🎵 AotW AOTW: Sergio Mendes & Brasil '66 STILLNESS-SP 4284

[LPJim]

SERGIO MENDES AND BRASIL '66
Stillness
A&M SP 4284

(Note: SP 4283 was assigned to Phil Ochs, self-titled & unreleased)

Stillness

Every morning stillness meets me
Sitting on the window ledge it calls the day
to wake up and defuse the dew drops
waiting lazy in the hay

Every evening starlight greets me
Sifting through the window shade
It calls the day to close up and tranfuse
the dew drops
waiting lazy in your way

Side One: Stillness 2:40/ Righteous Life 3:15/ Chelsea Morning 2:56/ Cancao Do Nosso Amor 3:46/ Viramundo 3:02.

Side Two: Lost in Paradise 3:43/ For What It's Worth 3:36/ Sometimes in Winter 4:43/ Celebration of the Sunrise 1:45/ Stillness 1:28.

Produced by Sergio Mendes and Herb Alpert/ Orchestration on "Sometimes in Winter" and "Righteous Life" by Dick Hazard/ Orchestration on "Lost in Paradise" by Thomas W. Scott/ Engineers: Larry Levine, Dick Bogert and Bart Chiate/ and introducing Gracinha/ Accoustic guitar and 12 string guitar Oscar Castro Neves/ Bass flute on "Stillness" - Thomas W. Scott/ A special thanks to Michael Lang, piano; Mark Stevens, drums, Joe Osborn, bass/ photography by Guy Webster.

Reissued on CD as a Japan import.
STILLNESS entered the Billboard Top 200 on January 9, 1971, peaked at #130 and remained in the charts for nine weeks (according to Whitburn's "Top Pop Albums").

JB

 

[Dave]

**Note: SP 4283 was assigned to Phil Ochs, self-titled & unreleased**

Stillness

Every Morning stillness meets me
Sitting on the window ledge it calls the day
to wake up and defuse the dew drops
waiting lazy in the hay

Every evening starlight greets me
Sitting through the window shade
It calls the day to close up and tranfuse
the dew drops
waiting lazy in your way

Side One: Stillness 2:40/ Righteous Life 3:15/ Chelsea Morning 2:56/ Cancao Do Nosso Amor 3:46/ Viramundo 3:02.

Side Two: Lost in Paradise 3:43/ For What It's Worth 3:36/ Sometimes in Winter 4:43/ Celebration of the Sunrise 1:45/ Stillness 1:28.

Produced by Sergio Mendes and Herb Alpert/ orchestration on "Sometimes in Winter" and "Righteous Life" by Dick Hazard/ orchestration on "Lost in Paradise" by Thomas W. Scott/ Engineers: Larry Levine, Dick Bogert and Bart Chiate/ and introducing Gracinha/ accoustic guitar and 12 string guitar Oscar Castro Neves/ bass flute on "Stillness" - Thomas W. Scott/ A special thanks to Michael Lang, piano; Mark Stevens, drums, Joe Osborn, bass/ photography by Guy Webster.

Reissued on CD as a Japan import.
STILLNESS entered the Billboard Top 200 on January 9, 1971, peaked at #130 and remained in the charts for nine weeks (according to Whiburn's "Top Pop Albums").

JB

This is far different from any other Brasil '66 albums and even Brasil '77. Still the same Bossa-Nova beat intact, but just a new way to convey it. Always a suprise to see in record store bins or racks.

The single of "For What It's Worth" is different from the LP version, too; though not by that much.

Dave

...It's A Righteous Life We're Leading Friends; Heavy Dues, Pay The Fees; But No One-Else Notices, Except The Free, Except The Free, Except The Free...expecting to see a lot of postings here...

 

[Harry]

Stillness is certainly a different sort of album for Sergio Mendes & Brasil '66. Quiet, reflective, and transitional in several ways. It would be the last album for Lani Hall as a member of the group. She'd be replaced by Gracinha Leporace, both here and in future albums, both on the cover and on the vinyl. Lani's pictured on the front and back covers, but not listed in the credits or pictured inside the gatefold with the group's individual pictures - that's where you'll find Gracinha, where she's listed as being 'introduced', in spite of her prior appearance with the group on Fool On The Hill's "Lapinha".

The group was in transition from Brasil '66 to Brasil '77 - partly due to the change in decades and partly due to the change in personnel. Indeed this album was released somewhere in the world (Australia?) under the Brasil '77 moniker as pictured in an old eBay ad that I saved. Below.

And there's a change in sound too. With the bookended "Stillness" tracks to open and close the set, the album seems to have a theme. We were fortunate to have Paula Stone, the composer of the title track and "Righteous Life" visit here at the Forum discussing her experiences with the group. Unfortunately, her visits were in the closing days of the old board, and not on this one. Hopefully, Neil has saved those posts. I wish I had.

I like this album a lot.

Harry
...Stillness fan, online...

