Stay ConnectedA podcast about Brazilian music of all styles, decades, and genres hosted by Leandro Vignoli. Follow updates on Instagram: @brazucasounds. Access our playlist Soundtrack Brazuca Sounds with all songs ever played on the show:
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This episode is exclusive for paid subscribers. We celebrate the 50-year release of "Cantar" by Gal Costa. Unlike her two previous works, the live album Fa-Tal, and the masterpiece album "India", this is a more soft, calm, reaffirming Gal Costa's and her early bossa nova style - before she turned into Tropicalia sex symbol. Produced by Caetano Veloso and several tracks arranged by João Donato, it was a massive commercial failure in the 1970s but regained a cult status over the years. It is the only Gal Costa album to make the "100 Greatest Brazilian Music Records" list chosen by Rolling Stone Brasil. All songs from Brazuca Sounds are available on our Spotify playlist: Brazuca Sounds Soundtracks.
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Every episode is a different song.This is the song today:
"A Rã" by Gal Costa (written by João Donato/Caetano Veloso)
João Donato composed this music as "The Frog", which was recorded by his friend João Gilberto as "O Sapo" and finally has its definitive title after Caetano Veloso wrote the lyrics. Gal Costa recorded for her Caetano's produced album "Cantar", from 1974, featuring Donato on the Fender Rhodes, what we consider the ultimate version of "A Rã".
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In this episode, we celebrate the 50-year release of "Lóki?", the solo debut album of Arnaldo Baptista. After departing from Os Mutantes, and dealing with depression, drug abuse, and the break up with Rita Lee, Arnaldo put together one of the most melancholy Brazilian albums ever produced. A psychedelic rock n' roll with no electric guitar on it, the album is an adventure of organ, piano, and modern synthesizers. We analyzed the music's context, the lyrics' ideas, his obsessions with spaceships, and all the struggles that Arnaldo went through after the recording process. All songs from Brazuca Sounds are available on our Spotify playlist: Brazuca Sounds Soundtracks.
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Every episode is a different song. This is the song today:
"Bananeira " by Emílio Santiago (written by João Donato/Gilberto Gil)
João Donato composed this music as "Villa Grazia" while touring in Italy supporting Joao Gilberto on piano. Like almost every instrumental song he wrote, the title names were changed upon having lyrics, written by Gilberto Gil. In 1975 Emílio Santiago gave an entirely new life to the song by recording it to his debut album (featuring Donato on the Fender Rhodes), becoming the ultimate version of "Bananeira" over time.
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Every episode is a different song. This is the song today:
"Amigo Branco " by Márcia Maria (written by Leci Brandão)
This bonus episode is dedicated to samba legend Leci Brandão, who turned 80 years old on September 12th. Released in 1978 on Márcia Maria's debut album, and produced by boogie-Midas Lincoln Olivetti, 'Amigo Branco" became one of the best Brazilian disco songs. Originally recorded by the singer Djalma Dias as "Nada Sei de Preconceito" (1974), it was the first song ever recorded written by Leci Brandão.
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In this episode, we celebrate the music career of the great Sergio Mendes. As hard as it is to summarise such a long discography, we hopefully brought the essential of Sergio Mendes in 15 songs (Portuguese language-only, nothing personal). We talked about the origins of "Mas Que Nada" and its meaning, personal favourites from Brasil 65 released as Sergio Mendes Trio featuring Wanda Sá and Rosinha de Valença, and his later stardom in the USA under the moniker Sergio Mendes & Brasil 66. We spoke about his partnerships with Halp Albert, Edu Lobo, Tom Jobim, Stevie Wonder, and more. All the songs from this episode are available on our continuous playlist on Spotify: Brazuca Sounds Soundtracks.
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Every episode is a different song. This is the song today:
"Inútil Paisagem " by Wanda Sá
Released in 1964, Wandá Sá's debut album, "Vagamente" is a bosa nova masterpiece showcasing her incredible voice, surrounded by the soft, charming, and cool arrangements of Roberto Menescal. "Inútil Paisagem", written by Tom Jobim (also known as "Uselles Landscape") was introduced by Wanda Sá on this album and became one of the staples of bossa worldwide. Born on July 1, 1944, this bonus episode celebrates Wanda Sá's 80th birthday and 60 years of the album's release.
