Hello, w'll be staying in Brazil until the Olympics there's plenty of time to explore the it's music scene. 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 an artist who fused samba, salsa, and bossa nova with rock and folk music, he's recognized today as one of the pioneers in world music. A multi-instrumentalist and singer/songwriter, Gil joined his first group, the Desafinados, in the mid-'50s and by the beginning of the 1960s was earning a living as a jingle composer. Although known mostly as a guitarist, he also holds his own with drums, trumpet, and accordion.. .....N'Joy
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Gil was born in Salvador, an industrial city in the northeast of Brazil, though he spent much of his childhood in nearby Ituaçu. Ituaçu was a small town of fewer than a thousand, located in the sertão, or countryside, of Bahia. His father, José Gil Moreira, was a doctor; his mother, Claudina Passos Gil Moreira, an elementary school teacher. As a young boy, he attended a Marist Brothers school. Gil remained in Ituaçu until he was nine years old, returning to Salvador for secondary school.
Gil's interest in music was precocious: "When I was only two or two and a half," he recalled, "I told my mother I was going to become a musician or a president of my country." He grew up listening to the forró music of his native northeast, and took an interest in the street performers of Salvador. Early on, he began to play the drums and the trumpet, through listening to Bob Nelson on the radio. Gil's mother was the "chief supporter" in his musical ambitions; she bought him an accordion and, when he was ten years old, sent him to music school in Salvador which he attended for four years As an accordionist, Gil first played classical music, but grew more interested in the folk and popular music of Brazil. He was particularly influenced by singer and accordion player Luiz Gonzaga; he began to sing and play the accordion in an emulation of Gonzaga's recordings. Gil has noted that he grew to identify with Gonzaga "because he sang about the world around [him], the world that [he] encountered."
During his years in Salvador, Gil also encountered the music of songwriter Dorival Caymmi, who he says represented to him the "beach-oriented" samba music of Salvador. Gonzaga and Caymmi were Gil's formative influences. While in Salvador, Gil was introduced to many other styles of music, including American big band jazz and tango. In 1950 Gil moved back to Salvador with his family. It was there, while still in high school, that he joined his first band, Os Desafinados (The Out of Tunes), in which he played accordion and vibraphone and sang. Os Desafinados was influenced by American rock and roll musicians like Elvis Presley, as well as singing groups from Rio de Janeiro. The band was active for two to three years. Soon afterwards, inspired by Brazilian star João Gilberto, he settled on the guitar as his primary instrument and began to play bossa nova
Gil met guitarist and singer Caetano Veloso at the Universidade Federal da Bahia (Federal University of Bahia) in 1963. The two immediately began collaborating and performing together, releasing a single and EP soon afterwards. Along with Maria Bethânia (Veloso's sister), Gal Costa, and Tom Zé, Gil and Veloso performed bossa nova and traditional Brazilian songs at the Vila Velha Theatre's opening night in July 1964, a show entitled Nós, por Exemplo (Us, for Example). Gil and the group continued to perform at the venue and he eventually became a musical director of the concert series. Gil collaborated again with members of this collective on the landmark 1968 album Tropicália: ou Panis et Circenses, whose style was influenced by The Beatles' Sgt. Pepper's Lonely Hearts Club Band, an album Gil listened to constantly. Gil describes Tropicália: ou Panis et Circenses as the birth of the tropicália movement. As Gil describes it, tropicália (or Tropicalismo) was a conflation of musical and cultural developments that had occurred in Brazil during the 1950s and 1960s—primarily bossa nova and the Jovem Guarda (Young Wave) collective—with rock and roll music from the United States and Europe, a movement deemed threatening by the Brazilian government of the time.
