Sergio Mendes ~ Brazil

Pais Tropical (1971)

Another Mendes album I somehow missed. This is where he introduced the Brasil '77 version of the band. Karen Philipp is still fortunately around, though her sidekick is now Gracinha Leporace, also known as Mrs. Mendes. So he traded out Herb Alpert's wife for his own.

The music here is a return to the Bossa Nova Easy Listening of Ye-Me-Le and prior. The folk rock experiment of Stillness didn't pan out as hoped. All the same, one can hear Mendes starting to jones for his homeland more and more. Something that he fortunately exploited further on his masterpiece Primal Roots.

In the end, it's better than Love Music, but it's still a bit too contrived for me to get too excited about. The fact that there isn't that one heart melting track works heavy against it. The cover of J.J. Cale's 'After Midnight' would have to be considered ill-advised. Overall it's an average effort for Mendes.

Source: 1971 A&M (LP). Flapback cover.

8/28/26 (review)
 

Sergio Mendes & Brasil '66 - Ye-Me-Le (1969)

I've gone on plenty about Mendes in these pages. As the last five years have flown by I'm now of the mind that if you're new to collecting records, Mendes should be of the first ones you buy. They're readily available, very cheap, and brilliant musically. This is the fourth German edition I've found for Mendes, the others being Equinox, Crystal Illusions, and Primal Roots. And they all sound terrific. Ye-Me-Le is the last of the classic era Mendes albums for me to acquire, this one coming from a local vintage shop. The music is as expected, soft Bossa Nova covers of famous songs, plus a smattering of originals. Beautiful really. 

Ownership: 1969 A&M Germany (LP). Acquired in 2024.

9/8/24 (review)

Sergio Mendes & Brasil '66 (1966)

I told myself that the next clean copy of this album I find then I'm buying it. And this certainly fit the bill. It's a 25 minute album, and is mostly fluff. But the best kind of fluff. Really captures the 1966 ethos, a most creative year that seems to serve as an island unto itself. Sergio Mendes & Brasil '66 is the dictionary entry for Bossa Nova.

Ownership: 1966 A&M mono (LP). Acquired in 2024.

7/12/20; 6/14/24 (review)

Sergio Mendes & Brasil '66 - Stillness (1970)

One of the classic era Mendes I still didn't have. While Mendes' 60s works are ubiquitous, once the decade flipped over, his sales clearly must have gone down, as not all of his albums are as readily available. In addition, Mendes was messing with the formula a bit here. Less of the easy listening bossa nova - or even the psychedelics of Crystal Illusion - and more of the earthy folky sounds of the 1970 pop era. It's all very well done, perhaps a bit too serious, and none of the hair raising inner-child melodies of the past. 

I may try for this title again in the future.

Former ownership: 1970 A&M (LP). Acquired in 2023. Downsized in 2024.

3/19/23 (review)

Sergio Mendes & Brasil '66 - Fool on the Hill (1968)

After hearing Equinox, I made the decision to hear all the Mendes albums, as long as they were in good enough shape. Brasil '65 is great and Equinox is very good, but the Herb Alpert album lost me (reconciled since). Fool on the Hill sits between the latter and Equinox in terms of quality. It really should have been better, as it isn't quite as cover heavy and features indigenous Brazilian songwriters. I wasn't convinced after the first side, but the flip sold me. In particular I fell for - of all things - 'Scarborough Fair'. I'm a fan of the song as it is, but the bossa nova version is just too much to resist. I can listen to Lani Hall (Herb Alpert's wife) and Karen Philipp all day long. Pizzicato Five and Stereolab made a career out of borrowing from this group. 

Ownership:

1968 A&M (LP). Gatefold. Acquired in 2020.

1968 A&M (reel to reel). Acquired in 2024.

12/19/20; 6/22/22 (review)

Sergio Mendes & Brasil '66 - Look Around (1968) 

Look Around is the album between Equinox and Fool on the Hill, and is at the height of Mendes popularity. He wasn't in any mood to experiment at this point, and kept that gravy train going at full blast. This is square on Bossa Nova influenced Easy Listening music. There are no mind melting tracks like what you would find on Crystal Illusions, Primal Roots, or even Brasil '65. But it sure is enjoyable for late night listening. Not real fond of the Beatles cover here, but most of the album contains originals, and pleasant at that. And Mendes covering Bacharach's 'The Look of Love' isn't even fair. Like Metallica covering Budgie, the ingredients are too stacked in its favor to be anything but great. 