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Every episode is a different song. This is the song today:
"Na Rua, Na Chuva, Na Fazenda " by Hyldon
Hyldon released his debut album in 1975, but a year before he achieved mainstream success with the soul ballad "Na Rua, Na Chuva, Na Fazenda". It is a love song based on Hyldon's long-distance relationship with a girl that eventually would no longer exist. Hyldon was 24, and having played before with Cassiano and Tim Maia, Hyldon pioneered a more soft-guitar-driven type of soul music in Brazil. "Na Rua, Na Chuva, Na Fazenda" is a Brazilian national hit even today, a strong contender for every karaoke.
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In this episode, we celebrate samba once again by listing 10 different songs whose subject is the samba itself. A metalinguistic samba so to speak, where the music genre is the character - one would be impressed by how many songs are out there! Among the highlights are Dorival Caymmi's "O Samba da Minha Terra", Zé Keti's "A Voz do Morro", and Novos Baianos' "Na Cadência do Samba" (written by Ataulfo Alves). We also talked about Noel Rosa, Vinícius de Moraes, Nelson Sargento, Paulinho da Viola, Elza Soares, Jair Rodrigues, Alcione, and the mainstream samba ballads. Access our playlist with all these songs on Spotify: Brazuca Sounds Soundtracks.
And hey!, you may be interested in two previous episodes, History of Samba in 10 Albums, and History of Samba in 25 Songs.
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Every episode is a different song. This is the song today:
"Alegria, Alegria " by Caetano Veloso
"Alegria, Alegria" is off Caetano Veloso's debut album, a song about freedom and "walking against the wind, without carrying an ID", a clear reference to the Brazilian military regime and its constant vigilance. The arrangements full of distorted electric guitars were unheard of in Brazil and became the first step of what would become the Tropicalia movement. In this bonus episode, we analyzed the context behind the song, its lyrics written by Caetano, his Argentine backup band, and its production.
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In this episode, we celebrate the music from the South region in Brazil, from its folklore roots with Teixeirinha, album sales phenomenon Nelson Gonçalves, melancholic-samba pioneer Lupicínio Rodrigues, and the bubblegum-rock early influences of Elis Regina. We also covered the Southern Tropicalia movement, with Os Brasas, O Bando, and Liverpool, and finished with folk-rock artists like Hermes Aquino, Almondegas, Paralelo 30, Carlinhos Hartlieb, Bebeto Alves, Vitor Ramil, blending MPB, folk, nativist sounds and influences from the border with Uruguay and Argentina. Access our playlist with all the songs on Spotify: Brazuca Sounds Soundtracks.
The recent floods in the Brazilian South devastated several cities including its capital Porto Alegre due to torrential rainfalls. It's an unprecedented catastrophe, so donate if you can via these NGOs: brazilfoundarion.org and/or CUFA at Cufa.org.br.
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Salve! This is a bonus episode for Brazuca Sounds paid subscribers! Every episode is a different song.
This is the song today:"Agoniza Mas Não Morre " by Beth Carvalho
Today we're celebrating the centenary of samba-songwriter Nelson Sargento, the author of "Agoniza Mas Não Morre", born in Rio de Janeiro on July 25th, 1924. The song is a homage to samba, which as he sings "may agonize but won't die". Beth Carvalho recorded the song, which immediately became a success, as she was at her peak upon its release. The Godmother of Samba, Carvalho revitalized the career of seminal samba songwriters such as Cartola and in this case here, Cartola's pupil Nelson Sargento, a.k.a the Sargeant.
