Caboclo", "Feio Nao E Bonita", and "Opiniao".

To our ears, Gal's always been a bit less of a diva than other Brazilian female singers – much more of an intimate, personal artist – with a sound that's changed over the years, but has always maintained a level of charm that's undeniable. The set brings together an assortment of Gal's work for Philips from the 60s, 70s, and 80s – including some of her best early Tropicalia numbers, some standout cuts from the 70s MPB years, and a few later gems that show her taking on a gentler, jazzier style. The set features track-by-track notes on the tunes, and titles include "Que Pena", "Acai", "Balance", "Baby", "Coracao Vagabundo", "Modinha Para Gabriela", "Sonho Meu", "India", "Sua Estupidez", and "Mamae Coragem".

Amazing music from Nara Leao – all of her classic albums for Philips from the 60s, packaged together in one sweet set – along with a bonus 2CD set of rare material, a booklet, and lots of bonus tracks as well! Nara during this time was a completely unique singer – an artist with roots in bossa, but inflected with a folksy depth, and more than enough sophistication to help make her a key figure in the Tropicalia movement as well! This package brings together everything that makes Leao so wonderful – dark albums from the mid 60s that really set a whole new tone for MPB – a few live performances that show Nara's collaborative and spontaneous side, and some important late 60s material that already show a tremendous evolution as an artist. Each album is in its original artwork, with bonus tracks on individual CDs – and albums include Nara (1964), Opiniao De Nara, O Canto Livre De Nara, Show Opiniao, 5 Na Bossa, Liberdade Liberdade, Nara Pede Passagem, Manha de Liberdade, Vento De Maio, Nara (1967), Nara Leao (1968), and Coisas Do Mundo. Plus, the bonus 2CD set features lots of obscure cuts from singles and other unusual sources – 33 more numbers that include duets with Maria Bethania, Chico Buarque, Quinteto Violado, and Fagner – and lots of other solo tracks too.