Brazuca Sounds

In episode #57 we discussed three Brazilian rock artists that broke in 1973: Secos e Molhados, Raul Seixas, and Novos Baianos. The debut album of Secos e Molhados was a phenomenon in sales like never seen before in the country; their blend of rock, pop, baroque, and poetry made them the first Beatlemania-esque. Raul Seixas and his debut also cemented him as a rock icon that even stands today; Novos Baianos' third record was not as popular as "Acabou Chorare", but strange as it sounds, elevated the group's trademark blend of genres to higher grounds: it's even more samba, and it's even more rock n' roll. Follow our playlist on Spotify: "⁠⁠⁠⁠Soundtrack: Brazuca Sounds⁠⁠⁠⁠".

In episode #56 we discuss one of the most important Brazilian record labels: Elenco. Founded in 1963 by Aloysio de Oliveira with the ambition of becoming the best bossa-nova label in the country, Elenco (translated into "cast") put together a constelation of big names, and released a crazy amount of bossa-nova classics. We'll talk about albums by superstars Vinicius de Moraes, Roberto Menescal, Sylvia Telles, Edu Lobo, Nara Leão, the brilliance of Sergio Ricardo, and some forgotten names such as Lucio Alves, Agostinho dos Santos and Aracy de Almeida. Follow our playlist on Spotify: "⁠⁠⁠Soundtrack: Brazuca Sounds⁠⁠⁠".

In episode #55 we celebrate the album "Índia", released by Gal Costa in July 1973. The album’s controversial cover was banned by the Brazilian military regime upon its release, but that was just one of the reasons it became so iconic. Gal Costa distanced herself from the Tropicália movement in "Índia" (like all her peers before her), showcasing a more stripped-down sound, influenced by folk (and folklore), blues, baião, Clube da Esquina, and Brazilian standards from samba (Lupicínio) and bossa-nova (João Gilberto/Tom Jobim). Gal Costa even had the time to perform probably the funkiest song ever produced in Brazil with "Pontos de Luz". The album was also a big rupture to Gal Costa's fans at the time, taking her to new levels of popularity and celebrity stardom. Follow our playlist on Spotify: "⁠⁠Soundtrack: Brazuca Sounds⁠⁠".

In episode #54, we tell the history of the most popular music genre in Brazil connected to the Northeast: forró. We also cover all its subtle variances, in genres like baião, xote, xaxado, and maracatu. We'll talk about key artists in forró such as Luiz Gonzaga, Jackson do Pandeiro, Sivuca, and Dominguinhos, the female queens Marinês and Carmélia Alves, and the megahits from names like Ary Lobo, João do Vale, Genival Lacerda, and Trio Nordestino. Then we follow with all the MPB-mainstream singers influenced by forró, such as Clara Nunes, Gilberto Gil, and Elba Ramalho. Unlike samba and its urban appeal that ultimately became a global phenomenon, forró remained attached mainly to the Brazilian roots, largely disseminated during our festivities in June (Festas Juninas) celebrating St. John Baptiste. Follow our playlist on Spotify to listen to all these songs in full:  "Soundtrack: Brazuca Sounds".

In episode #53 we celebrate the album "Matita Perê" by Tom Jobim, released in May 1973 by Philips. Considered one of the inventors of bossa-nova, Jobim had astronomical success in Brazil and abroad (especially the USA), so for this album, he decided to explore new territories. Produced and arranged by German composer Claus Ogerman, he came up with a complex mix of nature-inspired sounds, Brazilian roots, and erudite music, all encapsulated by the poetry of Guimarães Rosa, although the opening is quite literally a bossa-nova classic: "Águas de Março". The album was released as "Jobim" for the international market, by MCA Records, and also with a different cover.  Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".