Early on in the 1960s, Gil earned income primarily from selling bananas in a shopping mall and composing jingles for television advertisements;[5] he was also briefly employed by the Brazilian division of Unilever, Gessy-Lever.[6] He moved to São Paulo in 1965 and had a hit single when his song "Louvação" (which later appeared on the album of the same name) was released by Elis Regina. However, his first hit as a solo artist was the 1969 song "Aquele Abraço".[5] Gil also performed in several television programs throughout the 1960s, which often included other "tropicalistas", members of the Tropicalismo movement
In February 1969 Gil and Veloso were arrested by the Brazilian military government, brought from São Paulo to Rio de Janeiro, and spent three months in prison and another four under house arrest, before being freed on the condition that they leave the country. Veloso was the first to be arrested; the police moved to Gil's home soon afterward. Veloso had directed his then-wife Andréa Gadelha to warn Gil about the possibility of arrest, but Gil was eventually brought into the police van along with Veloso. They were given no reason or charge for their arrest. Gil believes that the government felt his actions "represent[ed] a threat [to them], something new, something that can't quite be understood, something that doesn't fit into any of the clear compartments of existing cultural practices, and that won't do. That is dangerous." During his prison sentence, Gil began to meditate, follow a macrobiotic diet, and read about Eastern philosophy. He composed four songs during his imprisonment, among them "Cérebro Electrônico" (Electronic Brain), which first appeared on his 1969 album Gilberto Gil 1969, and later on his 2006 album Gil Luminoso. Thereafter, Gil and Veloso were exiled to London, England after being offered to leave Brazil. The two played a last Brazilian concert together in Salvador in July 1969, then left to Portugal, Paris, and finally London. He and Veloso took a house in Chelsea, sharing it with their manager and wives. Gil was involved in the organisation of the 1971 Glastonbury Free Festival and was exposed to reggae while living in London; he recalls listening to Bob Marley (whose songs he later covered), Jimmy Cliff, and Burning Spear. He was heavily influenced by and involved with the city's rock scene as well. However, he also performed solo, recording Gilberto Gil (Nêga) while in London. In addition to involvement in the reggae and rock scenes, Gil attended performances by jazz artists, including Miles Davis and Sun Ra. to be continued
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Gilberto Gil's debut album presented him as one of the brightest young performers and composers in Brazil. Composed just a few years before tropicalia hit, stripped-down songs like the title track, "Lunik 9," and "Roda" reflect the native influence of bossa nova and samba. Though it's clear he's not yet the enthusiastic performer he would soon become, Louvação is a solid debut, packed with intriguing songs.
Gilberto Gil - Louvação (flac 247mb)
01 Louvação 3:45
02 Beira Mar 3:55
03 Lunik 9 3:06
04 Ensaio Geral 2:08
05 Me Perdoe Maria 2:37
06 A Rua 3:34
07 Roda 2:41
08 Rancho Da Rosa Encarnada 2:36
09 Viramundo 2:20
10 Mancada 2:03
11 Água De Meninos 4:35
12 Procissáo 2:37
13 Minha Senhora 3:24
14 A Moreninha 2:50
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Gilberto Gil's second album is packed with some of the best songs of his career -- jubilant pop extravaganzas like "Domingo No Parque," "Pega a Voga, Cabeludo," and "Frevo Rasgado" that were equally inspired by the irresistible, brassy bombast of Carnaval and intelligent rock & roll from America and Britain. Even more than the other tropicalistas, though, Gil blends his rock and native influences seamlessly, resulting in songs like "Êle Falava Nisso Todo Dia" that chart an intriguing fusion of Brazilian and British Invasion (before he breaks into Portuguese for the first verse, the intro sounds exactly like a few early Rolling Stones productions). Gil's occasional backing band, the teenage tropicalia breakouts known as Os Mutantes, join in on the feel-good Brazilian pop anthem "Domingou." Enjoyable and never as experimental as his work would soon become, Gilberto Gil is one of the best tropicalia albums ever released.
Gilberto Gil - 1968 (with Os Mutantes) (flac 291mb)
01 Frevo Rasgado 1:55
02 Coragem Pra Suportar 2:55
03 Domingou 2:55
04 Marginália II 2:39
05 Pega A Voga, Cabeludo 4:44
06 Êle Falava Nisso Todo Dia 2:33
07 Procissão 2:55
08 Luzia Luluza 4:03
09 Pé Da Roseira 3:03
10 Domingo No Parque 3:42
Bonus
11 Barca Grande 2:41
12 A Coisa Mais Linda Que Existe 3:59
13 Questão De Ordem 5:31
14 A Luta Contra A Lata Ou A Faléncia Do Café 2:49
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It's not only ironic that the record with Gilberto Gil's first major hit ("Aquele Abraço") is also his most experimental album; it also speaks to the diversity of Brazil's emerging pop superstar. Beginning with the loose-jointed groove-pop of "Cérebro Eletrónico" (the album's subtitle), this second of three straight self-titled LPs includes a few Carnival-styled pop songs, as on his previous album. Most of the experimentation comes at the end of side two with "2001" and "Objeto Semi-Identificado," both of which are filled with odd tape-music portions, spoken-word elements, and a reliance on studio trickery rarely seen on any Western pop albums. Even the pop songs are produced with an eye toward noise; the tropicalia anthem "Volks Volkswagen Blue" features a few psychedelic guitar lines breaking into distortion, and a small but devastatingly brassy horn section punctuating the melody. It's a very disjointed album, not quite as consistently entertaining as last year's entry, but definitely a masterpiece of forward-looking pop.