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In this episode, we celebrate the 50th anniversary of Alceu Valença's debut album as a solo artist, "Molhado de Suor", released by Philips in 1974. Born and raised in Pernambuco, in the Northeast of Brazil, Valença effortlessly blended folklore sounds of his native land, such as forró and baião, with MPB, folk, and rock, creating a cornucopia of psychedelic music. The album aesthetic, combining mastering acoustic guitar and soft percussive elements, makes it both, inherently Brazilian, all at the same time being widely universal. This debut album was a stepping for an artist who would top Brazilian charts in the 1980s with his bold mix of electric guitar and forró.
Access our playlist on Spotify: Brazuca Sounds Soundtracks.
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Every episode is a different song. This is the song today: "Trem das Onze " by Adoniran Barbosa
In celebration of Adoniran Barbosa's debut album released in 1974, we analyzed his most popular song, "Trem das Onze". Born and raised in São Paulo, Adoniran wrote several songs about the common man, such as a guy who cannot afford to miss the last train departing back home. With simple lyrics, catchy as a piece of gum stuck underneath a school desk, encapsulated by Adoniran's thick Italian-Brazilian accent singing, "Trem das Onze" became one the most successful sambas ever released.
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Every episode is a different song: "É Preciso Dar um Jeito Meu Amigo " by Erasmo Carlos
In 1969 Erasmo Carlos left Jovem Guarda behind to join the record label Phillips and introduced a more melancholic aspect to his songs. "É Preciso Dar um Jeito Amigo" is a blues-rock ballad with a distorted pedal-infused chorus, helped by his backup band consisting of Liminha (bass) and Dinho (drums) from os Os Mutantes, and Tropicalia guitar-heroe Lanny Gordin. It's a song about friendship, and one long journey to become a successful musician, and although all songs performed by Erasmo Carlos and Roberto Carlos shared credits, it was Roberto the songwriter for this one, not Erasmo.
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In episode #65 we celebrate the music career of Chico Buarque, who turns 80 years old on June 19th. So what about discussing, playing, or mentioning 80 of his best songs ever released? I think it's a great idea, so we discussed his discography from his early days as a bossa-nova aficionado to his protest songs against the Brazilian military regime, his great songs released in the 80s and 90s, covering his music and songwriting to his more recent work. Not in a particular order, though. We spoke about Chico Buarque's numerous facets: the Troubadour, the Chronist, the Bohemian, the Lover, and the Politician.
Follow our exclusive playlist for this episode: Chico Buarque in 80 Songs.
Access our playlist Brazuca Sounds Podcast Soundtrack.
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Salve! This is a bonus episode for Brazuca Sounds paid subscribers! Every episode is a different song.
This is the song today:
"As Curvas da Estrada de Santos " by Roberto Carlos (Roberto/Erasmo)
In 1969 Roberto Carlos mostly dropped Jovem Guarda to incorporate a variety of sounds into his music such as MPB, soul, and rock. "As Curvas da Estrada de Santos" embodies all of his new influences, from Caetano Veloso to his teenage buddy Tim Maia, a rambunctious ballad with tons of brass arrangements, wah-wah guitars, and possibly the best lyrics by Roberto Carlos until then. It's a wildly curveball just like the road he's singing about.
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Salve! This is another bonus episode of Brazuca Sounds! Every episode is a different song.
This is the song today:"Ponteio" by Edu Lobo (Edu Lobo/Capinan)
This song was the grand winner of the Festival de Musica Popular Brasileira, a popular music contest made for TV in the 1960s. Performed live by Lobo, Marília Medalha, and Quarteto Novo, "Ponteio" famously finished first ahead of Gilberto Gil's "Domingo no Parque" and Chico Buarque's "Roda Viva". Edu Lobo wrote the melody for a different song he abandoned. The lyrics were finished by his friend, Tropicalia poet Capinan, and became one the most famous important of Brazilian music in "Quem me Dera agora eu Tivesse uma viola pra tocar" (I wished I had now my guitar so I could sing) for his use of metaphors against the military regime in Brazil.
