Brazil Classics 1: Beleza Tropical Compiled By David Byrne
Various Artists
Brazil Classics 1: Beleza Tropical Compiled By David Byrne
Boomkat Product Review:
Pre-empting the surge of interest in tropicália, David Byrne compiled 'Brazil Classics 1' back in 1989, gathering timeless classics from Caetano Veloso, Gilberto Gil, Gal Costa, Jorge Ben, Milton Nascimento and more.
In the 1960s, when Brazil was under military dictatorship, a group of forward-thinking artists spearheaded a fusion of local and foreign ideas that would become known as tropicália. Taking Brazilian and African rhythms, the scene's progenitors believed in "antropofagia", wherein culture would be able to cannibalize itself, and pop music would blur with the avant garde. Years later, David Byrne decided to assemble a slew of his favorite tracks on this definitive compilation - he notes that, at the time, jazz heads and his European fans knew the music, but many of his US fans had never come across tropicália before. The album was a huge success, and according to Byrne, the label made such a bad licensing deal that they lost money on every record sold.
At this point, tropicália is far more widely known, but 'Brazil Classics 1' is still a great entry-point. Byrne knows his stuff, and has selected some of the genre's defining tracks. Maria Bethania and Gal Costa's 'Sonho Meu' bends samba into new shapes, and Milton Nascimento's 'San Vicente' is a ghostly folk-prog experiment that no-doubt influenced Beirut, while Lo Borges' 'Equatorial' injects fresh life into psychedelic rock. Elsewhere, Jorge Ben's 'Caramba!' reminds of the soft power of Afro-Brazilian rhythms, and Nazare Pereira's 'Maculelê' adds the throb of a drum machine for extra seasoning.
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Boomkat Product Review:
Pre-empting the surge of interest in tropicália, David Byrne compiled 'Brazil Classics 1' back in 1989, gathering timeless classics from Caetano Veloso, Gilberto Gil, Gal Costa, Jorge Ben, Milton Nascimento and more.
In the 1960s, when Brazil was under military dictatorship, a group of forward-thinking artists spearheaded a fusion of local and foreign ideas that would become known as tropicália. Taking Brazilian and African rhythms, the scene's progenitors believed in "antropofagia", wherein culture would be able to cannibalize itself, and pop music would blur with the avant garde. Years later, David Byrne decided to assemble a slew of his favorite tracks on this definitive compilation - he notes that, at the time, jazz heads and his European fans knew the music, but many of his US fans had never come across tropicália before. The album was a huge success, and according to Byrne, the label made such a bad licensing deal that they lost money on every record sold.
At this point, tropicália is far more widely known, but 'Brazil Classics 1' is still a great entry-point. Byrne knows his stuff, and has selected some of the genre's defining tracks. Maria Bethania and Gal Costa's 'Sonho Meu' bends samba into new shapes, and Milton Nascimento's 'San Vicente' is a ghostly folk-prog experiment that no-doubt influenced Beirut, while Lo Borges' 'Equatorial' injects fresh life into psychedelic rock. Elsewhere, Jorge Ben's 'Caramba!' reminds of the soft power of Afro-Brazilian rhythms, and Nazare Pereira's 'Maculelê' adds the throb of a drum machine for extra seasoning.
Boomkat Product Review:
Pre-empting the surge of interest in tropicália, David Byrne compiled 'Brazil Classics 1' back in 1989, gathering timeless classics from Caetano Veloso, Gilberto Gil, Gal Costa, Jorge Ben, Milton Nascimento and more.
In the 1960s, when Brazil was under military dictatorship, a group of forward-thinking artists spearheaded a fusion of local and foreign ideas that would become known as tropicália. Taking Brazilian and African rhythms, the scene's progenitors believed in "antropofagia", wherein culture would be able to cannibalize itself, and pop music would blur with the avant garde. Years later, David Byrne decided to assemble a slew of his favorite tracks on this definitive compilation - he notes that, at the time, jazz heads and his European fans knew the music, but many of his US fans had never come across tropicália before. The album was a huge success, and according to Byrne, the label made such a bad licensing deal that they lost money on every record sold.
At this point, tropicália is far more widely known, but 'Brazil Classics 1' is still a great entry-point. Byrne knows his stuff, and has selected some of the genre's defining tracks. Maria Bethania and Gal Costa's 'Sonho Meu' bends samba into new shapes, and Milton Nascimento's 'San Vicente' is a ghostly folk-prog experiment that no-doubt influenced Beirut, while Lo Borges' 'Equatorial' injects fresh life into psychedelic rock. Elsewhere, Jorge Ben's 'Caramba!' reminds of the soft power of Afro-Brazilian rhythms, and Nazare Pereira's 'Maculelê' adds the throb of a drum machine for extra seasoning.
2023 reissue on black double vinyl.
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Boomkat Product Review:
Pre-empting the surge of interest in tropicália, David Byrne compiled 'Brazil Classics 1' back in 1989, gathering timeless classics from Caetano Veloso, Gilberto Gil, Gal Costa, Jorge Ben, Milton Nascimento and more.
In the 1960s, when Brazil was under military dictatorship, a group of forward-thinking artists spearheaded a fusion of local and foreign ideas that would become known as tropicália. Taking Brazilian and African rhythms, the scene's progenitors believed in "antropofagia", wherein culture would be able to cannibalize itself, and pop music would blur with the avant garde. Years later, David Byrne decided to assemble a slew of his favorite tracks on this definitive compilation - he notes that, at the time, jazz heads and his European fans knew the music, but many of his US fans had never come across tropicália before. The album was a huge success, and according to Byrne, the label made such a bad licensing deal that they lost money on every record sold.
At this point, tropicália is far more widely known, but 'Brazil Classics 1' is still a great entry-point. Byrne knows his stuff, and has selected some of the genre's defining tracks. Maria Bethania and Gal Costa's 'Sonho Meu' bends samba into new shapes, and Milton Nascimento's 'San Vicente' is a ghostly folk-prog experiment that no-doubt influenced Beirut, while Lo Borges' 'Equatorial' injects fresh life into psychedelic rock. Elsewhere, Jorge Ben's 'Caramba!' reminds of the soft power of Afro-Brazilian rhythms, and Nazare Pereira's 'Maculelê' adds the throb of a drum machine for extra seasoning.
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