Here are ten great Brazilian albums that turn 50 in 2024

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List includes albums by Beth Carvalho, Cartola, Clara Nunes, Chico Buarque, Elis Regina, Gal Costa, Jorge Ben Jor, Martinho da Vila, Raul Seixas and Tom Jobim. Covers of ten Brazilian albums released in 1974 Reproductions / Montage g1 ♪ MEMORY ♫ RECORDS FROM 1974 – For Brazilian music, the year 1974 was not as renewing as 1973, a year of fundamental phonographic debuts such as those by Fagner, Luiz Melodia (1951 – 2017), João Bosco, Raul Seixas (1945 – 1989), Secos & Molhados and Sérgio Sampaio (1947 – 1974), among other names. Suffice it to say that four of the biggest MPB icons – Caetano Veloso, Gilberto Gil, Maria Bethânia and Milton Nascimento – only released live albums with concert recordings in 1974. On the other hand, Elis Regina (1945 – 1982) presented no less than two (anthological) studio albums, one recorded with Antonio Carlos Jobim (1927 – 1994). In summary, Brazilian phonographic production in 1974 was guided by records that confirmed trends and talents projected since the beginning of the decade. Still, to celebrate the new year, Mauro Ferreira’s Blog lists ten great studio albums that will become fifty years old in 2024. ♪ Here, in alphabetical order of album titles, ten Brazilian albums from 1974 – recorded in the studio – that have endured well in time over these 50 years: Cover of the album ‘The Emerald Tablet’, by Jorge Ben Jor Disclosure ♪ The Emerald Tablet – Jorge Ben Jor The alchemist arrived with another great album. Immersed in a philosophical and medieval universe, A mesa de emeralda became one of the most revered albums from the golden phase of Jorge Ben’s discography. Based on the artist’s guitar, the album featured songs such as Zumbi, Menina Mulher da Skin Negra and, of course, the hit The Alchemists are Coming to the Alchemists. It was produced by Paulinho Tapajós (1945 – 2013). Cover of the album ‘Alvorecer’, by Clara Nunes Disclosure ♪ Alvorecer – Clara Nunes (1942 – 1983) The singer from Minas Gerais had already been on an upward climb since she converted to samba, in 1971, in an action orchestrated by producer Adelzon Alves. The album Alvorecer consolidated the turnaround and elevated Clara to the first team of singers in Brazilian music with the explosion of the samba Conto de sand (Romildo Bastos and Toninho Nascimento). The repertoire also highlighted the samba-title by Dona Ivone Lara (1922 – 2018) and Delcio Carvalho (1939 – 2013) and Menino Deus (Mauro Duarte and Paulo César Pinheiro). Cover of the album ‘Sing, sing, my people’, by Martinho da Vila Disclosure ♪ Sing, sing, my people – Martinho da Vila The samba artist from Rio de Janeiro exploded in 1969 with his resounding first solo album. Afterwards, Martinho released four good albums with less repercussion. Sing, sing, my people put the singer back at the top of the charts. In addition to the title track, the repertoire featured the inventive samba Disritmia, a mandatory hit at the artist’s shows ever since. Cover of the album ‘Cantar’, by Gal Costa Disclosure ♪ Cantar – Gal Costa (1945 – 2022) Gal lowered the tone on this beautiful album that divided opinions at the time for cutting the highs of those who preferred the singer with piercing high notes that raised her voice against the oppression. Produced by Caetano Veloso and Perinho Albuquerque, with arrangements by João Donato (1934 – 2023), Cantar is a soft record, full of great previously unreleased songs such as Barato total (Gilberto Gil) and A rã (João Donato and Caetano Veloso). Cover of the album ‘Cartola’, by Cartola Disclosure ♪ Cartola – Cartola (1908 – 1980) The first solo album by Bamba from Rio de Janeiro definitely designed Cartola. With arrangements and conducting by maestro Horondino José da Silva, guitarist Dino Sete Cordas (1918 – 2006), the album was produced by João Carlos Botezelli (1942 – 2021), Pelão, having been recorded and mixed