In episode #52 we talk about the album "Milagre dos Peixes" by Milton Nascimento, released in August 1973. Following the success of "Clube da Esquina" in 1972 Milton reunited with his band Som Imaginário to produce a follow-up as good (or better) than his previous masterpiece. "Milagre dos Peixes" had its lyrics heavily censored by the military regime, so it became an experimental endeavor of sonic aspirations and instrumental tracks. We also discussed the album "Matança de Porco", released by Som Imaginário, led by Milton's best pal Wagner Tiso. Another fantastic record released in 1973, "Beto Guedes, Danilo Caymmi, Toninho Horta, Novelli", is an obscure but fundamental album from members of the Clube da Esquina's collective. To finish off this episode, we discussed the elemental contributions of Naná Vasconcelos to "Milagre dos Peixes", and his two epic percussive-centric albums released in 1973. All songs are available on our playlist: "Soundtrack: Brazuca Sounds".

In episode #51 we discussed the impact of soap opera soundtracks on the Brazilian music industry. The scores were very often written/produced by big names such as Roberto Carlos/Erasmo Carlos, Marcos Valle, Baden Powell, and Vinícius de Moraes. We'll be playing songs performed by Osmar Milito, Chico Batera, Banda Black Rio, Lincoln Olivetti, and obscure jams from Kris & Cristina, Sonia Burnier, Ronaldo Resedá, and two soundtrack grandmasters: Waltel Branco and Nonato Buzar. The telenovelas are a big part of Brazilian culture and an invaluable source of material for music enthusiasts. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds". 

In episode #50 we celebrate the album "Previsão do Tempo" by Marcos Valle, released in September 1973 by Odeon. After experimenting with different bands, and a handful of soundtracks under his name, Marcos Valle came up with his album masterpiece according to many critics. Backed up by the trio Azymuth, "Previsão do Tempo" is a blend of Brazilian MPB, with funk, soul, pop, and jazz, with a high volume of political lyrics, written mostly by Marcos and his brother Paulo Sergio Valle. The album was not a mainstream hit upon its release although over time gained a cult status amongst DJs and record collectors. Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".

In episode #49, we introduce a new wave of Brazilian music by presenting albums released in 2023 by Iara Rennó (pictured), Rodrigo Campos, and Bike. They all come out of São Paulo, summarizing a great variety of different genres, styles, and sounds historically being produced by the big city. Then we also quickly review the latest work by artists such as Glue Trip (Paraíba), Bala Desejo (Rio de Janeiro), Rafael Martini (Minas Gerais), Lucas Santanna (Bahia), and Criolo (São Paulo). Follow our playlist on Spotify "Soundtrack: Brazuca Sounds". 

In episode #48, we expand on the Brazilian soul and funk from Episode #11 and Episode #12 . We put together a list of great albums influenced by soul and funk blended with the Brazuca touch of regional rhythms. Among the artists discussed are Som Nosso de Cada Dia, União Black, Zeca do Trombone e Roberto Sax, obscure jams by Franko Xavier, Abaeté and Don Beto, and megahits such as "Black Coco" and "Olhos Coloridos". We finished our podcast by celebrating albums released by funk icons Cassiano and Wilson Simonal. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds". 

In episode #47 we celebrate the album "Quem é Quem" by João Donato, released 50 years ago in September 1973. After a terrible divorce, Donato left the United States after 12 years and put together a great group of musicians, songwriters, and producers. A master on the piano (and accordion), "Quem é Quem" also shows João Donato singing for the first time, and playing the Fender Rhodes, encouraged by producer Marcos Valle. A commercial failure upon its release by the record label Odeon, the album gained a cult status over the years. Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".

In episode #46, we talk about Samba-Enredo, a sub-genre of modern samba made specifically for Carnaval. "Samba-enredo" translates literally as samba-theme, played by a samba school to narrate a historical event in a lyrical form. Over the years, however, many of those songs became popular beyond the Carnaval parade in February, even being recorded by famous artists. We introduce you to some of these songs such as "Liberdade, Liberdade", "Festa Para um Rei Negro", "É Hoje", and artists such as Martinho da Vila, Originais do Samba, Simone, Marisa Monte. Among the most popular samba schools are Mangueira, Portela, Salgueiro, Império Serrano, and each group has 70 minutes to present by crossing a 530 metres avenue called the Sambadrome. The drumming section (bateria) of every samba school is composed of around 250-300 musicians playing a variety of percussive instruments.  Follow our playlist on Spotify to listen to all songs played in full:  "Soundtrack: Brazuca Sounds".