Gilberto Gil - Cérebro Eletrónico (flac 472mb)
01 Cérebro Eletrônico 3:34
02 Volks-Volkswagen Blue 3:40
03 Aquele Abraço 5:23
04 17 Léguas E Meia 4:14
05 A Voz Do Vivo 3:46
06 Vitrines 3:35
07 2001 4:33
08 Futurível 5:46
09 Objeto Semi-identificado 5:16
Bônus
10 Omã Iaô 4:26
11 Aquele Abraço (Versão Integral) 6:59
12 Come Medo, Com Pedro (Demo) 4:22
13 Cultura E Civilização (Demo)16:21
14 Queremos Guerra with Jorge Ben e Caetano Veloso 3:17
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The first recordings of Gilberto Gil in London, during his period of exile from 1969 to 1972, the soundtrack of "Copacabana, Mon Amour" was requested by the filmmaker Rogério Sganzerla. A cash amount was sent so that Gil would enter the studio and record the songs for the film´s soundtrack. Recording voice and guitar in two channels, Gil later recorded voice and guitar again (for the effect of overdubbing, thanks to which we hear two voices and two guitars of the artist, as if he was singing to himself). Finally, Gil added percussion and invited flute player and friend David Linger to provide the finishing touch. Péricles Cavalcanti also featured. The result was excellent and two stereophonic master tapes were edited at the IBC London studio on 23 April 1970. A single copy was made and sent to Brazil, for Sganzerla to edit the soundtrack. This copy disappeared after some years and only in 1998, after countless investigations and thanks to selfless friends, was I able to locate the original master tape in the hands of an English collector - who had acquired a collection of which the tape had been part for many years after Gil´s return to Brazil. Its launch helps to further portray the London phase of Gilberto Gil .
Gilberto Gil - Copacabana Mon Amour (flac 281mb)
01 Diga A Ela (1ª Versão) 7:25
02 Mr. Sganzerla 7:41
03 Blind Faith 5:57
04 Yeh Yeh Yah Yah 14:20
05 Tomorrow Vai Ser Bacana 7:53
06 Diga A Ela (2ª Versão) 4:52
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Today an artist who fused samba, salsa, and bossa nova with rock and folk music, he's recognized today as one of the pioneers in world music. A multi-instrumentalist and singer/songwriter, Gil joined his first group, the Desafinados, in the mid-'50s and by the beginning of the 1960s was earning a living as a jingle composer. Although known mostly as a guitarist, he also holds his own with drums, trumpet, and accordion.. .....N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Gil was born in Salvador, an industrial city in the northeast of Brazil, though he spent much of his childhood in nearby Ituaçu. Ituaçu was a small town of fewer than a thousand, located in the sertão, or countryside, of Bahia. His father, José Gil Moreira, was a doctor; his mother, Claudina Passos Gil Moreira, an elementary school teacher. As a young boy, he attended a Marist Brothers school. Gil remained in Ituaçu until he was nine years old, returning to Salvador for secondary school.
Gil's interest in music was precocious: "When I was only two or two and a half," he recalled, "I told my mother I was going to become a musician or a president of my country." He grew up listening to the forró music of his native northeast, and took an interest in the street performers of Salvador. Early on, he began to play the drums and the trumpet, through listening to Bob Nelson on the radio. Gil's mother was the "chief supporter" in his musical ambitions; she bought him an accordion and, when he was ten years old, sent him to music school in Salvador which he attended for four years As an accordionist, Gil first played classical music, but grew more interested in the folk and popular music of Brazil. He was particularly influenced by singer and accordion player Luiz Gonzaga; he began to sing and play the accordion in an emulation of Gonzaga's recordings. Gil has noted that he grew to identify with Gonzaga "because he sang about the world around [him], the world that [he] encountered."
