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whatmusic.com presents ‘D’Angelo’, a gem from the underground 60s samba soul dance scene. Tough takes on Tim Maia, Jorge Ben, Cassiano, Ivan Lins & Antonio Adolfo’s Brazuca funked up with groovy femvox chorus!
  • First ever worldwide release!
  • Includes club tracks ‘Quero Mocotó’, ‘Coroné Antonio Bento’ & ‘Curto de Véu…’!
  • Exclusive new liner notes

Check the 30 second clips from the album...

The whatmusic.com interview...

lost angelos!

In the 1960s and into the early 70s, somewhere well down the social ladder, there were any number of cover bands playing in the new discotheques and nightclubs in the Zona Norte and in Copacabana. As imported records were scarce it was usual for each bar or club to have it’s own cover band; a hangover from the American influenced piano bars like the Drink club which featured the groups of Ed Lincoln and Celso Murilo. D’Angelo was one such bandleader who recorded with his group for independent labels like Caravelle, Atonal, and, as on this album, Equipe.

These bands made records that were current and up to the minute with little thought or regard for how posterity would see them as artists – but that’s what makes them all the more interesting to us today. They are a snapshot of the underground Rio scene from the late 60s and early 70s, far removed from the official version of MPB history and the big names of the day. Often these bands were proving grounds for young players and singers who went through tough apprenticeships before finding their own feet and their own sound. People like Orlann Divo, Ed Lincoln, Celso Murilo, Wilson Simonal, Tony Tornado, Marcío Montarroyos, Claudio Roditi and Rubens Bassini were all members of house bands at one time or another.

Neither history nor memory tells us who the players and singers were on this D’Angelo album, nor do they say much about D’Angelo himself. But then these records were made to be bought, danced to and then probably discarded. Thankfully the master tapes were kept which allowed whatmusic.com to rediscover the sounds of Conjunto de D’Angelo!

This album features no less than five tracks from Tim Maia’s eponymous debut album. Maia’s voice and sound was a totally new one on the scene and Philips A&R man Nelson Motta was quick to sign him up and get him to duet with his main star Elis Regina on ‘These Are the Songs’. A solo album quickly followed the success of this single and Maia’s star was assured its place in the firmament.

‘Coroné Antonio Bento’ was the opening track from Maia’s record. As a mixture of nordestino ‘forro’ rhythms and american soul it was unlike anything the pop audience had ever heard. Here the organ leads with trumpet over 2nd organ fills and the two girls ‘la-la’ the chorus. There’s a nice break with trumpet playing the theme over drum hits and organ stabs and a deep bass line keeps up the momentum. Organ and trumpet duel it out for the outro.

‘Padré Cicero’ is more of Maia’s northeastern funk about the legendary Padre Cicero, the Catholic priest from Ceará who reached a kind of sainthood amongst the poor and oppressed in the 19th Century. The two girls are singing the full lyrics this time. The organ leads over electric guitars and the outro features the girls’ chorus with a neat reverb echo!

‘Curto de Véu e Grinalda’ kicks off with a drum break and organ swirl followed by trumpet lead into the girls singing. This song comes from the nascent Novos Baianos, before an encounter with fellow bahian João Gilberto successfully turned them on to their bahian roots. Go-go grooves and hip bass lines lead to choppy organ and trumpet solos. Very Mutantes influenced, very ‘tropicalia’, the track is also reminiscent of Ed Lincoln from the same period.

‘BR-3’ comes from Antonio Adolfo’s brief pop phase with his group Brazuca. BR-3 was the name of the highway linking the city of Rio with that of Juiz da Fora in Minas Gerais. Originally sung by Tony Tornado, backed by Trio Ternura, the song was voted Winner of the 1970 International Song Festival (by a jury including Marcos Valle, Lalo Schifrin, Paul Simon & Ray Conniff!) and was the third year in a row that Adolfo and writing partner Tibério Gaspar had won festival first prizes. Normally a swinger, this version creates a more ‘french pop ballad meets soul’ tone. The lyric (absent here) tells of ‘racing and dying’ on the BR-3 highway.

On ‘Agora’ the funky bass lines and horns intro moves into spare piano with organ support; sounding very like the earliest semi-acoustic Azimuth recordings. This comes from Ivan Lins’ debut album on the classic label Forma (by that time in its death throes ) and the song is a reminder of when Ivan Lins actually had something musical to say. Simple piano lines and big band style horn charts complete the mood.

Fancy some beef hoof jelly anyone? Well Jorge Ben did in this classic track ‘Eu Tambem Quero Mocotó!’ (I want mocoto!’). ‘I’m a poor hungry son of a bitch and I want my mocotó, too!’ – a male voice imitates the classic quasi-porno version by Erlon Chaves and his Banda Veneno (which came second to ‘BR-3’ at the 1970 Song Festival before the afro-brazilian Chaves was arrested for ‘lewd’ behaviour onstage with the bikini-clad blondes!). The two girls singing backing vocals describe the various forms of Mocotó, ‘á la milanesa’, mocotó with pumpkin, they just want that jelly! Groovy bass lines lead the call and response. Good time stuff and catchy from start to finish. Gospel from the church of Mocotó!

‘Cristina’ was written by Carlos Imperial, the guy behind much of the Jovem Guarda and beat group pop from the early 60s and one of the movers and shakers behind the success of the numerous TV programmes that featured these groups. Another track from Tim Maia’s debut LP, this is another Azimuth-like mood with its big fat bass line and the organ swells, only this time the chorus is male and female voices.

Genival Cassiano’s ‘Primavera’ was one of the most beautiful ballads to be written in Brazil in the 70s. Cassiano was a member of the soul/black Rio group Os Diagonais (along with Gerson Combo and Hyldon). The tune is dedicated to springtime rain and, although later recorded by him on his debut for Polydor, it was originally made famous by his friend Tim Maia, whose single from the first album brought him massive success. A great grooving mid-tempo track with the chorus picking out just part of the lyrics – ‘Its spring! (Got Love) to give you! ‘Go rain! It’s spring!’ Gorgeous.

‘Procurando Tu’ is a move into carimbó territory – the groove and melody are from the state of Para on the carribean but the tone and style are totally hip Rio night club a go-go. Doubled up organ and the girls singing chorus again. Almost an Italian touch.

‘Azul do Cor do Mar’ is almost Tim Maia’s answer to Cassiano’s ‘Primavera’. ‘Blue the Colour of the Sea’ is another classic 70s love song from Maia’s debut album and has been recorded many times since. With its simple piano notes over expansive organ chords and the girls nicely chorusing their ‘oohs’, it’s very Ramsey Lewis in treatment, and there are some great ‘wah-wah’ vocal effects on the outro. A cool track to close a very cool album.

Exective Producer: Oswaldo Cadaxo
Co-ordination: Nelson Correia
Arrangements: Nino Soli
Engineers: Gauss/Reinaldo/Nilton
Mastering: Ary Perdigão
Cover: Josélito

Remastered by Luigi Hoffer at Digital Mastering Solutions Rio de Janeiro October 2002

Special thanks to Américo & Durval Ferreira

©2002 whatmusic.com
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