Beleza Tropical 2: Novo! Mais! Melhor! - Brazil Classics 6
by Luaka Bop
brainstorm64
Rocker-Faller
Dallas Grasby
Rufo
David Rowe
utamu
Elle Young
@pablito
desnos
Chris Ruhlen
Matthew Lowe
John Michael Swartz
Matt Pape
zazazapp
Aleksandar Mahdik
fibosound
DJ Tom B. (Avenida Brasil / 22Tracks - Paris)
Miguel
heatherhiggins
camarev79
jibae
brodgar
foe_74
yaluaka
Anthony Higgins
sutlovingood
adamsavitt
Marco
weatheroverme
Graham Sorensen
MSKeebler11
countfantismo
ianatkins
ernesto_funk
shiney9621
mwolfc18
crunas
Ordinary Joe
Richard Dale
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Streaming + DownloadIncludes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.Purchasable with gift card
$10 USD or more
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Record/Vinyl + Digital AlbumShips from UK, EU, and US.
Twenty-fifth anniversary gatefold edition on double color vinyl em Laranja (that's orange) e Azul (and blue).
Includes unlimited streaming of Beleza Tropical 2: Novo! Mais! Melhor! - Brazil Classics 6 via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.ships out within 5 daysPurchasable with gift card$32.99 USD or more
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Gilberto Gil - Madalena
03:58
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Gonzaguinha - Tanacara
03:57
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Tom Zé - Curiosidade
04:11
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11. |
Carlos Careqa - Acho
03:26
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Arnaldo Antunes - Imagem
00:31
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about
It’s the 25th anniversary of this criminally under-appreciated compilation of Brazilian pop music (New! More! Better!), so we’re putting it on vinyl for the first time. Here’s what the guy behind the compilation had to say about it when we put it out:
“Brazilians are the original masters of mixology, blend and hybridization. We're just catching up to what they've been doing for years, decades even.
It’s been 10 years since we at Luaka Bop released our first compilation of Brazilian music. Beleza Tropical. It sold extremely well, 350,000 and still going strong, but a lot has happened since then.
That first record reflected the coming of age, the maturity, of the tropicalismo generation–the late 60's revolutionary movement in the arts that advocated cultural cannibalism: absorbing, “eating” and appropriating anything and everything from anywhere. This new collection reflects the impact and energy of a new generation who rather than seeking to overturn or discredit the work of its predecessors, wants to build on it, add to it, and continue absorbing greater and more contemporary influences.
Rap, sampling, psychedelia, new and no-wave, funk and punk are routinely swallowed up and mixed with a myriad of Brazilian styles—the swing of samba, the pounding massed drums of Bloco Afro, the dance grooves of axé. The result is so transcendent, so full of life, that it counters the negativity of all the shit that’s going down, to paraphrase the Isleys. The music fights the power.”
- David Byrne
MARTINHO DA VILA ON SAMBA:
"I’m a singer and a composer. Samba is the mainstay of my career — my main success. But I’ve only done five out of 20 albums exclusively of samba. Samba is for dancing and listening to — for getting across a message — but all in a very relaxed way.
Samba, like all popular music, including almost all American and Brazilian music, has African origins. It began with the slaves to lighten the hard labor. In Brazil, it’s always been more relaxed, to liberate energy. The samba emerged through drums and dancing. It evolved in Bahia and Rio de Janeiro and then spread.
I’ve been to New York several times. I like it very much. I’ve sung in Washington and San Francisco. The first time, people thought Brazilian music was only bossa nova, which wasn’t Samba for them, but it is. But samba of the samba schools with mulatto girls and tambourines — the more visual side — is one of the most powerful of feelings. You write a song and it’s sung “dressed up,” with fantasy and fancy dress. It’s a moving theatre with thousands of people. A samba school has about 3,000 members. The great orchestra of 300 or so drummers. An enormous audience of thousands. It’s fantastic…
I don’t analyze the things I do, I just do them. Analysis is something else. But, things always evolve. As you advance, you get experience and put more things in. You know more music. You enrich musically. You meet great musicians. You write sambas with richer melodies. It’s like that — the same motivation as writing a letter.
Samba is fundamental. In other rhythms you only do one kind of dance. But not in samba. It’s much freer. You can dance samba your own way."
-M. da Vila
“Brazilians are the original masters of mixology, blend and hybridization. We're just catching up to what they've been doing for years, decades even.
It’s been 10 years since we at Luaka Bop released our first compilation of Brazilian music. Beleza Tropical. It sold extremely well, 350,000 and still going strong, but a lot has happened since then.
That first record reflected the coming of age, the maturity, of the tropicalismo generation–the late 60's revolutionary movement in the arts that advocated cultural cannibalism: absorbing, “eating” and appropriating anything and everything from anywhere. This new collection reflects the impact and energy of a new generation who rather than seeking to overturn or discredit the work of its predecessors, wants to build on it, add to it, and continue absorbing greater and more contemporary influences.
Rap, sampling, psychedelia, new and no-wave, funk and punk are routinely swallowed up and mixed with a myriad of Brazilian styles—the swing of samba, the pounding massed drums of Bloco Afro, the dance grooves of axé. The result is so transcendent, so full of life, that it counters the negativity of all the shit that’s going down, to paraphrase the Isleys. The music fights the power.”
- David Byrne
MARTINHO DA VILA ON SAMBA:
"I’m a singer and a composer. Samba is the mainstay of my career — my main success. But I’ve only done five out of 20 albums exclusively of samba. Samba is for dancing and listening to — for getting across a message — but all in a very relaxed way.
Samba, like all popular music, including almost all American and Brazilian music, has African origins. It began with the slaves to lighten the hard labor. In Brazil, it’s always been more relaxed, to liberate energy. The samba emerged through drums and dancing. It evolved in Bahia and Rio de Janeiro and then spread.
I’ve been to New York several times. I like it very much. I’ve sung in Washington and San Francisco. The first time, people thought Brazilian music was only bossa nova, which wasn’t Samba for them, but it is. But samba of the samba schools with mulatto girls and tambourines — the more visual side — is one of the most powerful of feelings. You write a song and it’s sung “dressed up,” with fantasy and fancy dress. It’s a moving theatre with thousands of people. A samba school has about 3,000 members. The great orchestra of 300 or so drummers. An enormous audience of thousands. It’s fantastic…
I don’t analyze the things I do, I just do them. Analysis is something else. But, things always evolve. As you advance, you get experience and put more things in. You know more music. You enrich musically. You meet great musicians. You write sambas with richer melodies. It’s like that — the same motivation as writing a letter.
Samba is fundamental. In other rhythms you only do one kind of dance. But not in samba. It’s much freer. You can dance samba your own way."
-M. da Vila
credits
released November 17, 1998
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about
Luaka Bop New York, New York
Luaka Bop is a record label established by David Byrne in 1989.
Luaka Bop has
released compilations as full-length albums, EPs, cassettes, and singles from individual artists like William Onyeabor, Floating Points, Doug Hream Blunt, Tim Maia, and Os Mutantes.
... more
discography
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