The cover is stunning. Late 60s fashion at its zenith. These albums would be worth quite a bit of money if they didn't sell so many of them in the first place. Of course I'm keeping it. And the fact that I mentioned Metallica and Budgie in a Mendes review makes me really happy.

Ownership: 1968 A&M (LP). Gatefold. Acquired in 2021.

6/26/21 (review)

Sergio Mendes & Brasil '77 - Primal Roots (1972)

This album is a huge departure from anything I've ever heard Mendes perform. Gone are the soft pop songs, and its place is a serious fusion of Brazilian folk styles. Considering that all of Side 2 is made up of one track called 'The Circle Game', you know we're thousands of miles away from Ipanema. The minute I heard the incredibly breezy 'After Sunrise' with its female la-la-la's I was triggered by a long time memory. I can remember looking for this song at some point in my life, and could never find it. It comes from something I saw on television or video, but I cannot remember what it was. I have a guess, but I'll keep that to myself for now. And the side long track is brilliant, filled to the brim with great ideas, and never lags. It's not fair to compare Primal Roots to his other work, because it's just a different animal all together. This album puts the previously reviewed Love Music into perspective. That album followed this, and is a reaction to it most likely. One serious, one complete fluff. Easy recommendation to Mendes fans, and even progressive rock and fusion collectors.

Ownership: 1972 A&M Germany (LP). Acquired in 2021.

4/19/21 (review)

Sergio Mendes & Brasil '77 - Love Music (1973)

Speaking of ill-advised covers. And, in this case, I don't necessarily mean exclusively the physical package. I finally found the Mendes album that's not for me. No Bossa Nova here, not even original songs. All English language pop covers - some more known than others. Ugh - this one is way too Vegas-stagey for my tastes. OK, this one goes. I definitely preferred the follow-up Vintage '74 to this.

Source: 1973 Bell Germany (LP)

4/1/21 (review)

 

Sergio Mendes & Brasil '66 - Crystal Illusions (1969)

The opener is inauspicious, and it reminded me of some of the duff tracks from Fool on the Hill. Things get on track with the Portuguese sung 'Viola'. After which, Crystal Illusions finds its groove, 'Song of No Regrets' reminds me of Burt Bacharach's 'Alfie' and is very solemn and moving. 'Salt Sea' is a stunner, the kind of song that turns me into a ball of mush. What a beautiful track. Not to be outdone, the closer of the side is 'Empty Faces', which adds some Bossa Nova to the same formula. Just breathtaking really. 'Pretty World' opens side 2 magnificently and is the kind of composition one would think only Bacharach, Hal David, and Dionne Warwick could have come up with. 'Dois Dias' is the other Portuguese track, and is oddly like 'Viola' in that it's not one of the highlights. 'You Stepped Out of a Dream' is way too saccharine, and one gets diabetes just listening to it. Then comes the closer, something entirely new for Mendes (I think). At close to 8 minutes, will it be prog? Haha, well no. It's the second half of the track that gets really interesting. There's an electric piano jam that recalls late-era Doors (a jam on a Mendes album? Who knew?), followed by some disorienting strings that is very psychedelic. Overall, a superb effort and a nice thick German copy too. This is my second favorite to date with only Brasil '65 topping it. Let's see if either get bettered (Primal Roots ended up being my favorite).

Ownership: 1969 A&M Germany (LP). Acquired in 2021.

3/29/21 (review) 

Home Cooking (1976)

Picked this up with the Vintage 74 album. Ha - I guess this is the album that sees Mendes turn funk. Has some really good grooves, especially the A side instrumental closer 'Shakara'. All the same, Mendes is a pop artist professional so he's not going to let things get out of hand. Unfortunately. Plenty of Easy Listening and light Bossa Nova as well. The lady at the counter (she likes to comment on the album covers apparently) really got a kick out of the steaming oven on the back. Just as tabasco sauce is pretty wimpy compared to what's on the market, so goes Home Cooking. Good enough though. Keeper.

Ownership: 1976 Elektra (LP). Gatefold. Acquired in 2021.

1/31/21 (review)

Sergio Mendes and Brasil 77 - Vintage 74 (1974)

As promised, I've been picking up Mendes albums as I see them in the thrift bins. This is actually one of his rarer titles. And with "electric fuzz guitar" listed on at least two tracks, and it's from 1974, I thought Mendes might have tried his hand at deep funk or something. Uh... no. Arguably he's no longer performing Bossa Nova anymore but rather straight up Easy Listening music. To my ears, Mendes has gone full on Burt Bacharach here, which is A-OK in my world. Pleasant female vocals over complex 60s era pop songs. It's a bit squishy in the middle, but since I can be nostalgic that way, I found this album to be pleasant, yet hardly revelatory. The older lady at the cash register (who's probably younger than me lol) thought the cover was cute. So there, it's a cute album. Not for fans of Kluster.

