"I Know You"

[Brasil_Nut]

Many have expressed their dislike of Sergio's vocal effort from Pais Tropical (which I actually find tolerable...I simply think of him singing to Gracinha or something along those lines...)

That said, I was listening to Pais in the car today when "I Know You" came on. There was always one word in the song that never sounded clear, but today it came to me!! I know, it should be obvious (read on):

"...a maddening pace that would end in your arms..."

I had always heard this as:

"...an imagining pace that would end in your arms..."

Today, when it came to me I could only think of one thing... "Duh!!"

All these years and I couldn't decifer the difference between "maddening" and "imagining" in the lyrics of the song!!!

Oh well...I am now content having heard the lyric properly for the first time!!

Jon

...a happier, more content Brasil Nut...

 

[Mike Blakesley]

I haven't heard that song in about 15 years....will have to check it out again, maybe I'll like it better. I used to dislike "Cancao do Nosso Amor" but I like that one now.

 

[Chris Martin]

I have to agree. Sergio's vocal outings always meet with an ambivalent ear from me. I wonder whether it's because I cannot help but imagine what the song would have sounded like had Lani or Gracinha been given vocal duties.
This said, the music and orchestrations are always first rate. The over-the-top musical interlude from "Where are you Coming From?" (on "Ye-Me-Le"), for instance, is one of my favorite Brasil '66 passages. It seems to pick up in tempo (obviously it doesn't do so literally) while Sergio steps away from the mike. It has all the sweeping valences of a big romantic movie sountrack. It's music for a classic movie kiss.

 

[Brasil_Nut]

Good point, Mike -- and welcome to A&M Corner.

Your point about Sergio's use of orchestration is one of the things that attracted me to his music in the first place -- even as a child. I grew up in a jazz-loving household, my Father being an avid fan. As a result, I grew to appreciate a good musical arrangement at a young age. Another thread in this forum asks, "What is your favorite Sergio Mendes album on A&M Records?" My answer: Herb Alpert Presents Sergio Mendes & Brasil '66. Why? Because this is the album that started the trend, introduced us to his (then) new sound and got the ball rolling.

That said, I also appreciate Sergio's use of an orchestra where others do not. I never felt as if the orchestral arrangements overshadowed his basic sound, but rather contributed to it.

In regard to Mike's comment about "Cancao do Nosso Amor" -- it's always been a favorite of mine (from the standpoint of Sergio vocals that is...) The first spin of "I Know You" took me by surprise. Then, I settled into the "I'll bet he's singing this to Gracinha" mentality and heard it in a new light.

Jon

 

[Chris Martin]

Yeah, I really believe that the orchestrations in Brasil '66 and (A&M) Brasil '77 never crowded the underpinning percussive drive out from the mix. Bossa Nova was always meant for the whole world, never just for Brazil's home market. The sitar in "Chove Chuva" is just as inauthentic as the full-blown 'western' orchestra in songs such as "Where are you Coming from?" or "When Summer Turns to Snow" or "Cancao do nossa amor" to anyone who thought they were buying a purely Brazilian album. It's just ecclecticism. One of the most hilarious moments from the Brasil '66 catalogue (actually the only hilarious moment, that's not what they were about) is when the orchestra, in a sort of medieval fanfare groove, completely drowns out the combo at the end of "What the World Needs Now". Where did that come from? Was Sergio being ironic or was he just saying "As long as it sounds fabulous, it's in"?

 

[Brasil_Nut]

"As long as it sounds fabulous, it's in"?

What a great way to put it! Sergio really went in another direction with the YE-ME-LE album (recording Lani in one channel, Karen in the other was a first). But it wasn't just that. Look at the choice of songs, the arrangements -- musically and vocally -- and you have a departure from anything they had done before. Quite masterful to my ears.

Jon

 

[Brasil_Nut]

I have another misheard lyric from PAIS TROPICAL in the form of "So Many People" (one of my ultimate favorite Mendes tunes). I never understood the line:

"... a man for careless dreaming..."

Rather, I heard it as:

"...a man for chemist-ryyyy..."

Never could figure that one out. How grateful I was to finally discover "careless" in the lyric of the song. Sure makes a lot more sense!!

That's nothing (gee...must be something about the PAIS album altogether!) Prior to learning the Portuguese lyrics of "Morro Velho", as a child I recall thinking Gracinha began the song with: "Look at them, dining out there-aaaa..." before breaking into Portuguese. And really, phonetically, it does sound like "Look at them..." although I question myself when it comes to "...dining out there-aaa!"

Jon

...happy to finally hear PAIS as it was meant to be enjoyed...

 

[Chris Martin]

I agree, Brasil Nut. On "Ye-Me-Le" the compactness of the percussion unit on the first 4-5 albums was made looser. Upfront was a more "jangly" sound (for want of a better word). "Moanin'" saw the official introduction of electric guitar. The whole proceedings sounded oddly cleaner. And more modern, surely Sergio's intention, with the preponderance of electric piano ("Norwegian Wood", "Easy to be Hard"). Actually, it's Sergio's foray into electric. Even "Some Time Ago", which, on first impact could belong to an earlier album, has electronics. Maybe this was an extension of the sound introduced on "FOTH" but while there were 7 Brasilian-penned songs there, only 4 are featured on "Ye-Me-Le". For me, however, everything sounds intact, no real compromise. A subtle triumph of a transition album.

 

[JMK]

I've mentioned this many a time before regarding the orchestral coda to "What the World Needs Now," but that album was released during the holiday season of 1969 (it was one of the first albums I ever purchased myself with my allowance moolah!), and that orchestral tie-up has always spelled the holidays to me. The whole album reminds me of a snowy day.

 

[Chris Martin]

I must first have heard it in 1970, because I get a sunnier vibe from it. Threateningly, however, the medieval orchestral fanfare-coda suggests a stern line-up of Bossa Nova bugle-wielders, in matching tabards, of course, just like Lani and Karen would have wanted!

 

[JMK]

It came out at the very end of November, 1969--I remember picking it up on Thanksgiving weekend. That's when "Wichita Lineman" had its very brief chart appearance. The album started charting in December 1969, and "Norwegian Wood" got its AC airplay in early 1970.

 

[Chris Martin]

Remember, JMK, I'm posting from England. I don't think we had the quality of TV variety show you hasd in the states to promote artists like Brasil '66. Getting your hands on Sergio over here was like getting your hands on nylons in the war. Not easy. Hey, I'm only 40 y.o. by the way, but I remember the world before you could get your Bossa from Amazon!

 

[Mike Blakesley]

I guess the main "problem" I ever had with "I Know You" (as with other Sergio vocals from the early A&M years) is, they are orchestrated in kind of a 1940s style and they tend to grind the album to a halt because they sound SO different from the other songs. The effect is more pronounced on PAIS because the rest of that album is so much more solidly in the jazz/rock vein, even the Brasilian songs, so "I Know You" really sticks out.

Sergio really found his vocal range on the HORIZONTE ABERTO album. All he had to do was kick it up a few keys!