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24 May 2017

Gal Costa ‎" Legal" 1970 Brazil Psych Bossa Latin Soul Funk,Tropicalia

Gal Costa ‎" Legal" 1970 Brazil Psych Bossa Latin Soul Funk,Tropicalia
Gal Costa discography….
Costa's Legal album is a kaleidoscope of musical styles. Beginning with the bluesy raveup, Eu sou terrível, Gal establishes a gravely vocal tone unheard on her previous efforts. Throughout the album she establishes a mood that is less blatantly avant garde compared to her Gal album. Regarding that Herculean psych adventure, Gal herself said that she liked the results, but thought it was "...a bit confused due to the climate among the people" according to the liners of the cd reissue of her 1969 release. On Legal, Gal sounds as if she is more firmly integrated rather than superimposed over the instrumentation. Its probably just a sign of the times, but the arrangements are tighter, more professional and altogether less druggy. As I wonder about what it was like to be in the studio with these guys (as I often do, btw) at a time when Caetano and Gil were in exile and her country in a chaos, I say its a testament to Costa's artistry that the record is as focused as it is. I have to skip the painfully bad Love, Try and Die every time, but the remainder of the record is fresh and full of grooves. Lanny is obliged to lay down some pretty serious fuzz tones on the guit that are always a highlight of these records, but then a few other tracks are on the opposite end of the sonic spectrum: sparce, more typically Brazilian samba/bossas. All of it works yet Veloso's London London is the centerpiece. Inevitably I compare the version here with his version on the A Little More Blue album. Caetano was feeling the melancholy all over that album but Gal exploits the catchy aspects of the melody and employs a little flamboyance by song's end that numbs my loins and caravan ...............

On Legal, the follow-up to her extremely bombastic self-titled release, Gal Costa retains only some of the fire and experimentation, instead opting to return to more accessible and subdued arrangements. This was likely a wise decision on Costa's part, even though the reckless abandon she displayed on Gal Costa was astonishing, for her to recklessly continue flailing down that path would've certainly led to her burning out or completely alienating the public she was trying to inform. Furthermore, Legal is a much more diverse record than her previous records, displaying influences from American blues-rock, R&B, and soul with winding, organ-driven rock closer to the sound Milton Nascimento would later latch onto and nurture with his Clube da Esquina albums. This diversity is welcome and served as a setup for Costa to further explore complex arrangements on her later records. Costa's lovely voice flourishes on the jazzy churning of "Língua Do P," the emotional groove of "Mini-Misterio" as well as the gorgeous version of Caetano Veloso's "London, London" -- certainly included as a reminder to the Brazilian public of her comrades (Veloso and Gilberto Gil) who were still exiled for upending politics through their radical music. The only questionable track on the album is "Love, Try, and Die," which has a fun, bouncy Dixieland style but is ruined by the unnecessary and terrible Louis Armstrong impersonation contributed by one of the backing vocalists. In spite of this small blunder, Legal appears near the beginning of Costa's most consistent period and should be sought out by those interested in the revolutionary late-'60s/early-'70s period of Brazilian Gregory McIntosh.............

In an interview published in O Pasquim on August 6, 1970, the poet and composer José Carlos Capinam pointed to the generalized crisis that saw popular music in Brazil. As an example Gal Costa, who, in her words, had difficulty putting together repertoire for the LP she was recording for "not finding songs that are close to the thing she wants to do".

And what did Gal want that year? Seventy began with the singer giving time in London, alongside the exiles Caetano and Gil. In Europe, he thought of the third solo album he would make when he returned: it had to be different from the two of the previous year, the new one would bring more musical genres so that the tropicalista muse could show the different shades of his crystalline voice through the guttural song Rocker , Of the bossanovista softness, or in rhythm of baião, blues, frevo and even calypso. Upon returning to Brazil, Gal brought in the bag an unheard of each Bahian, and launched them in a simple compact. With the songs "Mini-misterio" (by Gilberto Gil) and "London, London" (by Caetano Veloso), the album foreshadowed the release of the album Legal.

In addition to Gil and Caetano, the legal repertoire includes songs by Jards Macalé, Duda Machado, Geraldo Pereira, Zé Dantas, Roberto and Erasmo Carlos. The partnership "Roberto / Erasmo" opens the record promoting the happy meeting between the two arrangers responsible for the post-tropical sound mass characteristic of the album. "I'm terrible" combines guitarist Lanny Gordin's base with metal arrangement written by Chiquinho de Moraes.

The remarkable presence of Jards Macalé in Legal translates into basic arrangements written with Lanny and in the three tracks with their compositions: two partnerships with Duda - "Hotel of the stars" and "The archaic lonely star blues" - and the triple collaboration that Included Gal herself. In the period in which they recorded, the singer met with Macalé and Lanny in a roda of guitar in his house. Kidding, the trio composed "Love, try and die". For the recording, they had a regimental choir in the hallways of the studio, a vocal quartet composed by Jards Macalé, Tim Maia, Erasmo Carlos and Nana Caymmi.

Local spokesman for the exiled tropicalismo, in Legal, Gal Costa released two of Caetano Veloso and two of Gilberto Gil. In addition to the already mentioned tracks of the compact, the frevo "Deixa sangrar" frevo is a title that Caetano, by modernist deglutition, coined to translate "Let it bleed" by Rolling Stones, and "Língua do P", theme in which Gil faced The unprecedented challenge of writing a letter in the old coded and playful language.

Legal comes close to experimenting with Gal Costa's previous works precisely on the track that houses the second oldest composition of the repertoire. In "Acauã", Zé Dantas's baião released in 1952, there is room for daring vocalizations with accompaniment of the powerful trio led by guitarist Lanny. Composed in 1944 by Geraldo Pereira, the samba "Falsa baiana" closes the album with a tribute to João Gilberto. Singing the introduction of "Meditation", Gal plays John's vocalise for this classic of Tom Jobim and Newton Mendonça at the beginning of the last track.

As if not enough content, Legal has one of the most beautiful covers of Brazilian discography. Signed by the artist Hélio Oiticica, she portrays the singer with hair made up of black and white photo collage, a visual of the phase known as collapse of which the columnist José Simão actively participated. Guest of the program The two sides of the disc, Radio Cultura, to comment Legal, Simão declared that at the beginning of that decade did nothing, just made head: hit point in the dunes of Gal, common dunes of cheap, in Ipanema, bolava chapters From his book Folias brejeiras, applauded the sunset, and, at night, in a caravan, occupied the Tereza Raquel Theater's chair to watch the Gal at full steam. But this is already talk for 1971.....................

A1 Eu Sou Terrivel 2:30
A2 Lingua Do P 3:40
A3 Love, Try And Die 2:23
A4 Mini-Misterio 4:16
A5 Acaua 2:49
B1 Hotel Das Estrelas 4:22
B2 Deixa Sangrar 2:53
B3 The Archaic Lonely Star Blues 3:03
B4 London, London 4:00
B5 Falsa Baiana 2:11

johnkatsmc5, welcome music..





Cassete Deck

Cassete Deck