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In episode #64 we discuss songs censored during the military regime in Brazil (1964-1985). In April 1964, a coup d'etat took over Brazil, and four years later the government adopted even more restrictive measures with the Institutional Act nº5, so every cultural work (films, books, theatre, and music), required prior approval from the government to circulate. We had another episode on this topic on Brazuca Sounds #8. In this episode, we discussed songs censored by the dictatorship whether because of their political lyrics, their "poor taste" against morals, or simply by any rational reason. We also talked about mysteriously NOT censored songs and what the musicians did to accomplish that. Amongst the artists featured on the podcast are Luiz Gonzaga, MPB4, Ivan Lins, Odair José, Tim Maia, Rita Lee, and more. Access our playlist Brazuca Sounds Podcast Soundtrack.
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Every episode is a different song: "País Tropical" by Wilson Simonal (written by Jorge Ben) from 1969
Jorge Ben wrote this song for Gal Costa but Simonal after seeing her performing the song live asked his friend Ben for the scoop. Simonal then not only recorded "País Tropical" first, but his version became an instant hit. Combining elements of Latin jazz, samba, and soul, staccato brass arrangements, and the unmistakable voice of Wilson Simonal, is one the most popular Brazilian songs ever produced.
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In episode #63 we discussed the 50th anniversary of Elis & Tom, released in 1974. Elis Regina completed 10 years at Philips, and the record label offered a gift to celebrate the occasion. She chose to record an album performing songs by Tom Jobim featuring the maestro himself. Recorded in Los Angeles, the album rejuvenated bossa-nova, which was slowly beginning to die in the water.
Elis Regina conquered all the prestige that she never had despite her popularity, and Tom Jobim achieved mainstream success that he never came close to having in Brazil despite his prestige. The album "Elis & Tom" was recently the subject of a documentary, "Elis e Tom, Só Tinha de Ser com Você", with rare and unseen images from the recording sessions. On this podcast, we're gonna expand on that, with all the backstory about one the greatest albums of Brazilian music history.
Access our playlist Brazuca Sounds Podcast Soundtrack.
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This is another bonus episode of Brazuca Sounds! Every episode is a different song.
This is the song today: "Eu só Quero um Xodó" by Gilberto Gil from Cidade do Salvador (1973)
The accordionist Dominguinhos once created a melody in his tiny apartment. Anástasia was cooking, left everything behind, and wrote the lyrics for the song. They intended to sell it off to a forró record label, but during a tour in France supporting Gal Costa, Dominguinhos played the tune in a soundcheck, Gilberto Gil heard it and the rest is history. "Eu Só quero Um Xodó" was released by Gil as a single, featuring Dominguinhos, and over the years became one of the most popular forró songs ever.
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In episode #62 we discussed the 50th anniversary of Jorge Ben's masterpiece "A Tábua de Esmeralda", released in 1974. After a period of living in France, Jorge Ben got involved with alchemists. Hence, the album is a reflection of its secrets, legends, and fables, including the album's title (a reference to the Emerald Tablet) and the artwork that incorporates drawings from Nicholas Flamel, who was immortalized as a great alchemist for his work on the philosopher's stone. However, it's NOT only about alchemy as Jorge Ben also speaks about black culture in seminal tracks like "Zumbi", his love for women characters like "Minha Teimosia, Uma Arma pra te Conquistar", and more importantly, it is the last Jorge Ben album played entirely with the acoustic guitar. Access our playlist Brazuca Sounds Podcast Soundtrack.
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This is another bonus episode of Brazuca Sounds!
Every episode is a different song. This is the song today:
"Ando Meio Desligado" by Os Mutantes from A Divina Comédia (1970)
"Ando Meio Desligado" was a bit of post-Tropicalia from the album A Divina Comédia, with a more rock-infused sound, influenced by Jimi Hendrix and Janis Joplin (who ironically would both die a few months later). The arrangement is a straightforward power trio, a significant departure from the trademark orchestrations from their two previous albums. Over the years "Ando Meio Desligado" became a flagship for the band's discography, including its English version "I Feel a Little Spaced Out".
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Salve! This is another bonus episode of Brazuca Sounds!
