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Gal Costa (Cinema Olympia) [1969]

2015-09-15T15:49:36Z

Gal Costa (Cinema Olympia) [1969]


1. Cinema Olympia
2. Tuareg
3. Cultura E Civilizacao
4. Pais Tropical
5. Meu Nome E Gal
6. Com Medo Com Pedro
7. The Empty Boat
8. Objeto Sim Objeto Nao
9. Pilsars E Quasars

Gal Costa – vocals
Jards Anet Da Silva – guitar (violão)
Alexander Gordin – bass, guitar
Rudolpho Grani Júnior – bass
Diogenes Burani Filho, Eduardo Portes De Souza - drums

After Caetano Veloso broke out with his solo debut, the self-titled 1968 release recognized as the building block for the now infamous Brazilian Tropicalia movement, his friends and musical peers released similar albums, always upping the ante in terms of outrageousness and inventiveness. This release, the second of two self-titled albums released by Gal Costa in 1969, set the high watermark in terms of overall insanity and complete experimental freedom for the entire lot; not Veloso nor Gilberto Gil, Tom Zé, or even the rambunctious Os Mutantes stepped this far out into psychedelia, and even though Costa had hinted at the noisier aspects she was interested in exploring with her previous release, this album must have shocked listeners when it arrived on the shelves. In fact, 35 years of MPB -- or music from anywhere else in the world for that matter -- hasn't heard another sonic assault quite like this. Costa is a ball of contradictions here: overtly wild but in control; sweet and accessible, yet brash; and, at times, almost violent as she screams and moans her way through the album while spindly, whiny guitars mix with soulful bass grooves, bombastic drums, exotic horns, woodwinds, and strings. The sonic textures are taken completely over the top with judicious use of delays, reverbs, and various production techniques new and exciting at the time. When taken all together, the listener may not at first notice the high quality of the songwriting for the unreal, emotional freak-outs laced throughout the performances. Costa's crazy improvisations over Caetano Veloso's tune "The Empty Boat" serve as evidence of this delightful impulsiveness when placed side by side with Veloso's own rather forward-thinking recording of the song, which sounds positively conservative by comparison. All in all, Gal Costa is an indescribable, unpredictable, ambitious, and fun record preserving a slice of time when Brazil was at its most controversial state musically and politically and is a must-have for any psychedelic collection. --- Gregory McIntosh, Rovi

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Gal Costa - Ao Vivo (2007)

2015-09-22T16:01:20Z

Gal Costa - Ao Vivo (2007)


1. Fruta Gogoia
2. Todo o Amor que Houver Nessa Vida
3. Santana
4. Mar e Sol
5. Antonico
6. Jurei
7. Hoje
8. Luto
9. Pra que Cantar
10. Embebedado
11. Juventude Transviada
12. Meu Nome e Gal
13. Pout-Pourri: Coisa Mais Linda / As Time Goes By
14. Logus-Pe

I enjoyed the album very much. It was produced by Cesar Camargo Mariano, a very talented man himself, the famous arranger of Elis' records and known in some circles for his own material. The decision was to recreate the 70s studio while choosing only new songs from contemporary young songwriters.

The songwriters will be obscure to you: Peri, Junio Barreto, Hilton Raw... but they all have their own independently released albums and are very talented musicians and singers themselves. Look them up. It is really worth the effort.

Gal sounds great here. Her voice is in perfect shape and always will be. She is a singing machine. The only problem I found was the overuse of background choirs. Very distracting and of questionable taste. But cool in a retro kinda way anyway.

It is an album or purists. No electronica, no crossovers. It is as MPB album, made like it is still 1974. The irony comes from the fact that Gal herself didn't have an album that sounded like this in the 70s. She had to wait for the 00s to make it... --- Mauricio Bussab, amazon.com

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Gal Costa - Divino Maravilhoso - Interpreta Caetano Veloso (2006)

2010-03-10T23:07:55Z

Gal Costa - Divino Maravilhoso - Interpreta Caetano Veloso (2006)

CD 01: 
01 CORACAO VAGABUNDO 
02 AVARANDADO 
03 CLARA 
04 MAMAE CORAGEM 
05 BABY 
06 DIVINO MARAVILHOSO 
07 CINEMA OLYMPIA 
08 SAUDOSISMO 
09 NAO IDENTIFICADO 
10 LONDON LONDON 
11 COMO DOIS E DOIS 
12 VOCE NAO ENTENDE NADA 
13 BARATO MODESTO 
14 DEIXA SANGRAR 
15 OS MAIS DOCE S BARBAROS 
16 SEM GRILOS 
17 O BATER DO TAMBOR 
18 MASSA REAL 

CD 02: 
01 FORCA ESTRANHA 
02 MINHA VOZ MINHA VIDA 
03 MEU BEM MEU MAL 
04 DOM DE ILUDIR 
05 A MULHER 
06 A RA 
07 LUZ DO SOL 
08 TAPETE MAGICO 
09 TIGRESA 
10 QUAL E BAIANA 
11 DA MAIOR IMPORTANCIA 
12 SUTIS DIFERENCAS 
13 PAULA E BEBETO 
14 EU TE AMO 
15 CARAS E BOCAS 
16 MAE 
17 LUA LUA LUA LUA 
18 O AMOR

Gal Costa was born Maria da Graca Costa Penna Burgos (Her stage name came from her younger cousins nickname "Gau" for her), in Salvador, Bahia Brazil. She was one of the most illustrious female singers from the tropicalia movement and was a highly energetic individual, who changed constantly as a performer, who also actively got involved in political activities. She was brought up listening to music and was encouraged to pursue a singing career by her music-loving dad. She then teamed up with Caetano Veloso and his sister Maria Bethania in 1963 who then in turn introduced them to Gilberto Gil and Tom Ze. They then headed off together to Sao Paulo, to start their own career, however they kept in touch and are now lifelong friends. The new dictatorship at the time in Brazil was against any new ideologies and concepts, so while Gilberto Gil and Caetano Veloso decided to go into exile to London Gal and Maria stayed behind and took part in politically radical concerts. With her key writers in exile she sort other composers like Macale, and released the album "Gal".

In 1973, the album cover of Costa's India was censored because the image of the singer in a red bikini was considered too daring. By the late 70s, however, she became a superstar, becoming more and more popular and commercial. She endured the 80s as absolute queen among the big stars in Brazilian music, even being regarded by some as Brazil's greatest female singer. Backed up by choice composers, she recorded songs by Jorge Ben Jor (Que Pena) , Erasmos Carlos (Sua Estupidez) and Tom Jobim (Desifinados) . In 1982, the double album Fantasia spawned the huge carnival hit "Festa Do Interior". In the 90s, she continued her rise to being a top selling artist in Brazil. ---wrasserecords.com

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