Oct 18, 2016

RhoDeo 1642 Roots


The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.

Today's artist started her career in Rio de Janeiro in 1964 with the show "Opinião" ("Opinion"). Due to its popularity, with performances all over the country, and the popularity of her 1965 single "Carcará", the artist became a star in Brazil. She has released 50 studio albums in 47 years of career, and is among the 10 best-selling music artists in Brazil, having sold more than 26 million records.. ........N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Maria Bethânia, sister of Caetano Veloso, is a renowned singer on her own. Her scenic, dramatic abilities, in a profoundly Brazilian tradition, make her performances quite personal, which has brought her a massive and faithful audience over the decades.

As a child, she wanted to be an actress right from the start. But, as her mother loved to sing, music was always around. Her father was not musically gifted, but loved to listen to Dorival Caymmi and Noel Rosa compositions. At 13, her family moved to Salvador, and she began to frequent the "university circles," intellectual groups gathering around art exhibitions and performances. The access to theater plays strengthened her desire to become an actress. At that time, a novice Caetano Veloso had become the musical partner of the play director Álvaro Guimarães. For Guimarães's short movie Moleques de Rua, Veloso composed a soundtrack which should have had, according to him, his sister singing in it. At 16, Bethânia tried to refuse, as she had never sung under such pressure. But Guimarães loved her timbre, and included her in his 1963 staging of Nelson Rodrigues' musical Boca de Ouro, where she performed a cappella. In the same year, they became acquainted with Gilberto Gil and Gal Costa.

Next year, Veloso was invited to organize a Brazilian popular music show at the opening of Salvador's Teatro Vila Velha. The show, called Nós, por Exemplo, included Veloso, Maria Bethânia, Gilberto Gil, and Gal Costa (still under her name Maria da Graça). The show was a success and was reenacted two weeks later, with the addition of Tom Zé (still presented as Antônio José). The success was even bigger, and the group (without Zé) soon presented another show, Nova Bossa Velha, Velha Bossa Nova. In that same year, Bethânia acted alone in her musical Mora na Filosofia, directed by Veloso and Gil.

Edu e Bethania In January 1965, still a school student earning bad grades, she was surprised by the invitation to substitute for Nara Leão, already an established young singer who had had a problem with her vocal cords, in her highly successful show Opinião. Bethânia's opening on February 13, 1965, was very successful, and her dramatic performance of "Carcará" (João do Vale/José Cândido) launched her as an overnight national success, repeated during the São Paulo season. Because of the sucess, Guilherme Araújo, then assistant for Aluísio de Oliveira at the RCA label, invited her, through Veloso, to record for the label. In May of that year, Bethânia recorded her first single, and some months later, her first LP. On September 26, 1965, the Vila Velha gang opened the show Arena Canta Bahia, at São Paulo's Teatro de Arena. In April 1966, Bethânia, invited by Guilherme Araújo, opened her show Recital at the Cangaceiro nightclub, in Rio. It also opened the way for Guilherme Araújo to become the manager of Veloso, Gil, and Costa (receiving 20 percent for 70 of his songs, he would be sued by Gil in 1992). She also performed at the Barroco nightclub (Rio). In the same year, Bethânia performed in the show Pois É, together with Gilberto Gil and Vinícius de Moraes, at the Teatro Opinião. In the following month, October 1966, Bethânia performed "Beira mar" (Caetano/Gil) at the I FIC. In 1967, she recorded with Edu Lobo the Elenco album Edu Lobo e Maria Bethânia. Through 1970, she would also be featured in the shows Yes, Nós Temos Maria Bethânia (Teatro de Bolso, Rio), Comigo Me Desavim (Teatro Miguel Lemos, Rio), Recital Na Boite Blow Up (São Paulo), and Brasileiro Profissão Esperança (Teatro Casa Grande, Rio).