During his years in Salvador, Gil also encountered the music of songwriter Dorival Caymmi, who he says represented to him the "beach-oriented" samba music of Salvador. Gonzaga and Caymmi were Gil's formative influences. While in Salvador, Gil was introduced to many other styles of music, including American big band jazz and tango. In 1950 Gil moved back to Salvador with his family. It was there, while still in high school, that he joined his first band, Os Desafinados (The Out of Tunes), in which he played accordion and vibraphone and sang. Os Desafinados was influenced by American rock and roll musicians like Elvis Presley, as well as singing groups from Rio de Janeiro. The band was active for two to three years. Soon afterwards, inspired by Brazilian star João Gilberto, he settled on the guitar as his primary instrument and began to play bossa nova
Gil met guitarist and singer Caetano Veloso at the Universidade Federal da Bahia (Federal University of Bahia) in 1963. The two immediately began collaborating and performing together, releasing a single and EP soon afterwards. Along with Maria Bethânia (Veloso's sister), Gal Costa, and Tom Zé, Gil and Veloso performed bossa nova and traditional Brazilian songs at the Vila Velha Theatre's opening night in July 1964, a show entitled Nós, por Exemplo (Us, for Example). Gil and the group continued to perform at the venue and he eventually became a musical director of the concert series. Gil collaborated again with members of this collective on the landmark 1968 album Tropicália: ou Panis et Circenses, whose style was influenced by The Beatles' Sgt. Pepper's Lonely Hearts Club Band, an album Gil listened to constantly. Gil describes Tropicália: ou Panis et Circenses as the birth of the tropicália movement. As Gil describes it, tropicália (or Tropicalismo) was a conflation of musical and cultural developments that had occurred in Brazil during the 1950s and 1960s—primarily bossa nova and the Jovem Guarda (Young Wave) collective—with rock and roll music from the United States and Europe, a movement deemed threatening by the Brazilian government of the time.
Early on in the 1960s, Gil earned income primarily from selling bananas in a shopping mall and composing jingles for television advertisements;[5] he was also briefly employed by the Brazilian division of Unilever, Gessy-Lever.[6] He moved to São Paulo in 1965 and had a hit single when his song "Louvação" (which later appeared on the album of the same name) was released by Elis Regina. However, his first hit as a solo artist was the 1969 song "Aquele Abraço".[5] Gil also performed in several television programs throughout the 1960s, which often included other "tropicalistas", members of the Tropicalismo movement
In February 1969 Gil and Veloso were arrested by the Brazilian military government, brought from São Paulo to Rio de Janeiro, and spent three months in prison and another four under house arrest, before being freed on the condition that they leave the country. Veloso was the first to be arrested; the police moved to Gil's home soon afterward. Veloso had directed his then-wife Andréa Gadelha to warn Gil about the possibility of arrest, but Gil was eventually brought into the police van along with Veloso. They were given no reason or charge for their arrest. Gil believes that the government felt his actions "represent[ed] a threat [to them], something new, something that can't quite be understood, something that doesn't fit into any of the clear compartments of existing cultural practices, and that won't do. That is dangerous." During his prison sentence, Gil began to meditate, follow a macrobiotic diet, and read about Eastern philosophy. He composed four songs during his imprisonment, among them "Cérebro Electrônico" (Electronic Brain), which first appeared on his 1969 album Gilberto Gil 1969, and later on his 2006 album Gil Luminoso. Thereafter, Gil and Veloso were exiled to London, England after being offered to leave Brazil. The two played a last Brazilian concert together in Salvador in July 1969, then left to Portugal, Paris, and finally London. He and Veloso took a house in Chelsea, sharing it with their manager and wives. Gil was involved in the organisation of the 1971 Glastonbury Free Festival and was exposed to reggae while living in London; he recalls listening to Bob Marley (whose songs he later covered), Jimmy Cliff, and Burning Spear. He was heavily influenced by and involved with the city's rock scene as well. However, he also performed solo, recording Gilberto Gil (Nêga) while in London. In addition to involvement in the reggae and rock scenes, Gil attended performances by jazz artists, including Miles Davis and Sun Ra. to be continued
xxxxx xxxxx xxxxx xxxxx xxxxx
Gilberto Gil's debut album presented him as one of the brightest young performers and composers in Brazil. Composed just a few years before tropicalia hit, stripped-down songs like the title track, "Lunik 9," and "Roda" reflect the native influence of bossa nova and samba. Though it's clear he's not yet the enthusiastic performer he would soon become, Louvação is a solid debut, packed with intriguing songs.
Gilberto Gil - Louvação (flac 247mb)
01 Louvação 3:45
02 Beira Mar 3:55
03 Lunik 9 3:06
04 Ensaio Geral 2:08
05 Me Perdoe Maria 2:37
06 A Rua 3:34
07 Roda 2:41
08 Rancho Da Rosa Encarnada 2:36
09 Viramundo 2:20
10 Mancada 2:03
11 Água De Meninos 4:35
12 Procissáo 2:37
13 Minha Senhora 3:24
14 A Moreninha 2:50
xxxxx xxxxx xxxxx xxxxx xxxxx
Gilberto Gil's second album is packed with some of the best songs of his career -- jubilant pop extravaganzas like "Domingo No Parque," "Pega a Voga, Cabeludo," and "Frevo Rasgado" that were equally inspired by the irresistible, brassy bombast of Carnaval and intelligent rock & roll from America and Britain. Even more than the other tropicalistas, though, Gil blends his rock and native influences seamlessly, resulting in songs like "Êle Falava Nisso Todo Dia" that chart an intriguing fusion of Brazilian and British Invasion (before he breaks into Portuguese for the first verse, the intro sounds exactly like a few early Rolling Stones productions). Gil's occasional backing band, the teenage tropicalia breakouts known as Os Mutantes, join in on the feel-good Brazilian pop anthem "Domingou." Enjoyable and never as experimental as his work would soon become, Gilberto Gil is one of the best tropicalia albums ever released.