In episode #45, we tell the history of samba in Brazil over 100 years. From its early days and songwriters like Noel Rosa, Ismael Silva (pictured), and "the singer of the masses", Orlando Silva, to more contemporary samba-makers such as João Nogueira, Candeia, and Zeca Pagodinho. We also play indispensable songs from Cartola, Carlos Cachaça, Adoniran Barnosa, and Bezerra da Silva by discussing the different sub-genres of samba such as Partido Alto, Pagode, Samba-Canção, Samba de Roda, and much more. Also mentioned: Aracy de Almeida, Elizeth Cardoso, Lupicínio Rodrigues, Jamelão, Nelson Sargento, Paulinho da Viola, Beth Carvalho and Fundo de Quintal. Follow our playlist on Spotify to listen to all songs played in full:  "Soundtrack: Brazuca Sounds".

In episode #44, we celebrate the music of Nara Leão by discussing five of her best albums. Amongst one the pioneers of the bossa-nova movement in Rio de Janeiro, Nara Leão transcended the music genre. Considered by many the "Muse of Bossa Nova", Nara decided to distance herself from any label imposed by the media, blending the voice of favelas into her music by recording songs composed by legendary samba songwriters such as Cartola and Zé Keti. Unlike other great singers of her generation, Nara Leão also played the guitar, and was an active voice against the dictatorship in Brazil, including a cameo in the collective manifesto "Tropicalia". Fundamental albums to start: "Nara" (64), "Opinião de Nara" (64), and "Dez Anos Depois" (71). All songs played on this podcast are available following our playlist on Spotify "Soundtrack: Brazuca Sounds".

In episode #43, we celebrate the life of Pelé through the music that celebrated his football brilliance. During his life playing for Brazil and Santos, Pelé inspired songs from a variety of artists, such as Wilson Simonal, Jackson do Pandeiro, Caetano and, Gilberto Gil. Pelé, who also played the cavaquinho and guitar, was an avid songwriter and released albums partnered up with the likes of Elis Regina and Sergio Mendes.  All songs played on this podcast are available following our playlist on Spotify "Soundtrack: Brazuca Sounds".

In episode #42, we continue our celebration of albums released 50 years ago in 1972 in addition to classics such as Transa, Clube da Esquina, Acabou Chorare, Tom Zé's self-titled, and Paulinho da Viola's Dança da Solidão. We will wrap up 2022 by listing a few more brilliant albums, from the iconic Arthur Verocai debut (cover) to releases of Lô Borges, Quarteto em Cy, Jards Macalé, Elis Regina, Elza Soares, MPB4, and obscure gems such as duos Nelson Angelo & Joyce and Alceu Valença e Geraldo Azevedo. All songs are available following our playlist on Spotify "Soundtrack: Brazuca Sounds".

In episode #33 we're celebrating the 80th birthday of Paulinho da Viola by discussing his phenomenal album "Dança da Solidão" (1972). Paulinho elevated samba into the mainstream in the 1970s, rejuvenating the most Brazilian-centric music genre. A brilliant guitarist, with an angelic voice, and poetic lyrics, he is one of the most iconic Brazilian musicians of all time. Paulinho da Viola was born on November 12th, 1942. This episode follows our specials dedicated to the 1942 Club, which also include Milton Nascimento, Gilberto Gil, Caetano Veloso and Tim Maia. Follow our playlist on Spotify "Soundtrack Brazuca Sounds" to listen to all the songs played in full.