Caetano Veloso, Maria Bethania and Gilberto Gil In 1968, she performed on the LP Veloso, Gil e Bethânia (RCA) and the solo LP Recital na Boite Barroco. In 1969 and 1970 respectively, Bethânia released the LPs Maria Bethânia and Maria Bethânia Ao Vivo. In 1971, she recorded for Philips the LP A Tua Presença. In July, backed by the Terra Trio, she opened at Rio's Teatro da Praia her show Rosa Dos Ventos, which yielded a live album under the same name, produced by Roberto Menescal. In 1971, she went to Europe and performed at the MIDEM (Cannes, France), and in Italy. Next year, she appeared, together with Chico Buarque and Nara Leão, in the film Quando o Carvaval Chegar. The movie's soundtrack was released in 1972 by Philips. Bethânia wrote the lyrics for Caetano Veloso's song "Trampolim," released on her album Drama. A European tour through Italy, Germany, Austria, Denmark, and Norway followed. In 1973, she opened her show Drama, Luz da Noite, also recorded as an album under the same title. Commemorating the tenth year of her career, she opened her show A Cena Muda (1974), recorded and released in November 1974. On June 6, 1975, Bethânia performed in a live show together with Chico Buarque, recorded and released as Chico Buarque e Maria Bethânia Gravado ao Vivo no Canecão. In 1976, she recorded Pássaro Proibido. In July, together with Caetano Veloso, Gilberto Gil, and Gal Costa, she toured Brazil with the show Os Doces Bárbaros, which yielded a film of the same name by Jom Tob Azulay and a double album released by Philips in November 1976.

On January 13, 1977, her show Pássaro da Manhã opened, released as a studio LP under the same title, which brought her second gold record. In May 1978, Bethânia released, with Veloso, a live show recorded in LP as Maria Bethânia e Caetano Veloso ao Vivo. Alibi In 1978, the LP Álibi was released (certified as a gold record before hitting the streets, making her the first Brazilian female singer to reach one million sold copies), producing a show with the same name in July of the next year. In December 1979, she released the album Mel, which also brought the show Mel in January 1980. The same year came the LP Talismã. In the next year, she opened her show Estranha Forma de Vida and released her album Alteza. In 1982, Bethânia performed in the show Nossos Momentos. In 1983, she took another turn in her career with the album Ciclo, branching out of her popular formula toward a new acoustic direction. In 1984, she performed in her show A Hora da Estrela, with songs especially written by Veloso and Chico Buarque. The album A Beira e o Mar followed. In 1985, the show 20 Anos opened.

The next year, Bethânia signed with RCA for the release of Dezembros, which contained unpublished songs by Tom Jobim, Chico Buarque, and Caetano Veloso, and "Canções e Momentos," written especially for her by Milton Nascimento. In 1988, she recorded Maria, with guest stars Jeanne Moreau and Gal Costa, which also was the name of her show which opened in that year. In 1989, the album Memória da Pele was released, and Bethânia presented the show Dadaya -- As Sete Moradas. Her 25th career anniversary was commemorated with the album and show 25 Anos, with participation from Nina Simone, Hermeto Pascoal, Egberto Gismonti, João Gilberto, and others. In 1982, she released the album Olho D'água, which was included in a major soap opera's soundtrack. Her 1993 album As Canções Que Cocê Fez Para Mim, also a show, was the best-selling record of that year (1,500,000 copies sold). For the label EMI/Odeon was recorded the album Âmbar, and also a show which was recorded live and released in 1997 as Imitação da Vida.

In 2015, her album Meus Quintais was nominated for the 16th Latin Grammy Awards in the Best MPB Album category.

xxxxx xxxxx xxxxx xxxxx xxxxx

This album from the mid seventies is one of the wildest live releases from Maria Bethânia. She is especially dramatic and expressive here, conveying in her songs the deepest emotions. Her forthright vocals range between tenderness and violence in a unique way, making this concert really thrilling. The repertoire is crazily diverse, but she sings it in such a consistent way! This album may sound a little bit rough for persons expecting something softer as the material Bethânia released in later years, but it won't deceive fans of her sixties and seventies stuff, her wildest moment. A stunning experience!

Maria Bethania - A Cena Muda  (flac  218mb)

01 Side 1 (19:58)
Luzia Luluza / Sinal Fechado / Roda Viva / Rosa Dos Ventos / Cala A Boca,
Bárbara / Conversação Entre João E Maria / A Sonhar Eu Venci Mundos /
Sonho Impossível (The Impossible Dream) / Taturamo / Galope / Quem Há De
Dizer / Demoníaca / Encouraçado / Resposta / Num Samba Curto / Tira As
Mãos De Mim / A Coroa Do Rei