Every episode is a different song. This is the song today:
"Vale Tudo" by Sandra Sá featuring Tim Maia from Vale Tudo (1983)
One may argue that "Vale Tudo" is the most popular Brazilian song from the 1980s. Tim Maia wrote it exclusively for Sandra Sá, who initially thought it was a pranking call. Although Sandra was already a successful funk-boogie singer, this song was undoubtedly her big break to stardom in the 80s. "Vale Tudo", featuring Tim Maia, was produced by Lincoln Olivetti and named Sandra Sá's third album, released by RGE in 1983.
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In episode #61 we talk about singer, songwriter, guitarist, actor, and comedy writer Arnaud Rodrigues. One of the most underrated Brazilian musicians from the 1970s, Arnaud has released, at least, three classics under his belt:
"Murituri" (1974) released under his name; "Baiano & os Novos Caetanos" (1974), as a duo with comedian wizard Chico Anysio; and "Som do Paulinho" (1976) released under Arnaud's alias as Paulinho Cabeça de Profeta, a music caleidoscope combining Rock, Latin, Funk, Folk, Country and his regional influences from the Northeast, such as Baião e Forró.
A comedy writer for the megapopular sketch-TV show "Chico City", Arnaud was perceived by the public mostly as an actor/comedian, which perhaps explains the lack of exposure his music deserved. However, that he was a part-time musician makes him more interesting not less.
Access our playlist Brazuca Sounds Podcast Soundtrack.
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Every episode is a different song. This is the song today:
"Canto de Ossanha" by Vinícus e Baden from Os Afrosambas (1966)
Considered the first recording in Brazilian music to incorporate Candomblé instruments, such as the atabaques, agogô, and afoxé into traditional elements of orchestration. With lyrics written by Vinícus and music composed by guitar virtuoso Baden Powell, "Canto de Ossanha" is one of the most famous songs from Brazil.
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Every episode is a different song. This is the song today:
"Como Nossos Pais" by Elis Regina from Falso Brilhante (1976)
Written by Belchior, and brilliantly performed by Elis, this is the definitive song about conflicts between generations. The song also encapsulates perfectly the historical and social context of the time and the anguish of youth living through a military dictatorship.
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In this episode, we celebrate the 50th anniversary of Cartola's debut album released in 1974. Nearly 50 years after beginning his career, Cartola released his first album featuring 12 songs of the more than 100 he wrote during his lifetime. Recorded in February and March 1974, the album was released by the independent label Discos Marcus Pereira.
We talk about Cartola's upbringing as a musician in the 1920s, his struggles with poverty, health, and death in his family, the rediscovery of his work by bossa and samba enthusiasts in the 1960s, and finally the backstory of the album's making. We analyzed much of the Cartola's lyrics, and the music put together by a great ensemble of Dino 7 Cordas (seven-string-guitar), Meira (guitar) and Canhoto (cavaquinho).
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This is the song today: "Acorda, Amor" by Chico Buarque from Sinal Fechado (1974)
Chico Buarque was so targeted by censorship in the mid-1970s that all lyrics he submitted for government approval were denied. He then decided to release an album with songs from his songwriter friends, and a mysterious newcomer among them named Julinho de Adelaide. Later was revealed that it was a Chico's pseudonym used to avoid censorship. It worked!
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"O Sol Nascerá" by Cartola from Cartola (1974)
Cartola released his debut album only at the age of 65, after spending four decades writing songs credited to other singers. Then his work was rediscovered by the bossa-nova circle, followed by samba's biggest names. He co-wrote "O Sol Nascerá" with Elton Medeiros, an uplifting song that defined their career and cannot be omitted from any conversation about samba's history.
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In this episode, we talk about the record label Continental and their (allegedly) melted albums. After the label ran out of Secos e Molhados LPs to sell in 1973, and the lack of raw material during the global oil crisis (and the Brazilian dictatorship's terrible administration), they decided to melt their back catalog to press them into new Secos e Molhados.
Whether is factually hard to prove which albums were melted, is well documented that Arthur Verocai's debut and many of the Continental albums were taken out of circulation. So it leads us to speculate which ones, and those are five albums that we picked to talk about:
Heraton Salvanini and his debut "SP/73"; Walter Franco's "Ou Não"; O Pessoal do Ceará only record registered as a group; Terço self-titled second album; and Paulo Bagunça e a Tropa Maldita.
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This is the song today: "Na Boca do Sol" by Arthur Verocai (1972)
In this episode, we break down the lyrics, music, production, and everything about the song. "Na Boca do Sol" was released in Arthur Verocai's masterpiece debut album, only to find a big commercial failure. Then his work was rediscovered in the late 90s by Hip-Hop artists, such as MF Doom who sampled " Na Boca do Sol" to greater acclaim. It is now considered one of the best Brazilian songs ever.
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In episode #58, we continue our celebration of albums released 50 years ago in 1973. This year we made specials about the albums released by João Donato, Marcos Valle, Tom Jobim, Gal Costa, Secos e Molhados, and more.
Now is the time to discuss some of the most overlooked albums from 1973, from the brilliant debuts of Luiz Melodia and Gonzaguinha (pictured) to the crazy Northeast psychedelia of Satwa, the rural braziliana of Elomar, samba-rock makers Wando, and Marku, the resurgence of Tom Zé, the almost-forgotten work of Os Tincoãs, and the soul-gospel-psychedelic-funk of Cassiano's second album.
All songs are available following our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #57 we discussed three Brazilian rock artists that broke in 1973: Secos e Molhados, Raul Seixas, and Novos Baianos.
The debut album of Secos e Molhados was a phenomenon in sales like never seen before; their blend of rock, pop, baroque, and poetry made them the first Beatlemania-esque in Brazil. Raul Seixas and his debut also cemented him as a rock icon that even stands today; Novos Baianos' third record was not as popular as "Acabou Chorare", but strange as it sounds, elevated the group's trademark blend of genres to higher grounds: it's even more samba, and it's even more rock n' roll. Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #56 we discuss one of the most important Brazilian record labels: Elenco. Founded in 1963 by Aloysio de Oliveira with the ambition of becoming the best bossa-nova label in the country, Elenco (translated into "cast") put together a constellation of big names and released a crazy amount of bossa-nova classics. We'll talk about albums by superstars Vinicius de Moraes, Roberto Menescal, Sylvia Telles, Edu Lobo, Nara Leão, the brilliance of Sergio Ricardo, and some forgotten names such as Lucio Alves, Agostinho dos Santos and Aracy de Almeida. Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #55 we celebrate the album "Índia", released by Gal Costa in July 1973. The album’s controversial cover was banned by the Brazilian military regime upon its release, but that was just one of the reasons it became so iconic. Gal Costa distanced herself from the Tropicália movement in "Índia" (like all her peers before her), showcasing a more stripped-down sound, influenced by folk (and folklore), blues, baião, Clube da Esquina, and Brazilian standards from samba (Lupicínio) and bossa-nova (João Gilberto/Tom Jobim). Gal Costa even had the time to perform probably the funkiest song ever produced in Brazil with "Pontos de Luz". The album was also a big rupture to Gal Costa's fans at the time, taking her to new levels of popularity and celebrity stardom. Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #54, we tell the history of the most popular music genre in Brazil connected to the Northeast: forró. We also cover all its subtle variances, in genres like baião, xote, xaxado, and maracatu. We'll talk about key artists in forró such as Luiz Gonzaga, Jackson do Pandeiro, Sivuca, and Dominguinhos, the female queens Marinês and Carmélia Alves, and the megahits from names like Ary Lobo, João do Vale, Genival Lacerda, and Trio Nordestino. Then we follow with all the MPB-mainstream singers influenced by forró, such as Clara Nunes, Gilberto Gil, and Elba Ramalho. Unlike samba and its urban appeal that ultimately became a global phenomenon, forró remained attached mainly to the Brazilian roots, largely disseminated during our festivities in June (Festas Juninas) celebrating St. John Baptiste. Follow our playlist on Spotify to listen to all these songs in full: "Soundtrack: Brazuca Sounds".