Ownership: 1974 Bell (LP). Gatefold. Acquired in 2021.

1/30/21 (review)

Sergio Mendes & Brasil '66 - Equinox (1967)

You may recall my notes on the Brasil '65 album from last summer, and my own primordial background with Bossa Nova. This isn't really that much different, more stylized and slick perhaps, but still very enjoyable on the whole. I found this better than the more popular in-between Herb Alpert Presents album. Also, for the first time, I'm picking up some Stereolab here. Wouldn't be surprised to read that Mendes was an influence for the Groop.

Ownership: 

1967 A&M Germany (LP). Acquired in 2020.

1967 A&M (reel to reel). Acquired in 2024.

11/27/20 (review)
 

The Sergio Mendes Trio - Brasil '65 (1965)

The cover hypes/screams that this album is "The Greatest New South American Arrival Since Coffee!" Haha - well you know, they might have a point... Especially in 1965.

On rare occasion I travel to Sao Paulo for business. Fortunately the hotels we are allowed to stay at are quite luxurious, and this is exactly the type of music they pipe into the lounge and the restaurant. In fact, some of the music comes right off this album. I suspect it's what a tourist, or what the hotels think a tourist, might want to hear while there. I mean you can't expect them to play Modulo 1000 or Lula Cortes e Ze Remalho. Or Sepultura.

Bossa Nova pop such as this has to be some of the easiest music on the ears. The beautiful female vocals, the soothing rhythms, the soft textured acoustic guitar, the lovely piano, and the flute. It's - forgive me - So Nice.

Ownership: 1965 Capitol (LP). Acquired in 2019.

5/24/19 (review); 11/28/25

5/24/19 (new entry)

Manfredo Fest ~ Brazil

Brazilian Dorian Dream (1976)

My only encounter with Manfredo Fest prior was the hyper obscure EP that I - more or less - rediscovered about seven years ago. Dutifully added it to Discogs, and some economics flunkie sold it for $15. When the next $1000+ copy moves, I'm sure he'll feel smart. Which is why I stopped adding things to Discogs. Too many slow brains out there to trust with these sort of rarities. Triggers me. If only Carolina Soul had a copy first. Here's my review of that EP, and my experience with it, and how it started my Unknown Vinyl Records blog (which I've fallen terribly behind on, and I have so much more to add there). Discogs shows an ownership of 2. The smart person that grabbed the $15 copy (I presume). And me. Those might be the only two copies left on the planet.

Which gets us to Brazilian Dorian Dream, which is by far the most known and popular of Fest's albums. I was sold on its contents in about - oh - 25 seconds. Starting off like every album that features The Northettes, Fest proceeds to bring out the Mini Moog and electric piano, the rhythms go on fire, and Roberta Davis provides the beautiful airy wordless vocals. It is about perfect, and it only gets better from there. Have to think that Sergio Mendes' Primal Roots had a role in the sound displayed here. Someone astutely compared this album to Cortex's Troupeau Bleu, where there are many similarities. Which recalled my own observation of Cortex reminding me some of Cos, taking us back to our Canterbury roots. This isn't a Canterbury album of course, but it has that feel-good optimistic sound, with brilliant songwriting. Perhaps had Fest added an electric guitar, or a flute, then Brazilian Dorian Dream would have gone to even a higher plane. I'm more than happy to be on the mountain he scaled as it is.

Ownership: 2020 Far Out (CD). Booklet has only the original liner notes. Taken from vinyl but it does sound good. Acquired in 2026.

3/16/26 (review)

3/16/26 (new entry)

Sepultura ~ Brazil

Beneath the Remains (1989)

Sepultura first came across my radar while still in college, and to my ears back then, they were just too primitive for me to get into. They were getting rave reviews in the metal mags at the time. I believe I first heard Morbid Visions (1986) which, even for fans, is some tough sledding. And that was really it for me and Sepultura. Which is too bad, because by the time of Beneath the Remains, we would have been on parallel paths for where we wanted thrash to go. I was deep into the Euro prog underground by then, and while still very much interested in proggy thrash, I guess I had already written off Sepultura. My loss.

Fast forward to 2017, and now I'm traveling down to Sao Paulo for business. In order to be on time at work Monday morning, it requires a late Saturday night flight from the US. Thus leaving Sunday afternoon open for strolling and a nice dinner. Fortunately my company allowed us to stay at ritzy hotels in safe, leafy neighborhoods. Like the Jardins. And what do people on Sunday do in Sao Paulo? They walk Avenida Paulista. There's many music acts you can catch for free while walking. Including metal. And there were at least three bands emulating Sepultura who were legend by that point. They were all fun to watch and got me into the mood to check some of their material out.

A couple of years later I ended up acquiring five titles on CD in a bulk buy, including the one I'm listening to now. I didn't write about it then, so Sepultura makes its UMR debut today. Beneath the Remains is on the heavier and darker side of the thrash genre, recalling the German groups Kreator and Destruction. The riffs are inventive and change quite a bit. While it's not really progressive in the traditional sense, the riffs are mixed up quite a bit to keep it interesting. Similar to Dark Angel in that way. The vocals are one step away from death metal, very angry and to the point. Not as powerful or accomplished as Tom Araya of Slayer, but we're in the same ballpark. Overall I think this is where I wanted to hear Exodus go, and they never did. Beneath the Remains is further proof that the late 80s were the golden era of thrash.

The first bonus track is a cover of a Mutantes song, done Sepultura style and sung in Portuguese, so there's something to ponder. 

Ownership: 2007 Roadrunner (CD). Booklet with lyrics and historical liners. Acquired in 2019.

11/23/19; 3/2/26 (review)

3/2/26 (new entry)

Astrud Gilberto ~ Brazil

Look to the Rainbow (1966)

Cool, another Astrud Gilberto album I didn't have, and in great condition. All of these are costing me 69 cents each, which makes me even happier. Starts off almost serious, though the uplifting sweet vocals of Gilberto will never allow the clouds to gather. She's gaining confidence as a singer, and the arrangements haven't been over saturated yet like on Windy. She sounds more fragile than ever here. You can just picture the drunks proposing marriage to her at the local lounge. As usual, the Portuguese numbers add more flair to the proceedings. A few folks pointed out that B1 is the origin of Deep Purple's 'Smoke on the Water' track. Yep, it's true. The piano riff is the exact same. Imagine Blackmore and the boys in the green room spinning Astrud vinyl for inspiration. Haha. 

Ownership: 1966 Verve (LP). Mine's the mono pressing, unlike the cover presented.

12/3/25 (acquired / review)
 

The Astrud Gilberto Album (1965)

Astrud Gilberto's debut album is Bossa Nova perfection. Easy listening music that is truly timeless. Her delicate and innocent voice brings out the testosterone in traditional males like me. You just want to wrap your arms around and protect her from the harsh world around. It's all fantasy of course. Which is what this album brings - a world of fantasy. We all need an escape and that's what music does best. It's vice free, and allows us to go to all sorts of places in the safe confines of our home. Perhaps it was my business travels to Sao Paulo, but there's something very romantic about Brazil in the 60s. And even as late as the 2010's, the luxury hotels were preserving that culture as best they could. If you don't get all soft in the middle listening to this, then you may have died inside. No time like the present to revive. This album will resuscitate you.

Ownership: 1965 Verve (LP) Mono.

5/5/25 (acquired); 9/5/25 (review)

Windy (1968)

I couldn't pull this out of the thrift shop bin fast enough just hoping the vinyl wasn't trashed. And it wasn't! As noted prior, I'm buying anything with the Gilberto name on it, especially Astrud. And she's covering The Association's 'Windy'? That's not even fair. That's like adding Nolan Ryan to the 1927 Yankees roster. And yet... I didn't get much out of this album. Way too saccharine and over produced. Gilberto's chilling and innocent voice does best in a mixed emotion state. Here it's all rainbows and unicorns - and lots of strings to sink the mystique. Ah well, I didn't figure she'd bat a thousand (it's baseball metaphor season apparently). 

Source: 1968 Verve (LP)

10/10/24 (review)

Now (1972)

What can I say? Astrud is my kind of girl. Her sweet vocal styling makes me melt. Usual mix of covers and originals along with Portuguese and English vocals. Easy listening Bossa Nova music as if we never left 1966. Fine with me. Any chance we go to a neon motel with "COLOR TV", a swimming pool, and a coffee shop?

---11/24/25

I didn't mention that a couple of the cuts have fuzz guitar, quite a surprise at this late date. Final track 'Daybreak' is stunning and you'll be humming that tune long after your listening session. I find her music perfect for CD, so I'll be acquiring those as I go. Though I won't sell the first two LPs.

Ownership: 2022 Octave Lab / Perception / Today (CD). Booklet with original lyrics and liner notes in Japanese.

3/18/24 (LP acquired / review); 11/24/25 (CD acquired / update)
 

The Shadow of Your Smile (1965)

Albums like this connect with my inner six year old I think. I was less than one years of age when this was released, but it was just this kind of music that I would hear when with my parents at some restaurant or cocktail party (Dad was in sales, so picture that scene for 1970). I was exposed to the adult world early in life, which was unusual for its day. So in my naive little world, beautiful sweet females dominated the music scene, and it was Astrud Gilberto leading the way. Not that I had any idea of that back then, or even until very recently. Her voice and this music goes deep to the core and I feel it like a cat who hasn't seen his former owner in five years. Favorite track from this set: 'Fly Me to the Moon'. When Jet Setting had real meaning. Sigh.

Ownership: 1965 Verve UK (LP)

7/18/19 (acquired / review); 1/13/21

7/18/19 (new entry)

Antonio Carlos Jobim ~ Brazil

Wave (1967)

Classic Bossa Nova album with soothing acoustic guitar, flute, strings, trombone, etc... Some would even call this easy listening music, but there's far more at play than that would imply. It's easy on the ears that's for sure. If only Astrud Gilberto was singing, but nonetheless, an excellent example of its kind.

Former ownership: 1967 A&M / CTI (LP). Green photo gatefold original (Monarch press, not in Discogs today). Most of the covers have a red photo. Acquired in 2025.

2/4/25 (new review)
 

Tide (1970)

Nice Half-Speed Master version of Jobim's 1970 instrumental Bossa Nova album. It's for sure cocktail / saccharine but it definitely soothes the nerves. And Jobim is the author of Brazil's most famous song 'The Girl From Ipanema', which makes its presence here as well. My Bossa Nova collection is still pretty light, so a keeper for now.

Ownership: 1983 A&M (LP). Gatefold. Beautiful reissue with superb sound. Part of A&M's Quiex series. Acquired in 2021.

1/13/21 (review)

12/10/21 (new entry)

Som Imaginario - Matanca do Porco. 1973 Brazil

Matanca do Porco is Som Imaginario's 3rd and last album, and is a departure from their first 2 albums. The only remnants from their psychedelic era is the decidedly acid tone of the electric guitar. Otherwise, the music has gone from heavy psych to progressive rock, with a Brazilian jazz undertone. The all-instrumental Matanca do Porco is very well written, and has some wonderful melodies among the complex symphonic fusion. The embracement of Brazil's own Bossa Nova culture is much welcomed here. Comparisons are harder to find than previous, as Som Imaginario predicts the oncoming jazz fusion movement by about 2 to 3 years. Maybe Il Volo's second album is a guidepost? And even that came two years later than Matanca do Porco. The analog sound is still rooted in the early 70s, but it's the fusion of styles in an instrumental setting, that is forward looking. Essential for the collection.

Revisiting these Som Imaginario albums has been enlightening. I would say the debut met expectations, and the next two exceeded them, each resulting in a +1 rating.

Ownership: CD: 1997 EMI. As part of the Portfolio 3 CD box set. My thoughts about this package can be found on their debut (1970) post.

Som Imaginario. 1971 Brazil

For over 20 years, I had misinterpreted Som Imaginario's second album as the weak middle child. That awkward transition album from psychedelic to progressive rock. I was thinking of bands like The Mandrake Memorial or SRC. And, in particular, Italy's Formula 3 came to mind. But last night I heard the album completely different. I went 4 rounds with it, as I was caught off guard. Two straight hours of Som Imaginaro numero 2. It's a heavier album than their debut, and I was reminded more of Modulo 1000 - along with many Italian references, in particular Il Rovescio della Medaglia's La Bibbia and Il Balletto di Bronzo's Sirio 2222. Love the sinister Portuguese narration parts. The album closer 'A Nova Estrela' is brilliant heavy psych, exactly what you want from music of this era. Sure, there's still a bit of 60s pop left in them (especially A2), and their lame attempt at blues is best skipped over (B2). But otherwise, this album surpasses their debut in my estimation, which now puts me in the minority opinion. But I really do think their second album is more innovative and interesting on the whole.

Ownership: CD: 1997 EMI. Part of the Portfolio box set. You can find my thoughts about this package on the debut's post.

Som Imaginario. 1970 Brazil

Som Imaginario were one of the earliest psychedelic bands emerging from Brazil. For 1970, their debut has to be considered groundbreaking, even if they weren't truly first for the country. The opening half is where the meat is on this album. Very psychedelic, with studio effects, fuzz guitar, the whole shebang (been awhile since I managed to get the word shebang into a review). Side 2 drifts off into more of a 60s pop vein, similar to how the Italians would do on occasion. Really not that much different than Gruppo 2001 in that regard. Overall it works out to a grade of very good, but disappointing only in that it appeared it was going to be that much more.

Ownership: CD: 1997 EMI. Part of a 3 CD box set known as the "Portfolio" series. Purchased new not long after release (good thing, as it's become quite scarce nowadays). There are times when I think maybe I should have never gone with CD reissues, and just stuck with newer releases for the platform, while continuing to hunt down the rarest original LPs. But it's packages such as this that reminds me how wonderful the medium can be. I don't forget what Brazilian LP originals looked and sounded like, before the advent of the CD reissue. They weren't the best pressings to begin with, and many were partied out from there. Perhaps understandably so, but not the best circumstances for collecting. Each of their 3 albums are packaged in nice mini-LP covers, with replicas of the original inner sleeves. Unfortunately there's no liner notes, which probably would have been in Portuguese, but I would have enjoyed them all the same. No bonus tracks either. For me, this is the definitive way to own these albums. If originals are found in the wilds, great, but this box set is more than satisfying for what I need.

Mar Assombrado - Canções Do Farol. 2017 Brazil

Along with Mantra, Mar Assombrado represents another independently released progressive rock album from Brazil. And while I loved Proximo, Canções Do Farol is even better for my tastes. It's been forever and a day since a new album came out of nowhere like this and knocked me on my ass. The music is assembled in the same way that the Italian masters of the 70s would do it.  Flute is a major component of Mar Assombrado's sound, yet another Italian hallmark. It's a mix of soft and hard passages (but never metal), and the compositions never stop evolving. While Mantra is a bit more eclectic, and could be considered a hard rock band at times, there's no mistaking Mar Assombrado for anything but hardcore progressive rock. The instrumentation is not retro, so again we are dealing with the modern era, but I found the tones here quite pleasing. I heard this album 3 straight times in one evening (I hardly ever do that anymore), and it continued to improve with each listen. A really great album as far I'm concerned, and looking forward to hearing more from this band. Didn't realize until very recently Brazil had so much interesting new music coming out in the progressive rock space!

Ownership: CD: 2017 private. Nice professionally produced digi-pak.

5/26/20 (new entry)

Mantra - Próximo. 2018 Brazil

Mantra are a band from Belo Horizonte that have been kicking around for some 20+ years, and released one EP way back in 2001, one that I've never heard. Now they return with Próximo, an album that has sailed way under the radar. The music here is definitely of a retro nature, though they don't really sound like they're from the 70s. In this way they are more like the 90s progressive renaissance bands emulating the past. Also the music is of an eclectic nature, borrowing on many themes, specifically around the progressive and hard rock genres. This is by no means a "kitchen sink" album, a type of making music that I'm not very fond of. It's put together very much like the bands from 1973 would, seamlessly mixing in harder rock passages with obvious progressive rock complexities. In many ways, Mantra sound more like a 70s band from North America - except they fortunately sing in their native Portuguese. I can't think of another band from Brazil that attempted to recreate music such as this. Hopefully this is not the last we'll hear from them

Ownership: CD: 2018 private. Comes in what is known as a digifile, something like a thin mini-LP. The booklet is a nice folder poster with plenty of info.

5/11/20 (new entry)

Vesania - s/t. 1999 Brazil

Brazil was a hotbed of creativity in the 1990s, much of which is sadly forgotten today. Vesania are an instrumental prog band with one foot in mid 70s King Crimson and the other in modern space rock motifs. Algaravia and Dialect are two other Brazilian bands operating in a similar space earlier in the decade, and are no less obscure. You can also hear the debut of France's Nebelnest creeping through here, though not quite as dynamic or intense. One could also view Vesania as a prototype for the Spanish band October Equus. Sure, I'm namedropping here, but if you know these bands of which I speak, then you'll want to know Vesania too. Otherwise work backwards through the review. Everyone goes home happy...

Personal collection
CD: 1999 Record Runner

Verdaguer ~ Brazil

Humahuaca (1994)

Bassist Willy Verdaguer, born and raised in Argentina, took off for Brazil in the late 1960s to become part of the exciting music scene that had captured the imagination of many South Americans. His most notable contribution was with the respected early 70s underground band Secos & Molhados. After years of production work, Verdaguer reemerged without fanfare and released Humahuaca, an album that was under the radar even in its own day. The title comes from the band name that Verdaguer led in the 1970s and 80s. Flute plays a major role in Verdaguer's sound, and thus comparisons to an instrumental Camel are inevitable, and are reasonable. The pastoral sounds of Casa das Maquinas mixed with Solaris would be another observation. And the pervasive "world music" theme gives off a strong scent of Jade Warrior. If any of this sounds appealing, then most assuredly Verdaguer will satisfy. The big drawback here is the production (ironically given Verdaguer's background), which is muddy, dull, and flat. The tones, especially on the keyboards, are all digital and lack any kind of edge. It's sadly the typical sound of the late 80s and early 90s. The saving grace is the flute, adding a much needed warmth to the proceedings. There's also some fine guitar solos as well. And listen for Billy Bond as a guest vocalist. Highlights include the head raising opener 'Danca dos Dedos', the grooving 'Charara', and the 11 minute prog rock epic 'Pulomelo'. Beyond the production, there is little to find wrong with Humahuaca, and comes as an easy recommendation. While I'm not usually a fan of re-recordings, I would love to hear this album done again with all analog gear, and a crisp production. Because the music quality is there.

Ownership: 1994 Record Runner (CD). Acquired in 1994.

1994; 2009; 8/23/15 (review / new entry)

Casa das Maquinas - Lar de Maravilhas. 1975 Brazil

Starting with the album cover, Lar de Maravilhas possesses a strong resemblance to early Premiata Forneria Marconi. Somewhat mellow, song-oriented, but with a clear progressive approach. Advanced arrangements for acoustic/electric guitar, organ, Moog, and complex rhythms. Not that this album is anywhere on par with Per un Amico, but there are a few similarities. This is the middle of their three albums. Apparently the other two are more straightforward rock. I get the impression Casa das Máquinas are like those Italian pop bands, such as I Dik Dik or Equipe 84, who decided to dabble in progressive rock for a short time.

CD: 1994 Cast

I should look into getting an original, as the cover art appeals to me greatly.

9/17/13 (review / new entry)

Quaterna Réquiem - O Arquiteto. 2012 Brazil

O Arquiteto is Quaterna Réquiem's first new studio album in 18 years. And really, as far as I'm concerned, it's the first new album by the band since 1990. Quaterna Réquiem has successfully reunited Wiermann and Vogel, along with long time drummer Cláudio Dantas and two new members on guitar and bass, to continue on the legacy they began on Velha Gravura. Unlike the Sithonia reunion that we just wrote about, Quaterna Réquiem eschewed the temptation to go retro with all analog instrumentation. Rather they decided to continue on exactly as if it were 1991 and it was time for a followup album. Still, the production standards are definitely 2012 and the keyboard tones are fatter and better recorded than the 1990 album - so fear not as they wisely upgraded in the production department. The highlight, of course, is the compositional quality which is richly layered and deeply thought out. Violin, piano, synthesizers and guitar all take their turn at leading the instrumental parade. It's a long instrumental album, as 22 years of ideas come pouring out, that requires close listening to fully appreciate. Quaterna Réquiem were at the forefront of the 1990 progressive movement, one that never really had much chance to spread its wings as the commercial neo-prog bands were dominating the contemporary audience at that time. If you long for the progressive rock sound of the 1990 era such as Solaris' 1990, Nuova Era's Dopo L'Infinito, Minimum Vital's Sarabandes, and Tribute's Terra Incognita, then Quaterna Réquiem's O Arquiteto will fill that void. It brought a rush of memories back for me. Highly recommended.

Ownership: CD: 2012 private

1/8/13 (new entry)

Quaterna Réquiem - Velha Gravura. 1990 Brazil

Quaterna Réquiem were one of the first bands of the late 1980s/early 90s progressive rock renaissance to review the works of the Mediterranean bands such as Quella Vecchia Locanda and Gotic, rather than the standard English "Big 3" of Genesis, Yes, and ELP. As such, their in-depth research of 1970's progressive rock adds a dimension sorely missing from most works of this time frame. Quaterna Réquiem performs a new interpretation of a much missed genre of music - what was once known as "Euro Rock". And the only thing keeping Quaterna Réquiem from classic "retro prog" status, that which is all the rage in 2000+, is the lack of analog keyboard instrumentation. But the compositions, skillful playing, and youthful exuberance carry the day here, so that Hammond organs and mellotrons are hardly necessary. A very fine work from a band that dissolved all too quickly in its original form.