02 Side 2 (22:31)
Eu Fui À Europa / Gás Neon / Luzes Da Ribalta (Limelight) / Espinita /
Disseram Que Voltei Americanizada / Lili (Hi Lili, Hi-Lo) / Não Tem Tradução /
Ator De Cinema / Desesperadamente / Dez Bilhões De Neurônios / Dos Pés
À Cabeça / Nossa Senhora Da Ajuda / Eu Vim Do Sertão / Midas / Maria, Maria /
Chão De Estrelas / Sinal Fechado

  Maria Bethania - A Cena Muda    (ogg  99mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

For many observers, Alibi is her indisputable masterpiece, the album that brought him success (commercial and others) with more than one million copies sold and the recognition of her peers. Produced by a legend of bossa nova, Roberto Menescal, Alibi consists mostly romantic ballads flirting with Jazz and Pop. Arrangements strings and keyboards are quite sober and delicate, giving the whole a real sweet. The album, very well built, bit nevertheless appear a little smooth, no actual flight, the emotion is rather contained. I love it when Maria Bethania dare push her voice ( "Negue"). Some points of organs: the beautiful cover of "Alibi" (Djavan), the meeting "magic" of Maria Bethania e Gal Costa on "Sonho Meu" and the grandiose version of "Chalice" (Chico Buarque). The quality and homogeneity of the album makes it a real success.

Maria Bethania - Alibi   (flac  158mb)

01 Diamante Verdadeiro 2:04
02 Álibi 3:35
03 O Meu Amor 3:20
04 A Voz De Uma Pessoa Vitoriosa 2:44
05 Ronda 2:05
06 Explode Coração 2:06
07 Negue 3:58
08 Sonho Meu 3:03
09 De Todas As Maneiras 1:53
10 Cálice 3:19
11 Interior 2:40

     (ogg   mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Maria Bethânia is an expressive singer with a massive audience. Her romantic style coexists with a dramatic feel that blossoms in her live presentations, such as this one. An eclectic artist in regards to her repertoire, she may mix old-time strong values of Brazilian with the current fashionable composer, with critical results in her most recent releases, but always enchanting her fans, as can be heard through the enthusiastic applause. In this album she didn't go that far, and all compositions are good, even if they come from the brega Roberto Carlos; "Detalhes" is a beautiful song, after all. Supported by competent musicians and by the composer/pianist/ arranger Cristóvão Bastos, she also explores the old classics Ary Barroso, João de Barro, Paulo Vanzolini, and Chiquinha Gonzaga, together with contemporaries Milton Nascimento, her brother Caetano Veloso, Gonzaguinha, and Chico Buarque, revisiting songs already associated with her interpretation in a whole integrated by her charisma and highly personal singing.

Maria Bethânia & Caetano Veloso - Ao Vivo   (flac 194mb)

01 Tudo De Novo 4:15
02 Carcará 3:59
03 João E Maria 2:08
04 Número Um 2:25
05 Maria Bethânia 1:24
06 O Que Tinha De Ser 2:08
07 O Leãozinho 3:13
08 Meu Primeiro Amor 4:45
09 Falando Sério 2:56
10 Reino Antigo and Adeus Meu Santo Amaro 4:58
11 Maninha 3:35
12 Doce Mistério Da Vida (Ah Sweet Mystery Of Life) 2:22

     (ogg  mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

At first, this seems like an implausible meeting. Maria Bethânia, sister of Caetano Veloso, member of the iconoclast movement Tropicália since its inception, dedicated this album to the duo of songwriters Roberto Carlos/Erasmo Carlos, long since associated with a heavily romantic repertoire that makes the delights of their middle-aged feminine fan base. But, in fact, the songs by Roberto and Erasmo are quite poetic and well resolved in formal terms. If Roberto (and others) decided to profit on their jewels through condescending arrangements/renditions, it can't be assumed that their material isn't worth it, and Bethânia shows why. Deeply romantic, yes -- but extremely tasteful. The album sold 1.5 million copies.

Maria Bethania - As Cancoes Que Voce Fez Pra Mim (flac 255mb)

01 As Canções Que Você Fez Pra Mim 3:43
02 Olha 3:41
03 Fera Ferida 3:33
04 Você Não Sabe 3:10
05 Palavras 4:40
06 Costumes 2:49
07 Detalhes 5:09
08 Eu Preciso De Você 4:11
09 Seu Corpo 4:03
10 Você 3:00
11 Emoções 4:16

Maria Bethania - As Cancoes Que Voce Fez Pra Mim  (ogg  100mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

No comments: