01 - Fé na festa 
02 - O livre-atirador e a pegadora 
03 - Assim, sim 
04 - Estrela azul do céu 
05 - Marmundo 
06 - Vinte e seis 
07 - Nao tenho medo da vida 
08 - Norte da saudade 
09 - Maria minha 
10 - Aprendi com o rei 
11 - Dança da moda 
12 - Sao Joao carioca 
13 - Lá vem Ela

In his latest work Fé na Festa, Brazil’s former Minister of Culture Gilberto Gil returns to his roots to celebrate the São João festival, a celebration, which fills northeastern calendars with a week of wall to wall forró in the month of June (more on forró music can be found here). In Brazil this is the end of the rainy season, as well as the corn harvest; the perfect time to celebrate.

The title track instantly grabs you with its racy guitars, violins and steady percussion. The easy to follow chorus invites group participation in the best traditions of a Brazilian lual and warms up the uninitiated for the forró that is to follow.

Gilberto slows the beat down to a more traditional pé-da-serra pace for the next couple of tracks, with that most quintessential aspects of São João (and carnival for that matter): the amorous advance. “O Livre-Atirador e a Pegadora” tells of the innocence of the stolen kisses of youth (a youthfulness that can last well into your 30s in Brazil) whilst “Assim, Sim” gives instructions to a young lad on how to get that far. All the while the ubiquitous sound of the familiar triangle is enough to get you dancing side to side.

Unfortunately, towards the middle of the album the quality falls away. “Estrela Azul do Céu” moves away from the strictly northeastern to something more soulful, but the ra-ta-tat rhythm of Gilberto’s voice drives it on. The middle section of the album meanders a bit, but there is a stand-out track here; “Vinte e Seis”. The straighforward yet beautiful guitar syncs fantastically well with the uplifting accordion and violin to broadcast a simple pleasure found in Gilberto’s lyrics: the luck of having a birthday during the festive season of São João.

Towards the end of the album Gilberto returns to our forró education. “Aprendi com o Rei” brings back a more danceable forró beat and provides a useful intro to the musical form (if you can keep up whilst dancing). “Dança da Moda”, a cover of forró legend Luiz Gonzaga, is a true return to form. The rapid beat encourages more daring twists and turns and it is easy to see how even Rio de Janeiro can get caught up with this during São João, a point that the next track “São João Carioca” further hammers home.

Final track “Lá Vem Ela” brings us home in style, with the simple percussion some of the best you’ll hear on the album and the triangle a perfect accompaniment. Gilberto is playing games with words here, teasing the words out to build a greater meaning. The track is a perfect example of how Brazilian Portuguese can paint a beautiful scene in its seeming simplicity. We are tempted into the story of a beautiful girl whose grace enchants all those around her. The slower pace of Gilberto’s lyrics tell of a girl who can make time seemingly stand still. But just as São João brought her along, so it can take her away again as the week of festivities come to an end. ---Sam Katterfield, soundsandcolours.com

download (mp3 @256 kbs):

yandex 4shared mega mediafire zalivalka cloudmailru oboom uplea rockfile

back

01. Frevo Rasgado (Gilberto Gil/Bruno Ferreira) - 1:52
02. Coragem pra Suportar (Gilberto Gil) - 2:53
03. Domingou (Gilberto Gil/Torquato Neto) - 2:54
04. Marginália II (Gilberto Gil/Torquato Neto) - 2:39
05. Pega a Voga, Cabeludo (Gilberto Gil/Juan Arcon) - 4:43
06. Êle Falava Nisso Todo Dia (Gilberto Gil) - 2:32
07. Procissão (Gilberto Gil) - 2:54
08. Luzia Luluza (Gilberto Gil) - 4:02
09. Pé da Roseira (Gilberto Gil) - 3:01
10. Domingo no Parque (Gilberto Gil) - 3:41
+
11. Barca Grande (Gilberto Gil) - 2:40
12. A Coisa Mais Linda que Existe (Gilberto Gil/Torquato Neto) - 3:58
13. Questão de Ordem (Gilberto Gil) - 5:31
14. A Luta contra a Lata ou A Faléncia do Café (Gilberto Gil) - 2:47

Personnel:
- Gilberto Gil (Gilberto Passos Gil Moreira) - vocals, acoustic guitar
- Os Mutantes - performers (01-10,14)
- The Beat Boys - performers (13)
- Rogério Duprat - arranger, conductor
- Manuel Barenbein – producer

When Gilberto Gil's self-titled LP —sometimes referred to as 1968 to differentiate from his 1971 self-titled LP— came out in March of 1968, it marked the start of a revolution. In a year that found counter-cultural uprisings in so many countries, Gil fired an early salvo. Along with his compatriot Caetano Veloso, Gil had been working as one of the driving forces behind a musical movement that would, but a few months later, come to be known as tropicalia.

Based in Bahia in the North-East, the tropicalistas were out to push the Brazilian Popular Music (MPB, in the local Portuguese) into new, experimental directions. So, they drew on Afro-Brazilian folk music, The Beatles, the budding psychedelic movement, and avant-garde composition. Gil's early performances had been, to his dismay, appreciated by the MPB establishment; for him, this was the music of the ruling classes, and, in Brazil's military state, of the dictatorship that had seized control of the country.

So, along with Veloso, he had worked at assembling a tropicalia 'statement,' and that would come, mid-'68, with the legendary Tropicália ou Panis Et Circensis compilation. But Gil took the sense of revolution to his own music, inviting the movement's wildest charges —the ironic, anarchic, situationist-minded, rock'n'roll-loving young outfit Os Mutantes— and working with them on his own album.

Setting Os Mutantes manic energy against the rich orchestrations of the arranging overseer of tropicalismo, Rogério Duprat, Gil's '68 LP was the first record to introduce Brazilians to this wild new form of polyglot music; arriving months before the Tropicália comp and Os Mutantes' self-titled debut. It was the first shot fired in the Brazilian chapter of a global revolution, and the establishment was duly unimpressed.

"Frevo Rasgado" sounds the album in with woodwinds and brass; the flutes fluttering giddy trills, trumpets mirroring Gil's vocals. So far, so sumptuous, but soon things get strange; "Coragem Pra Suportar" scrawling with noisy electric guitar, "Domingou" leaning heavily on Os Mutantes' oddball energy and vocal choruses.

As it plays on, there's that constant sense of push/pull between Gil's background and the desires of musical futurism; the LP playing like an inventive suite of sambas delivered with a groovy rock'n'roll touch and marked with strange found-sound flourishes; MPB under assault from experimentation.

At times its just richly, reverently beautiful: "Êle Falava Nisso Todo Dia" a glorious hosanna, drizzled with sweetness; and "Luzia Luluza" pushing a cinematic narrative full of love-song sentiments, wistful airs, and sumptuous orchestrations. Even then, there's something in Rita Lee's vocal counterpoint that's provocative, not placating; there's interjections of staticky radio-broadcasts, and, always, there's subtle political content; the song about escaping reality via dreams, effectively a tribute to remaining hopeful even when held cultural hostage by a military regime.

Famously, the tropicalistas proved too provocative, and Gil and Veloso were twice arrested and jailed by the junta in 1969, and eventually sent unto exile in England in 1970. It's ancient history, of course; Gil would soon return home, and since 1987 has been a popular politician. The cultural agitation of his self-titled is effectively absent for those listening five decades on; now, it just sounds glorious, inventive, and constantly brilliant, one of tropicalia's true masterpieces. --- Anthony Carew, About.com Guide

download:   yandex mediafire

back

1.	Realce 	4:48 	
2.	Sarará Miolo 	4:51 	
3.	Superhomem - A Canção 	4:06 	
4.	Tradiçao 	4:53 	
5.	Marina 	4:16 	
6.	Rebento 	2:55 	
7.	Toda Menina Baiana 	3:52 	
8.	Logunedé 	4:01 	
9.	Não Chore Mais (No Woman, No Cry) 	4:43 	

Personnel:
Bass – Bob Cloud (tracks: A1), Liminha (tracks: B5), Rubão
Drums – Luiz Carlos, Pedrinho (tracks: B5), Rick Schlosser (tracks: A1)
Electric Piano [Fender Rhodes] – Mark Jordan (tracks: A1), Tuca (2)
Electric Piano [Fender Rhodes], Piano, Arranged By [Strings] – Lincoln Olivetti (tracks: B5)
Guitar – Perinho Santana, Steve Lukather (tracks: A1)
Guitar, Soloist – Sergio Dias (tracks: B5), Steve Lukather
Handclaps – Bill Champlin, Mazola
Percussion – Ariovaldo (tracks: B5), Djalma Correa, Liminha
Producer – Mazola
Saxophone – John D'Andrea (tracks: A3)
Saxophone, Flute – Kim Hutchoroft*, Larry Williams
Strings – Orquestra De Cordas WEA (tracks: B5)
Synthesizer [Bass] – Michael Boddicker (tracks: A3)
Synthesizer [Moog, Strings] – Michael Boddicker
Synthesizer [Oberheim] – Jorginho (tracks: B5)
Tambourine – Gilberto Gil (tracks: A2, A3)
Trombone – Bill Reichenback, Charlie Coper
Trumpet – Gary Grant, Larry Hall
Trumpet, Arranged By [Horns] – Jerry Hey
Vocals – Bill Champlin, Carmen Twillie, José Eduardo (tracks: B5), Maria Aparecida, Maria de Fátima,
 Maria Helena (tracks: B5), Maria Rita, Martha Santos, Vennette Cloud
Vocals, Acoustic Guitar [Nylon, Ovation], Handclaps, Arranged By [Basic] – Gilberto Gil

The end of the military dictatorship in Brazil left the country lost in its references and opened way for a period of wild hedonism. Realce, one of Gilberto Gil's most disco-influenced albums, is a document of that period. Released in LP format in 1979, it had the disco ideology expressed in several songs like "Realce" (which became slang for a dangerous drug frequently consumed in those places), "Sarará Miolo" (also a danceable tune, finds room for social criticism through black pride, where Gil reproaches the use of straightening and discoloring of hair by his brothers and sisters), "Marina" (featuring Dorival Caymmi), and "Toda Menina Baiana" (a hybrid of disco and Bahian samba). But there are other songs more faithful to Gil's style. "Superhomem - A Canção" is a sensitive ballad about the bisexual composition of human psyche, and the importance of the feminine in society. "Tradição" is a beautiful samba, richly harmonized, and the lyrics talk about Gil's fascination with a guy of the streets. "Rebento," another juicy samba with intelligent lyrics, was re-recorded by Elis Regina. And "Não Chore Mais," which was another big hit of the album, is a version of B. Vincent's "No Woman, No Cry" made famous by Bob Marley. --- Alvaro Neder, Rovi

download:  yandex 4shared mega mediafire

back