In episode #40 we celebrate the life of Gal Costa by discussing her five best records: Gal Costa (1969), Gal (1969), Índia (1973), Cantar (1974) and Gal Tropical (1979). As an early bossa-nova singer moving from Bahia to Rio de Janeiro, Gal reached her golden era as part of the Tropicalia, a psychedelic-rock counter-culture movement in the late 1960s. In the 1970s Gal Costa explored different genres and styles expanding her boundaries in the experimental "Índia" and the back-to-bossa-nova album, "Cantar", a commercial failure. I will finish this episode off by also revisiting two former episodes, Episode #24 where I explored Gal Costa's live album "FA-TAL (1971)", and Episode #2 where we discussed her connections to the orishas and Bahia. Gal Costa passed away on November 9 at the age of 77. Follow our playlist on Spotify "Soundtrack Brazuca Sounds" so you can listen to all the songs played in full.

In episode #36 we discussed the influences of Afro-Brazilian religions on the country's music. The podcast will showcase the countless references to Orixás from the Umbanda and Candomblé in Brazilian music, from various genres such as samba, funk, soul, samba-rock, and psychedelia. Some of the artists presented are Paulo Diniz, Jorge Mautner, Antonio Carlos & Jocafi, Os Tincoãs, Wando, Ronnie Von, and the grandmaster of it all, Pixinguinha. Listen to all songs in full in our Spotify playlist:  "Soundtrack: Brazuca Sounds".

In episode #35 we celebrate Caetano Veloso's 80th birthday by discussing his songwriting credits. From Tropicalia, bossa-nova, MPB, samba, Eighties pop, carimbó, and everything else in between. One of the most iconic Brazilian musicians and songwriters of all time, Caetano Veloso was born on July 7th, 1942 in Santo Amaro, Bahia. This episode showcases music recorded by Os Mutantes, Gal Costa, Roberto and Erasmo Carlos, Tom Jobim, Milton Nascimento, Fafá de Belém, and obviously, Caetano's sister Maria Bethania. Follow our playlist on Spotify "Soundtrack Brazuca Sounds".

In episode #34 we continue our series celebrating albums released 50 years ago with the masterpiece "Acabou Chorare", released by Novos Baianos in September 1972. The album was listed as the best Brazilian album of all time by Rolling Stone magazine published in 2007. Inspired by several meetings with Joao Gilberto in the group's communal house outside Rio, the album focused on their Brazilian roots, blending samba, bossa nova, forró, and baião to the psychedelic rock from their debut record. The album showcased a variety of genres and rhythms, and time became one of the most influential records in Brazilian popular music. If you like the show you may wanna listen to our playlist on Spotify: "Soundtrack: Brazuca Sounds".

In episode #33 we celebrate Gilberto Gil's 80th birthday by discussing his trilogy released in the 1970s. We told the background behind Refazenda (1975), where Gil paid tribute to his Northeastern roots in Bahia after he came from his exile in London; Refavela (1977), a celebration of his African origins after a trip to Nigeria; and Realce (1979), influenced by the disco music and recorded in Los Angeles. One of the most iconic Brazilian musicians of all time, a great guitarist, and exuberant songwriter, Gilberto Gil was born on June 26th, 1942. Follow our playlist on Spotify "Soundtrack Brazuca Sounds" to listen to all the songs played in full. 

In episode #30 we discussed the psychedelic music coming out of Brazil by listing 10 fundamental albums. Brazilian psychedelia goes way beyond Tropicalia, with its influences not limited to rock but taken elements from Africa, samba, folk, and Brazilian regional rhythms. From percussionist master Pedro Santos to the Afrobeat ensemble Free Son to psychedelic bands such as Os Brazões, Karma, and Modulo 1000, Paulo Bagunça e Tropa Maldita, and the folk-genius Flaviola e o Bando do Sol. Listen to all songs in full in our Spotify playlist:  "Soundtrack: Brazuca Sounds".

In episode #31 we continue our series celebrating albums released 50 years ago. Tom Zé's third self-titled album came out in May 1972, and although it is not his most famous album, it really opened the door to his more experimental endeavors later on in his career. This album confirmed that Tom Zé was probably the most irreverent and creative artist in Tropicalia and beyond, however in 1972 his connection with the movement has been long gone. The album was reissued in 1984 under the name “Se o Caso É Chorar”. If you like the show you may wanna listen to our playlist on Spotify: "Soundtrack: Brazuca Sounds".