Ownership: CD: 1992 Faunus

My original copy was the LP purchased upon release. It was an easy decision to switch it out for the CD not long after.

1990; 1/8/13 (new entry)

Algaravia - Breve e Interminável. 1996 Brazil

There was a time in the 1990's when PRW was one of progressive rock's leading lights in terms of discovering new acts. And Algaravia was one of their true gems. Some 15 years later, the band is sadly and completely forgotten.

Algaravia, who open with a track named 'Crimsoniana', leave little doubt to who their heroes are. A dual guitar quintet, with minimal keyboards and an extra percussionist (giving it a slight Santana flair), Algaravia no doubt worship at the Red and Starless & Bible Black altar. But just like fellow South American's Exsimio (Chile) demonstrated a few years later, Algaravia took a portion of the King Crimson sound and moved it further and into new areas of development. Some classic 90's Djam Karet can be heard here too (especially in the fuzz tone guitar explosions). I think it's a splendid album - and a total tragedy the band stopped here.

Ownership: CD: 1996 PRW

9/28/11 (new entry)

Bacamarte - Depois do Fim. 1983 Brazil

Considered by many, including myself, as the best 1980s era progressive rock album for all of South America. The scene was rich in the 1970s, but had pretty much died by the 80s, with a handful of exceptions. Bacamarte definitely sounds like a band from the 70s, and it's been said the album was recorded in 1978. Speedy guitar runs, complex meters, soaring female vocals and melodic passages all define this mature work. Highly recommended. It must be said though, that the band doesn't really sound Brazilian as there's a total absence of indigenous sounds. In this way, Bacamarte are more like the current South American progressive scene as found in both Brazil and Chile.

Ownership: CD: 1995 Rarity. Contains one bonus track. My first exposure to this album was the original LP on Som-Arte (1992), which I sold upon obtaining the CD (1995). Probably wouldn't do that today, but no great regrets either. I did obtain good money for it.

1992; 1995; 2/9/10 (new entry)

Lula Côrtes e Zé Ramalho ~ Brazil

Paêbirú (1975)

It wasn't that long ago that Lula Côrtes e Zé Ramalho was a completely unknown gathering. Original copies supposedly disappeared in a great flood, producing an album that has to be considered one of the rarest of them all. While there are many bands who released albums in very small quantities and are now much sought after, many were only intended to be demos or for fans of the group. I bring this up because the Cortes album was very clearly made for a larger audience and serves as a metaphoric victim. This is not just another low budget obscurity, but a highly produced and brilliant effort. It wasn't until the Shadoks reissues (in 2003) that most folks had a chance to hear this great rarity.

I had always imagined that Brazil in the early 1970s would produce a kind of uninhibited tribal psychedelic rock band that would rival the experimental wonders in Germany like Guru Guru or Amon Duul II. So after hearing plenty of rock and psych music from Brazil, I had given up on my dream until a cassette tape of the double LP Lula Côrtes e Zé Ramalho literally showed up on my doorstep. Now I wonder how many others existed in Brazil but without a proper recording perhaps?

As for the music, imagine a direct cross of Swedish cosmic psychedelic pioneers Algarnas Tradgard and the progressive folk of Los Jaivas from Chile. Take the traditional instruments of the Mayans, Incans, and early Spanish settlers, and combine with unearthly chanting and singing, then mesh with jazzy elements like flute and sax. Now add a dash of classical with piano and zither. Shake three times and add a huge scoop of completely freaked out, free-from-boundaries electric fuzz guitar, organ, and psychedelic jamming. The result is the musical realization of a mescaline dance party. One has absolutely no idea what the music will do next, but rest assured it will be well-played, intense, imaginative, and emotional. How exciting it must've been to do music like this; each composition could be improvised in a number of ways every night. The combinations are endless. Music of this nature, like the original album itself, is completely extinct.

Ownership: 

2003 Shadoks (2xLP) Gatefold. Numbered edition of 350. Copy #32. Acquired in 2003.

2005 Shadoks (CD) Acquired in 2005.

2/10/01 (review); 2003; 8//05; 12/24/21

6/15/09 (new entry)