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d i s s i d e n t
est. 12/15/98
a special thanks to all the people that have helped us throughout the
past five years and greetz to all the original groups from 96/97 that
are still around today!
we are the dot in .mp3 :)
_______________________________________________________________________
a r t i s t : SΘrgio Mendes
t i t l e : Gold
d a t e : 2002
l a b e l : Mercury / Universal
g e n r e : Bossa Nova
r l s. d a t e : Dec/2003
t r a c k s : 14
b i t r a t e : 192kbps
s i z e : 65,4 MB
_______________________________________________________________________
A compilation with all the best of this Brazillian Genious.
For most of the second half of the '60s, Sergio Mendes was the
top-selling Brazilian artist in the United States, charting
huge hit singles and LPs that regularly made the Top Five. His
records with his group Brasil '66 regularly straddled the
domestic pop and international markets in America, getting
played heavily on AM radio stations, both rock and easy
listening, and he gave his label, A&M, something to offer light
jazz listeners beyond the work of the company's co-founder,
Herb Alpert. During this period, he also became an
international music star and one of the most popular musicians
in South America.
Born the son of a physician in Niteroi, Brazil, Sergio Mendes
began studying music at the local conservatory while still a
boy, with the intention of becoming a classical pianist. Mendes
was living in Rio de Janeiro as the bossa nova craze hit in the
mid- to late '50s, and at age 15, he abandoned classical music
in favor of bossa nova. Mendes began spending time with other
young Brazilian musicians in Rio de Janeiro, absorbing the
musical ferment around him in the company of such figures as
Antonio Carlos Jobim and Joπo Gilberto. Their company was
augmented by the periodic visits of American jazz giants such
as Stan Getz, Dizzy Gillespie, Charlie Byrd, Paul Winter, Roy
Eldridge, and Herbie Mann. Mendes became the leader of his own
group, the Sexteto Bossa Rio, and was heard with them by many
visiting musicians. He made his first recording, Dance Moderno,
in 1961 on the Philips Records label. By 1962, Mendes and his
band were playing at Birdland in New York in an impromptu
performance with Cannonball Adderley (who was officially on the
bill). Mendes and Adderley cut an album together for Capitol
Records that was released later that year.
His early music, represented on albums like Bossa Nova York and
Girl From Ipanema, was heavily influenced by Antonio Carlos
Jobim, on whose recording Mendes worked. Mendes liked what he
had found on his visit to New York and in 1964, he moved to the
United States, initially to play on albums with Jobim and Art
Farmer, and formed Brasil '65 the following year. The group
recorded for Capitol without attracting too much notice at
first. In 1966, however, Mendes and his band ù renamed Brasil
'66 ù were signed to A&M Records and something seemed to click
between the group and its audience.
The group, consisting in its first A&M incarnation of Mendes on
keyboards, Bob Matthews on bass, Jao Palma on the drums, Jose
Soares as percussionist, Lani Hall (aka Mrs. Herb Alpert and
A&M's co-founder) on vocals, and Janis Hansen on vocals, was
successful upon the release of its first album for the label,
with its mix of light jazz, a bossa nova beat, and contemporary
soft pop melodies. Their self-titled debut LP rose to number
six nationally, propelled by the presence of the single "Mas
Que Nada." Their second album, Equinox, yielded a trio of minor
hits, "Night and Day," "Constant Rain (Chove Chuva)," and "For
Me," but their third, Look Around, rose to number five behind a
number three single of the group's cover of the Beatles' "Fool
on the Hill," and an accompanying hit with "Scarborough Fair,"
based on the Simon & Garfunkel version of the folk song.
Crystal Illusions, from 1969, featured a version of Otis
Redding's "(Sittin' On) The Dock of the Bay" and the hit single
"Pretty World." Depending upon one's sensibilities, these
covers ù especially "Fool on the Hill" and "Scarborough Fair" ù
were either legitimate internationalized pop versions of the
originals, or they were "elevator music."
During this period, Mendes also made several recordings for
Atlantic Records separate from his A&M deal, principally aimed
at a light jazz audience, and several of them in association
with Jobim. Art Farmer, Phil Woods, Hubert Laws, and Claire
Fisher were among the jazz figures who appeared on these
records, which never remotely attracted the same level of
interest or sales as his records with Brasil '66. Mendes
successfully walked a fine line between international and
domestic audiences for most of the late '60s until the end of
the decade. Ye-Me-Le was notably less successful than its
predecessors, and its single "Wichita Lineman" was only a minor
hit. Mendes seemed to lose his commercial edge with the turn of
the decade, and his next two A&M albums: Stillness, a
folk-based collection that contained covers of Joni Mitchell's
"Chelsea Morning" and Stephen Stills' "For What It's Worth,"
and Primal Roots, an album of traditional Brazilian music,
failed to make any impression on the charts whatsoever.
The group moved to the much smaller Bell Records label in 1973,
and then Mendes jumped to Elektra for his first official solo
album, Sergio Mendes. He re-launched his recording career two
years later with Sergio Mendes & Brasil '77 to little avail,
and then, after a five year layoff from the public eye, Mendes
returned to A&M in 1982. His 1983 comeback album, Sergio
Mendes, was his first Top 40 album in nearly a decade and a
half, and was accompanied by his biggest chart single ever,
"Never Gonna Let You Go," which hit number four. Since then,
Mendes has had limited chart success with the single "Alibis"
and the LP Confetti. He remained a popular figure
internationally, even when his record sales slumped in America,
as evidenced by the fact that his entire A&M catalog (and much
of his Atlantic work) from the '60s has been reissued on CD in
Japan. Indeed, his popularity in the rest of the world, versus
America, was even the basis for a comic vignette in one episode
of the television series Seinfeld. During the '90s, Mendes
performed with a new group, Brasil '99, and more recently,
Brasil 2000, and has been integrating the sounds of Bahian
hip-hop into his music. In 1997, A&M's British division
released a remastered double-CD set of the best of Mendes'
_______________________________________________________________________
01-Tristeza de N≤s Dois [02:13]
02-O Amor Em Paz [02:54]
03-Coisa No. 2 (com Bossa Rio) [02:45]
04-Puzzle of Hearts (Oceano) [05:21]
05-S≤ Tinha de Ser Com VocΩ [03:10]
06-Corcovado (com Bossa Rio) [04:06]
07-Vivo Sonhando [04:13]
08-Batida Diferente [03:45]
09-In·til Paisagem [03:25]
10-Trilhos Urbanos [03:46]
11-Desafinado [03:18]
12-Ela ╔ Carioca (com Bossa Rio) [02:24]
13-Outra Vez [02:22]
14-Mas, Que Nada [03:51]
-------
47:33 min
_______________________________________________________________________
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