in four days with sound that refers to the regional ensembles of the 1940s and 1950s. The repertoire presented gems such as Disfarça e chora (Cartola and Dalmo Castello) and Run and look at the sky (Cartola and Dalmo Castello), in addition to having re-presented Chega (1972), O sol will be born ( Cartola and Elton Medeiros, 1964), Sim (Cartola and Osvaldo Martins, 1952) and Tive sim (1968). A classic among classics. Cover of the album ‘Elis’, by Elis Regina Disclosure ♪ Elis – Elis Regina (1945 – 1982) Eclipsed in the singer’s discography by the cult album Elis & Tom, released in the same year of 1974, the album Elis is one of the most cohesive albums of the artist. Arranged by César Camargo Mariano, the album presented two standards from the then recent partnership between João Bosco and Aldir Blanc (1946 – 2021) – the samba O Mestre-Sala dos Mares and the bolero Dois pra lá, Dois pra cá – in the repertoire dominated by songs by Milton Nascimento and Fernando Brant (1946 – 2015), authors of Travessia (1967) and the then unreleased Ponta de arenand and Conversando no bar. The Elis album would be worth it just for its dense approach to the samba-canção Na batucada da vida (Ary Barroso and Luiz Peixoto, 1945). Cover of the album ‘Elis & Tom’, by Elis Regina and Tom Jobim Disclosure ♪ Elis & Tom – Elis Regina (1945 – 1982) and Antonio Carlos Jobim (1927 – 1994) An album with the reunion of one of the greatest composers in the world with one of the greatest singers in the world could only be fundamental. The arrangements by pianist César Camargo Mariano – Elis’ then husband and music producer – inserted modern timbres for the time without tarnishing the sovereign work. Among the 14 masterpieces in Jobim’s songbook, Elis and Tom’s duet in the samba Águas de Março (1972) stood out, in itself as anthological as the album. Cover of the album ‘Gita’, by Raul Seixas Disclosure ♪ Gita – Raul Seixas (1945 – 1989) After marking an era in 1973 with his first solo album, Krig, ha, bandolo!, making rock in the Brazilian style as if Elvis Presley (1935 – 1977) was born in the northeast that produced Luiz Gonzaga (1912 – 1989), Raul passed the test for his second solo album with flying colors. Produced by Marco Mazzola, Gita consolidated the success and verve of the Bahian artist, featuring songs such as the title track, a partnership between Raul and Paulo Coelho, also the lyricist for Sociedade Alternate and Medo da Chuva. Alone, Raul signed O Trem das Sete on this provocative and mystical album. Cover of the album ‘For your government’, by Beth Carvalho Disclosure ♪ For your government – ​​Beth Carvalho (1946 – 2019) Beth Carvalho had been opening wings in the world of samba since 1971. No space at Odeon, the record company that invested in Clara Nunes as a samba player , the singer went to Tapecar. On this national record label with less heavy artillery in the music market, the artist debuted in 1973 with a beautiful album, Canto por um dia novo. But it was with her second album on Tapecar, Pra seu governo, that Beth really became popular in samba due to the success of 1,800 hills (Gracia do Salgueiro, 1974). From then on, the singer’s career took off. Cover of the album ‘Sinal Cedro’, by Chico Buarque Disclosure ♪ Sinal Cedro – Chico Buarque As censorship vetoed Chico Buarque’s songs as soon as they saw the composer’s name in the lyrics, the solution was to make a performer’s album, the singer’s first and only in the genre. Caetano Veloso sent the samba Festa immodesta. Gilberto Gil offered Empty Cup, a song full of metaphors. And Chico, a rogue, went to the square again, deceiving the censors with the creation of the pseudonym Julinho da Adelaide, to whom the samba Acorda, amor was credited. The repertoire of the album Sinal Fedo included Sem Compromise (Geraldo Pereira and Nelson Trigueiro, 1944), a samba that has since recurred in the itineraries of Chico Buarque’s shows.

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