In episode #81, we shared 25 more songs talking about Brazilian places in their lyrics, this time centred in the Northeast. We traveled to Bahia with Dorival Caymmi, João Gilberto, Novos Baianos, and more. Then we moved to Luiz Gonzaga's Pernambuco, and Jackson do Pandeiro's Paraíba, and all the other Northeastern states. Djavan sings about Alagoas, Alcione praises Maranhão, and Fagner pays homage to his Ceará.

Check the ⁠Translationsmith ⁠for lyrics translations.

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Every episode is a different song. This is the song today:

"Nanã" by Moacir Santos

Moacir Santos was a highly influential composer, arranger, and multi-instrumentalist known for his innovative approach to Brazilian music, particularly his fusion of jazz with Afro-Brazilian rhythms. He mentored prominent musicians like Sergio Mendes, who recorded "Nanã" in 1964. Mario Telles then wrote the lyrics for the song, which became a tremendous success performed by Wilson Simonal. Recorded numerous times, Moacir Santos finally did his version of "Nanã" for his 1965 album "Coisas," a masterpiece arrangement unparalleled by any of the countless versions recorded before or after

Salve! This is a bonus episode for ⁠paid subscribers⁠!

Every episode is a different song. This is the song today:

"Manhã" by Azymuth

Azymuth has been a staple in studio recordings since the early 1970s, collaborating with artists like Marcos Valle, Hyldon, Raul Seixas, and many others. In 1975, they released their debut album, propelled by the success of its opening track, “A Linha do Horizonte,” which gained widespread attention after being featured on a popular soap opera soundtrack.

Over the years, the trio found even greater success abroad than in Brazil, with their distinctive fusion of samba, jazz, and funk, along with their pioneering use of synthesizers, all that summarized in today’s bonus episode, featuring “Manhã.”

Don't miss Azymuth playing in North America this June.

Salve! This is a previous of our latest episode. All episodes are available for only a week before becoming exclusively for ⁠⁠subscribers at Patreon⁠⁠. In episode #80, we talked about the history of the vocal group Os Tincoãs. They introduced a new musical concept, not yet explored in Brazilian popular music: vocal arrangements for songs originating from Afro-Brazilian religious rituals, so present in their homeland in Bahia.

We dived deep into their album "O Africanto dos Tincoãs", released in 1975, but we also expanded by talking about their beginning, their biggest hits, the importance of religious synchretism in their music, and the cult status that followed the trio since the early 2000s. Follow our playlist on Spotify: Brazuca Sounds Podcast Soundtrack.

Salve! This is a bonus episode for ⁠paid subscribers⁠!

Every episode is a different song. This is the song today:

"Samurai" by Djavan

Recently signed with RCA Victor, Djavan recorded his debut album for the label in Los Angeles, with production by Ronnie Foster. When asked about Stevie Wonder's feature on the album, Djavan revealed that he wrote “Samurai” entirely in his hotel room during a single night. The song became the biggest hit from the album Luz—a classic blend of R&B infused with Djavan’s unmistakable Brazilian touch. Linguistically, this is a pretty straightforward song, but its simplicity hides a wealth of poetry in the words. Check out the full translation of the song at Translationsmith.

Salve! This is a trailer for the latest bonus episode for Brazuca Sounds ⁠paid subscribers⁠!

Every episode is a different song. This is the song today:

"Falador Passa Mal" by Originais do Samba

Written by Jorge Ben, the song was a megahit on the radio and TV from Originais do Samba's sixth album, released in 1973. An ensemble of six percussionists, with the same core for over a decade, the group also incorporated elements of mainstream samba, such as bass, guitar, and traditional drumset. "Falador Passa Mal" is the ultimate snitches-get-stitches type of song, and it is a Brazilian samba classic even today. Check our friends at Translationsmith for a full translation of the song.

Salve! This is a previous of our latest episode. All episodes now are only available for a week before becoming exclusively for ⁠subscribers at Patreon⁠.

In episode #79, we discussed one of the best instrumental albums ever recorded. It is the Quarteto Novo's first and only album, released in 1967 via Odeon in Brazil. This album was fundamental in bringing Northeast folklore music to a national audience, sparsely blended with bebop jazz, bossa, folk, with cinematic arrangements and great musicianship.

The quartet of percussionist Airto Moreira, guitarist Heraldo do Monte, bassist Theo de Barros and flutist/pianist Hermeto Pascoal deviated from conventional time signatures and created a very innovative sound not only in Brazil, but for the whole world. Quarteto Novo recently had its first vinyl reissue in 25 years by French new record label Jazzybelle. Follow our playlist on Spotify: Brazuca Sounds Podcast Soundtrack.

Salve! This is a bonus episode for Brazuca Sounds ⁠paid subscribers⁠!

Every episode is a different song. This is the song today:

"Emoriô" and "Naturalemente" by Fafá de Belém

Today we're celebrating the first compacto (single) released in 1975 by singer Fafá de Belém. "Emoriô" was written by João Donato with lyrics by Gilberto Gil, and its Afro-Brazilian arrangements, heavy percussion, and repetitive chorus elevated 19-year-old Fafá into a Brazilian star.

The B-side, "Naturalmente", written by Donato with lyrics by Caetano Veloso, is no less impressive, with its carimbó rhythm, and putting a spotlight for the first time on the North sounds of Brazil, especially the state of Pará, where the singer was from. Caetano's lyrics are "a veritable linguistic playground", almost a catalog of Amazonian terminology, and I recommend checking out the full translation with our friends at Translationsmith.