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In episode #53 we celebrate the album "Matita Perê" by Tom Jobim, released in May 1973 by Philips. Considered one of the inventors of bossa-nova, Jobim had astronomical success in Brazil and abroad (especially the USA), so for this album, he decided to explore new territories. Produced and arranged by German composer Claus Ogerman, he came up with a complex mix of nature-inspired sounds, Brazilian roots, and erudite music, all encapsulated by the poetry of Guimarães Rosa, although the opening is quite literally a bossa-nova classic: "Águas de Março". The album was released as "Jobim" for the international market, by MCA Records, and also with a different cover. Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #52 we talk about the album "Milagre dos Peixes" by Milton Nascimento, released in August 1973.
Following the success of "Clube da Esquina" in 1972 Milton reunited with his band Som Imaginário to produce a follow-up as good (or better) than his previous masterpiece. "Milagre dos Peixes" had its lyrics heavily censored by the military regime, so it became an experimental endeavor of sonic aspirations and instrumental tracks. We also discussed the album "Matança de Porco", released by Som Imaginário, led by Wagner Tiso. Another fantastic record released in 1973, "Beto Guedes, Danilo Caymmi, Toninho Horta, Novelli" is an obscure but fundamental album from members of the Clube da Esquina's collective. To finish off this episode, we discussed the elemental contributions of Naná Vasconcelos to "Milagre dos Peixes", and his two epic percussive-centric albums released in 1973. All songs are available on our playlist: "Soundtrack: Brazuca Sounds".
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In episode #51 we discussed the impact of soap opera soundtracks on the Brazilian music industry. The scores were very often written/produced by big names such as Roberto Carlos/Erasmo Carlos, Marcos Valle, Baden Powell, and Vinícius de Moraes. We'll be playing songs performed by Osmar Milito, Chico Batera, Banda Black Rio, Lincoln Olivetti, and obscure jams from Kris & Cristina, Sonia Burnier, Ronaldo Resedá, and two soundtrack grandmasters: Waltel Branco and Nonato Buzar. The telenovelas are a big part of Brazilian culture and an invaluable source of material for music enthusiasts. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #50 we celebrate the album "Previsão do Tempo" by Marcos Valle, released in September 1973 by Odeon. After experimenting with different bands, and a handful of soundtracks under his name, Marcos Valle came up with his album masterpiece according to many critics. Backed up by the trio Azymuth, "Previsão do Tempo" is a blend of Brazilian MPB, with funk, soul, pop, and jazz, with a high volume of political lyrics, written mostly by Marcos and his brother Paulo Sergio Valle. The album was not a mainstream hit upon its release although over time gained a cult status amongst DJs and record collectors. Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #49, we introduce a new wave of Brazilian music by presenting albums released in 2023 by Iara Rennó (pictured), Rodrigo Campos, and Bike. They all come out of São Paulo, summarizing a great variety of different genres, styles, and sounds historically being produced by the big city. Then we also quickly review the latest work by artists such as Glue Trip (Paraíba), Bala Desejo (Rio de Janeiro), Rafael Martini (Minas Gerais), Lucas Santanna (Bahia), and Criolo (São Paulo). Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #37 we celebrate the 80th birthday of the great Tim Maia by discussing 80 of his best songs (!!!). Born on September 28th, 1942, Tim Maia was a transformative figure in Brazilian music, a pioneer of funk, soul, disco, boogie, and black music in general. In this episode, we talk about his first singles, his songwriting in English, the adaptations of songs already written, and Tim Maia's conversion to the Racional culture (cult). We'll finish off showcasing his all-time top hits in Brazilian charts, from bangers like "Do Leme ao Pontal" to mellow ballads like "Me Dê Motivo". LEIA O LIVRO. READ THE BOOK.