In episode #30 we listed fundamental albums of samba-rock from Trio Mocotó, Bebeto, Luiz Vagner, and Marku. Samba-rock blended samba elements with the guitar and other electric instruments and is mostly associated with São Paulo in the 1970s - and expanded to cities such as Porto Alegre (as it has been known as "swing") and Rio de Janeiro (where they called "sambalanço"). More like a dance style than a music genre initially, samba-rock was (re)discovered by DJs and exploded in the 1990s and 2000s with several parties dedicated to it. Jorge Ben was obviously the main figure in samba-rock, and we finished this episode listing five popular samba-rock hits written by Ben although performed by other artists. Listen to all songs in full in our Spotify playlist:  "Soundtrack: Brazuca Sounds". 

In episode #29 we talk about some of my favourite Brazilian albums released recently: Amaro Freitas' "Sankofa" (pictured), Pedro Sá's "Um" and Orquestra Afrosinfonicas's "Orín, a Língua dos Anjos". We also present some other jams such as Macaco Bong, Oruã, Juliana Linhares, Juçara Marçal and the Brazilian legends Mundo Livre S/A. This episode is a blend of MPB, jazz, afro beats, psychedelic pop, instrumental music, maracatu, carimbó, R&B, and everything in between. You may also be interested in our Episode #6: Best Albums of 2020: Follow our playlist on Spotify and listen to all songs: "Soundtrack: Brazuca Sounds". Don't forget to rate this show! 

In episode #28 we discuss the making of "Clube da Esquina" released in March 1972. Considered one the best albums of Brazilian history, Milton Nascimento decided to come up with a collective effort of musicians and ended up even signing as a duo with 19-year-old prodigy Lô Borges. It is a double LP impossible to define in one genre: folk, MPB, tock, psychedelia, prog, classical, indigenous. Clube da Esquina is everything. In this podcast, we discussed the making of the album, from its iconic cover to its arrangements, the meaning of lyrics, metaphors, and how and why the album was named that way, the Corner's Club. Don't forget to follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".

In episode #27, we celebrate Brazilian female singers that are not mainstream success, by discussing phenomenal records released by artists such as Flora Purim, Joyce, Célia, Wanderlea, and Claudia. We also bring some more obscure names such as Dila, Silvinha, and Elizabeth. We finish it off with some boogie/disco/80s from artists like Solange and Adriana. Brazil always had a large tradition of female superstars, so for this episode, I've decided to put a spotlight on some great singers that are not as recognized as they should be. All songs from the podcast are available on our playlist: "Soundtrack: Brazuca Sounds".

In episode #26, we bring ten brilliant albums that more or less tell the history of samba in Brazil. Arguably the most popular music genre in the country, this podcast presents the great song-writers from the early era such Cartola, Nelson Cavaquinho, and Dona Ivone Lara followed by the great composers of the 1960s and 1970s, Paulinho da Viola and Martinho da Vila, all the way to the samba divas such as Alcione, Beth Carvalho, and Elza Soares. Follow our playlist on Spotify to listen to all songs played in full:  "Soundtrack: Brazuca Sounds".

In episode #25 we discuss the making of Caetano Veloso's album "Transa" released in January 1972. This is his second album recorded in London, while in exile following his prison by the military regime in Brazil. However, unlike the obvious sadness of Caetano's self-title LP of 1971 (Brazuca Sounds #17), Transa is the culmination of all his new influences living abroad. The reggae on Portobello Road, "waking up and singing an old, old Beatles song", or a tagline of a famous soap commercial. Caetano Veloso was ready to heal his wounds, and also ready to make his way back to Bahia, and he decided to leave behind what might be considered his album masterpiece. If you like the show, you may want to follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".

In episode #24, we talk about the life and music of João Donato, Eumir Deodato, Egberto Gismonti, and Hermeto Paschoal. Each one of them achieved greatness beyond the Brazilian frontier and, in fact, they're all likely more successful worldwide rather than in their own country. These four artists blend Brazilian rhythm with psychedelia, funk, jazz, and experimentalism. As they all have a long and vast record catalog under their names, we have selected a few of their albums that should not be missed. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".