Gilberto Gil - 1968 (with Os Mutantes) (flac 291mb)
01 Frevo Rasgado 1:55
02 Coragem Pra Suportar 2:55
03 Domingou 2:55
04 Marginália II 2:39
05 Pega A Voga, Cabeludo 4:44
06 Êle Falava Nisso Todo Dia 2:33
07 Procissão 2:55
08 Luzia Luluza 4:03
09 Pé Da Roseira 3:03
10 Domingo No Parque 3:42
Bonus
11 Barca Grande 2:41
12 A Coisa Mais Linda Que Existe 3:59
13 Questão De Ordem 5:31
14 A Luta Contra A Lata Ou A Faléncia Do Café 2:49
xxxxx xxxxx xxxxx xxxxx xxxxx
It's not only ironic that the record with Gilberto Gil's first major hit ("Aquele Abraço") is also his most experimental album; it also speaks to the diversity of Brazil's emerging pop superstar. Beginning with the loose-jointed groove-pop of "Cérebro Eletrónico" (the album's subtitle), this second of three straight self-titled LPs includes a few Carnival-styled pop songs, as on his previous album. Most of the experimentation comes at the end of side two with "2001" and "Objeto Semi-Identificado," both of which are filled with odd tape-music portions, spoken-word elements, and a reliance on studio trickery rarely seen on any Western pop albums. Even the pop songs are produced with an eye toward noise; the tropicalia anthem "Volks Volkswagen Blue" features a few psychedelic guitar lines breaking into distortion, and a small but devastatingly brassy horn section punctuating the melody. It's a very disjointed album, not quite as consistently entertaining as last year's entry, but definitely a masterpiece of forward-looking pop.
Gilberto Gil - Cérebro Eletrónico (flac 472mb)
01 Cérebro Eletrônico 3:34
02 Volks-Volkswagen Blue 3:40
03 Aquele Abraço 5:23
04 17 Léguas E Meia 4:14
05 A Voz Do Vivo 3:46
06 Vitrines 3:35
07 2001 4:33
08 Futurível 5:46
09 Objeto Semi-identificado 5:16
Bônus
10 Omã Iaô 4:26
11 Aquele Abraço (Versão Integral) 6:59
12 Come Medo, Com Pedro (Demo) 4:22
13 Cultura E Civilização (Demo)16:21
14 Queremos Guerra with Jorge Ben e Caetano Veloso 3:17
xxxxx xxxxx xxxxx xxxxx xxxxx
The first recordings of Gilberto Gil in London, during his period of exile from 1969 to 1972, the soundtrack of "Copacabana, Mon Amour" was requested by the filmmaker Rogério Sganzerla. A cash amount was sent so that Gil would enter the studio and record the songs for the film´s soundtrack. Recording voice and guitar in two channels, Gil later recorded voice and guitar again (for the effect of overdubbing, thanks to which we hear two voices and two guitars of the artist, as if he was singing to himself). Finally, Gil added percussion and invited flute player and friend David Linger to provide the finishing touch. Péricles Cavalcanti also featured. The result was excellent and two stereophonic master tapes were edited at the IBC London studio on 23 April 1970. A single copy was made and sent to Brazil, for Sganzerla to edit the soundtrack. This copy disappeared after some years and only in 1998, after countless investigations and thanks to selfless friends, was I able to locate the original master tape in the hands of an English collector - who had acquired a collection of which the tape had been part for many years after Gil´s return to Brazil. Its launch helps to further portray the London phase of Gilberto Gil .
Gilberto Gil - Copacabana Mon Amour (flac 281mb)
01 Diga A Ela (1ª Versão) 7:25
02 Mr. Sganzerla 7:41
03 Blind Faith 5:57
04 Yeh Yeh Yah Yah 14:20
05 Tomorrow Vai Ser Bacana 7:53
06 Diga A Ela (2ª Versão) 4:52
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