May 19 street date. A lot changed between Gal Costa's pleasantly straightforward 1967 debut Domingo and her eponymous follow-up two years later. Domingo, also a debut for young Brazilian songwriter Caetano Veloso, featured a set of airy, somewhat standard bossa nova tunes, sung ably by Costa. Mere months after the release of this relatively safe debut, however, Costa and Veloso found themselves alongside Os Mutantes, Tom Zé, and Gilberto Gil, recording contributions to Tropicália: Ou Panis et Circencis, the unofficial manifesto of the Tropicalismo movement. The compilation dove headfirst into avant-garde experimentalism, embracing the psychedelic tendencies happening in American underground circles, and the politically charged energy of radical dissent to Brazil's ongoing military dictatorship. This wild new hybrid of Brazilian pop and far-reaching outside influences resulted in something instantly miles away from everything that came before it, and Costa's self-titled Tropicalismo debut is no exception. The album begins with a flutter of psychedelic echo effects, dissolving into gloriously lush string arrangements and lighthearted organ on "Nao Identificado," a brilliant opening track that introduces Costa's velvety voice, gently at first, as if to ease the listener into the new sounds about to be revealed. (all music)
May 19 street date. 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.
July 14 street date. Without question, Gal Gosta is one of the all-time greats. An inspirational, iconic figurehead in Brazilian music, her outstanding career ran from 1967 up until 2022 when we sadly lost her. Making her mark initially as one of the principal figures in the Tropicália movement of the 1960s, she remained a trailblazing beacon that lit the way for decades to come. ‘India’ is a post-Tropicália masterpiece that was originally released in 1973 on the Philips record label. It features a stellar line-up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogério Duprat, and Tenorio Jr. amongst others. The album's iconic, controversial cover art was banned by the Brazilian military dictatorship upon its release, which resulted in it being covered up and wrapped in a blue plastic bag when sold in record shops. It is one of Gal's strongest albums, consistently exceptional throughout and the perfect starting point for those unfamiliar with her rich catalogue. For its 50th anniversary, Mr Bongo enlisted the sensational mastering and lacquer-cutting engineer Miles Showell from Abbey Road to cut a half-speed master for a beautiful spacious sound. The album is housed in its original replica gatefold cover with an OBI. There is also an insert with an interview, and an A2 poster exclusive to this release.
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