In episode #23, we continue our conversation celebrating albums released 50 years ago in 1971. After many episodes analyzing records such as Jardim Eletrico, Carlos Erasmo, the self-titled albums of Caetano and Gilberto Gil, and Negro é Lindo by Jorge Ben, we will wrap up 2021 with a few more brilliant albums released in 1971. From the classics of Tim Maia, Gal Costa, and Marcos Valle to obscure gems such as Antonio Adolfo e a Brazuca and the magnificent Claudia. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds".

In episode #22 we discussed Chico Buarque's eighth album, "Construção", released 50 years ago by Philips in December 1971. Considered by many the best Brazilian album of all time, It was Chico's first studio record after returning to Brazil following a period living in Europe due to the Brazilian dictatorship. It is, by consequence, Chico Buarque's more political record, surrounded by themes such as the social-economic issues in the country and lack of freedom, all that encapsulated by Chico Buarque's superb lyrics. Follow our playlist on Spotify to listen to all songs ever played on the podcast: "Soundtrack: Brazuca Sounds".

In episode #21 we discussed the 50 years of Jorge Ben's album, "Negro é Lindo", released by Philips in November 1971. It was Jorge Ben's third and last studio album recorded with Trio Mocotó as his backup band. An ending to a trilogy, the arrangements are more centered on the acoustic guitar, possibly the fruit of his partnership with Paulinho Tapajós, who directed Ben’s recordings between 71 and 75, including his future masterpiece "A Tábua de Esmeralda". It is also Jorge Ben's more political record to date, like its own title Negro é Lingo suggests, a translation of the slogan "Black is beautiful" to Portuguese. Follow our playlist on Spotify with all songs from the show: "Soundtrack: Brazuca Sounds". 

In episode #20, we continue our conversation about Som Livre from Brazuca Sounds #19. After releasing a generation of newcomers, such as Novos Baianos, and Alceu Valença, SOM LIVRE decided to invest in high-profile names like Rita Lee, Tim Maia, Jorge Ben, and Marcos Valle. Producer Lincoln Olivetti had a tremendous impact on Som Livre from the late 70s until the mid-80s when its iconic SOM LIVRE green logo was then replaced by a modern version. Follow our playlist on Spotify: "Soundtrack Brazuca Sounds". 

In episode #19, we talk about the Brazilian biggest record label Som Livre. Founded in 1969 as a vehicle for Globo TV's soap opera soundtracks, it gradually started to release new talented artists such as Novos Baianos, Azymuth, Guilherme Arantes, until it quickly became a Brazilian phenomenon in record sales. We explored some of the great records released during Som Livre's first incarnation, under its iconic SOM LIVRE green logo used between 1971-1977. Follow our playlist "Soundtrack: Brazuca Sounds" on Spotify.

In episode #18, we talk about Brazilian psychedelic-folk artists out of the Brazilian Northeast in the states of Pernambuco, Ceará, and Paraiba. The region is mostly known worldwide because of Bahia (Caetano, Gil, Tom Zé, Gal Costa, Bethania), nevertheless, in the mid-to-late 1970s artists came from all over the wilderness, such as Alceu Valença, Zé Ramalho, Belchior, and Fagner, and they all came to produce great records interconnecting Brazilian regional folklore to psychedelia, rock, and folk. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds". 

In episode #17 we tell the story behind Caetano Veloso and Gilberto Gil's self-titled albums released 50 years ago in 1971. Recorded at the same studio, with the same producer, for the same music label, both album covers were also made by the same photographer. Caetano and Gil were both living in Chelsea, London (UK) in exile following their prison by the military regime in Brazil. The nostalgia and homesickness are pretty evident, making the albums very unique. Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".

