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| Artist : Sergio Mendes |
| Album : Timeless (Advance) |
| Bitrate : VBR kbps |
| |
+-------------------------------[Release Info]-------------------------------+
| |
| Label : Concord Music |
| Year : 2006 |
| Genre : R&B |
| Rip date : Jan-20-2006 |
| Store date : Feb-14-2006 |
| Size : 89,8 MB |
| |
+--------------------------------[Track List]--------------------------------+
| |
|Track Listing: |
| |
| 01 - Mas Que Nada feat. The Black Eyed Peas 04:23 |
| 02 - That Heat feat. Erykah Badu And Will I Am 04:14 |
| 03 - Berimbau feat. Stevie Wonder 04:23 |
| 04 - The Frog feat. Q-Tip And Will I Am 03:50 |
| 05 - Let Me feat. Jill Scott And Will I Am 04:14 |
| 06 - Bananeira feat. Mr. Vegas 03:14 |
| 07 - Surfboard feat. Will I Am 04:31 |
| 08 - Please Baby Don't feat. John Legend 04:09 |
| 09 - Samba De Bencro feat. Marcelo D2 04:39 |
| 10 - Timeless feat. India Arie 03:54 |
| 11 - Loose End feat. Justin Timberlake, 05:33 |
| Pharoahe Monch and Will I Am |
| 12 - Fo Hop feat. Cuinga 03:14 |
| 13 - Lamento feat. Maogani Quartet 03:21 |
| 14 - Hey Girl 03:32 |
| 15 - Yes, Yes Y'all feat. Black Thought, 05:10 |
| Chali 2na And Will I Am |
| |
| ───── |
| 62:21 min |
| |
+-------------------------------[Release Notes]------------------------------+
| |
| 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' music from |
| his first seven years on the label. |
| |
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