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In episode #30 we listed fundamental albums of samba-rock from Trio Mocotó, Bebeto, Luiz Vagner, and Marku. Samba-rock blended samba elements with the guitar and other electric instruments and is mostly associated with São Paulo in the 1970s - and expanded to cities such as Porto Alegre (as it has been known as "swing") and Rio de Janeiro (where they called "sambalanço"). More like a dance style than a music genre initially, samba-rock was (re)discovered by DJs and exploded in the 1990s and 2000s with several parties dedicated to it. Jorge Ben was obviously the main figure in samba-rock, and we finished this episode listing five popular samba-rock hits written by Ben although performed by other artists. Listen to all songs in full in our Spotify playlist: "Soundtrack: Brazuca Sounds".
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In episode #26, we bring ten brilliant albums that more or less tell the history of samba in Brazil. Arguably the most popular music genre in the country, this podcast presents the great song-writers from the early era such Cartola, Nelson Cavaquinho, and Dona Ivone Lara followed by the great composers of the 1960s and 1970s, Paulinho da Viola and Martinho da Vila, all the way to the samba divas such as Alcione, Beth Carvalho, and Elza Soares. Follow our playlist on Spotify to listen to all songs played in full: "Soundtrack: Brazuca Sounds".
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In episode #20, we continue our conversation about Som Livre from Brazuca Sounds #19. After releasing a generation of newcomers, such as Novos Baianos, and Alceu Valença, SOM LIVRE decided to invest in high-profile names like Rita Lee, Tim Maia, Jorge Ben, and Marcos Valle. Producer Lincoln Olivetti had a tremendous impact on Som Livre from the late 70s until the mid-80s when its iconic SOM LIVRE green logo was then replaced by a modern version. Follow our playlist on Spotify: "Soundtrack Brazuca Sounds".
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In episode #12, we continue our conversation about the Black Rio movement from Brazuca Sounds #11: The Best Funk Albums That You Never Heard of. Black, soul, and funk-influenced records, from obscure classics such as Waltel Branco's "Meu Balanço" (photo) to DJ favorites, like Evinha's debut "Cartão Postal". We also discussed albums released by Tony Bizarro, Teo Azevedo, Luiz Vagner, Di Melo, Helio Matheus, Carlos Dafé, Marcia Maria, and the Brazilian teenage phenomenon Lady Zu. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #11 we discussed the beginning of the Black Rio movement sparking funk and soul in the 1970s. Alongside Tim Maia, other names such as Dom Salvador, Toni Tornado (aka the Brazilian James Brown), and Gerson King Combo (the Brazilian...well...James Brown) put together a collection of songs influenced by the American Soul and Funk that would influence generations to come, especially a group of young musicians which the movement took its name: Black Rio. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #8 we discussed how the military government in Brazil that forcibly took power in 1964 influenced Brazilian music. The regime applied high officials to work as censors, and many songs would not get permission to be recorded or were forbidden for playing on the radio and TV. Chico Buarque, Gilberto Gil, Adoniran Barbosa, were all censored. The levels of censorship varied, normally associated with political ideas, but could be a prohibition as silly as a reference to sex in a song. Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".
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In episode #3 we present the work of two incredible drummers, Dom Um Romão and Wilson das Neves (photo). Altogether they recorded many Brazilian classic songs, from Bossa Nova to MPB jams, such as Tom Jobim's "Wave", Jorge Ben's album "Samba Esquema Novo", and Gilberto Gil's "Aquele Abraço" (das Neves). Altogether they are credited for more than 800 records, and that is on top of their own solo records. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds" and listen to all songs in full.
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In episode #2 we present the work of Clara Nunes (photo), Bethânia, and Gal Costa and their connections with the Afro-Brazilian religions. We discussed how they introduced Candomblé and Umbanda into their music in a country dominated by Christians, regardless of whether it was samba, MPB, or Tropicalia. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".
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In episode #1 we present the work of three pioneers of Brazilian soul music from the 1970s: Cassiano (photo cover), Hyldon, and Wilson Simonal. We discussed how they dissociated themselves from samba, and how they inspired a generation of artists leading up the Black Rio Movement in the late 1970s. Follow our Spotify playlist "Soundtrack: Brazuca Sounds".
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