In episode #16, we discussed some of the Brazilian rare albums released only on vinyl. Jorge Ben's "Live in Tokyo"; Arnaud Rodrigues' "O Som do Paulinho", Naná Vasconcelos' "Nana, Nelson, Novelli", and some real obscurities gems released by Nonato Buzar, Impacto Cinco, and Dom Mita, we went deep inside Brazil's crate collection. Follow our playlist "Soundtrack: Brazuca Sounds", but unlike other episodes, tracks from this show are not available on Spotify. 

In episode #15, we talk about three Brazilian vocal groups: Trio Ternura, Trio Esperança, and Golden Boys. All centered around family members, more or less like a Brazilian proto-version of the Jackson 5, these three groups showcased a variety of backgrounds and genres. Follow our playlist "Soundtrack: Brazuca Sounds" on Spotify to listen to all songs in full. 

In episode #14, we talk about João Gilberto's self-titled album released in 1973. The Architect of Bossa Nova, according to the New York Times "his work became a sign of the relative prosperity, optimism, and romance of Brazil in the late 1950s, and thereafter an ideal of musical restraint and mystery." Joao Gilberto (1973), also known as the "white album", for his more experimental tone, is João Gilberto at his best, showcasing Brazilian music from new artists such as Caetano Veloso to the popular kings of radio, such as Carmen Miranda and Ary Barroso. Joao Gilberto's white album is the epitome of the psychedelic bossa nova. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds". 

In episode #13 we celebrate Erasmo Carlos' 80th birthday telling the story behind his album "Carlos, Erasmo", released 50 years ago in 1971. A transitional album in his career, Erasmo was moving from being a rock n' roll Jovem Guarda star to becoming a great lyricist, influenced by Folk, MPB, and Soul. "The other Carlos" to his writing superstar partner Roberto Carlos, Erasmo was finally and for all taking his music to a different territory and making a name for himself. Follow our playlist available on Spotify: "Soundtrack: Brazuca Sounds".

In episode #12, we continue our conversation about the Black Rio movement from Brazuca Sounds #11: The Best Black Rio Albums That you (sort of) Never Heard of. Funk and soul-influenced records, from classics such as Waltel Branco's Meu Balanço (photo), obscure rarities such as Teo Azevedo, and crate diggers favourites such as Evinha, Di Melo, and Helio Matheus. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds". 

In episode #11 we discussed the beginning of the Black Rio movement sparking funk and soul in the 1970s. Alongside Tim Maia, other names such as Dom Salvador, Toni Tornado (aka the Brazilian James Brown), and Gerson King Combo (the Brazilian...well...James Brown) put together a collection of songs influenced by the American Soul and Funk that would influence generations to come, especially a group of young musicians which the movement took its name: Black Rio. Follow our playlist on Spotify "Soundtrack: Brazuca Sounds". 

In episode #10 we celebrate Roberto Carlos' 80th birthday discussing his self-titled album released 50 years ago in 1971. After a short transitional period of immersing himself in Soul and Funk music, this is the record that would set the tone for the rest of his career. From being a Brazilian Elvis to a full-blown version of a Brazilian Sinatra, or simply, O Rei (The King). Follow our playlist on Spotify: "Soundtrack Brazuca Sounds". 

In episode #9 we talk about Underground, a Brazilian obscure record label from the 1970s. While Copacabana Discos was making tons of money with albums from their corny radio-singer cast, Underground has been founded as a subsidiary to release what the record executives considered "experimental" music. Funk and soul artists such as Marku (photo), Miguel de Deus, and Tim Maia, or prog-rock such as O Terço. Follow our playlist available on Spotify: "Soundtrack: Brazuca Sounds". 

In episode #8 we discussed how the military government in Brazil that forcibly took power in 1964 influenced Brazilian music. The regime applied high officials to work as censors, and many songs would not get permission to be recorded or were forbidden for playing on the radio and TV. Chico Buarque, Gilberto Gil, Adoniran Barbosa, were all censored. The levels of censorship varied, normally associated with political ideas, but could be a prohibition as silly as a reference to sex in a song. Follow our playlist on Spotify: "Soundtrack: Brazuca Sounds".