Brazil — All Formats  

Groovy psychedelic rock from Brazil – the self-titled effort from Ronnie Von – a Brazilian television personality and musician who stayed incredibly busy from late 60s through the 70s – but recorded few albums as sublime as this album from 1968! It's really a near-perfect batch of sunshine rock – sung in Portuguese and featuring some of the similar freeform sounds of his Brazilian contemporaries of the time – with groovy western touches in the instrumentation. Ronnie's vocals are backed up by organ washes and piano, buzzing guitars and walloping drums – but the overall feel is quite melodic. A wonderful blend of California sunshine and Brazilian rock grooves! Tracks include "Meu Novo Cantar", "Chega De Tudo", "Espelhos Quebrados", Anarquia", "Esperahca De Cantar", "Contudo, Todavia", "Anarquia", "Mil Novecentos E Alem", "Canto De Despedida" and more – plus 6 bonus tracks!

Killer jazzy Brazilian grooves! It's common knowledge that Brazilian music has always found a wider audience in Europe than America (at least for most of the past 30 years) – and that a large number of European jazz and groove artists have created their own versions of the music, coming up with some killer hybrids of funk, fusion, and Brazilian rhythms. This excellent set brings together a dozen great cuts in that style – mostly from French, Italian, and German sources recorded during the 70s. The cuts are all super-rare (natch), and the selection of material is put together in a great way that keeps the whole thing very lively. Titles include "Ye Me Le" by Brazil Selection, "Kinky Peanuts" by Sesso Matto, "Bamba" by Dimenzio, "Vai Vai" by Jean Pierre Sabar, "Batucada Erotica" by Michel Colombier, "Senhor Piloto" by Tega & Ricardo, and "Casa Di Moda" by G & Moi Angeus. Also features one authentic Brazilian groover, the great cut "Agibore" by MPB4 – a killer funky number issued only on a 1973 promo LP by the Brazilian Ministry of Telecommunications for a European meeting!

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".

A great guitar session from late 60s Brazil – bossa at its core, but with some other groovy touches too! Guitarist Heraldo Do Monte plays light acoustic, in a style that's right up there with Luiz Bonfa or Baden Powell – but the overall setting of the album also gives a nod towards some of the more advanced changes going on in Brazilian instrumental music at the time – the first inkling of some of the Blue Brazil touches from EMI/Odeon, with a deeper sophistication in some of the arrangements than just straight bossa. A few moments are straight ahead, mixed with others that have a nice degree of darkness – and titles include "Teletema", "My Cherie Amour", "Recit De Cassard", "Que Maravilha", "Casa Forte", and "Moanin".