 

[Mike Blakesley]

This album was basically my entry into the Brasil '66 fold. The first Sergio I'd heard was on the MUSIC BOX album ("Look Around" was featured there). I had been hearing "Chelsea Morning" on an AM radio station we used to get (the station's still there, but it's now FM and a country station). I bought the STILLNESS album initially on 8-track and was blown away by it. I currently have 4 LPs, the original 8 track, two CDs (factory) and one CD-R (homemade) of it.

Since it was the first Brasil '66 album I heard, I didn't appreciate the landmark changes in style that this album introduced. Even though I've now collected the rest of the records, this one contains several of my all time favorite Mendes songs:

Righteous Life - This just defines the early 70s for me. I was in high school then and didn't quite understand the wildness that was happening out in the world. This song with its mysterious qualities has a sort of free-spiritedness that I really like.

Chelsea Morning - One of the best Mendes arrangements ever. I never get tired of listening to it. This blows the original Joni Mitchell version away, as far as I'm concerned.

Viramundo - My favorite Claudio Slon track. The song just rocks. The percussion is my favorite part of this one.

Sometimes In Winter - Probably my favorite Brasil '66 ballad. Like the rest of the album, it has a mysterious quality. A beautiful orchestra arrangement too. It's not "overblown" like the ones on FOOL ON THE HILL and CRYSTAL ILLUSIONS.

For What It's Worth - Karen Phillip on vocals! This one has not aged as well as the rest of the record, but it still outdoes the original in my book (as do the other covers on this album).

Celebration of the Sunrise - One of my favorite Mendes instrumentals. I used this one to kick-off the first CD-R I ever made, which was of course a Mendes compilation.

Great stuff all around. I can totally understand why longtime Sergio Mendes fans would have been turned off by this record, but since it was the first one I heard, it was the perfect intro for me....Being a pop/rock fan, I might have been turned off by the earlier Mendes records. This way, my "rock" sensibilities were served and I was able to get into the music thru the back door, so to speak.

 

[Rudy]

We were fortunate to have Paula Stone, the composer of the title track and "Righteous Life" visit here at the Forum discussing her experiences with the group. Unfortunately, her visits were in the closing days of the old board, and not on this one. Hopefully, Neil has saved those posts. I wish I had.

I will have to dig around--I have e-mail response copies of several thousand posts, and I do actually have all of the old forum message files saved offline, all except maybe the first 100 or 200 or so from the VERY early days. I can't run them online, but it's possible I may be able to set them up on my server here at home.

 

[Brasil_Nut]

Stillness, for me, is much as Harry described. Quiet, reflective and relaxing. I personally love this album from beginning to end. Harry's accurate description of the cover cannot be improved upon. However, Paul Jeromack and I have always liked the back-cover photo of Lani and Karen. Look at the way Karen is leaning into Lani. Strains of "sisterhood" ring true here. Check out Lani as she looks ahead toward new horizons -- a sad, almost pensive look upon her face...masterful. This photo speaks volumes.

Although Stillness was also released under the Brasil '77 moniker in Australia, I like it much better as Brasil '66 -- just a personal preference. To me, the group changed names with the departure of Lani Hall. Lani herself has made it clear she also feels this way. She was quoted in a television interview as saying, "I sung with him for six years. When I left, he changed it to '77..."

Gracinha, although having appeared on Lapinha (and uncredited on Ye-Me-Le), replaced Lani at this point in time. This would give her the distinction of being Sergio's longest-standing vocalist. Karen took Lead vocals at this point, and a fine job she did. I've always said it was masterful how Sergio made the transition from a group featuring the sound of Lani Hall, to a group without Lani Hall -- the "sound" remained intact. From Ye-Me-Le to Stillness to Pais Tropical, he gradually brought Karen forward. By the time Pais came around, many would swear that Lani was still there. Again...masterful.

Stillness: Lani sets the tone with this reflective ballad, and I've always been touched by her reading. This is a time for reflection, a look into one's inner-self.

Righteous Life: A guitar opens another story of reflection. "It's a Righteous Life we're leading friends. Heavy dues, pay the fee..." Once again, Lani continues the theme of Stillness with a look at '70s values and life on the road.

Chelsea Morning: A prelude to the sound of Brasil '77. Karen and Gracinha tackle Joni Mitchell and pull it off with flying colors. I was not aware this was Karen and Gracinha until Gracinha told me herself. Again, sound-wise, this is proof that Sergio's sound would, indeed, remain intact, with or without Lani Hall.

Cancao do Nosso Amor:By far one of Sergio's finest efforts as a vocalist, and one of my favorite cuts on the album. This "Song Of Our Love" is masterful. Sergio's vocal, the piano and trombone combine to set the mood. I always thought of this as Sergio singing to Gracinha. After all, she would become Mrs. Sergio Mendes within the next few years.

Viramundo: Brasil '77 used to open their show with an upbeat take on this song...the album version (IMHO) is much better. Here we have opportunity to hear Lani, Karen and Gracinha in unison. Magical.

Lost In Paradise: A wild romp through the "Alice In Wonderland" world of a grasshopper, Gracinha is wonderful here. Although I like the vocal arrangement of Lapinha much better, Lost In Paradise is the definitive Sergio Mendes & Brasil '66 tune. Sergio's arrangement is amazing -- especially the ending...strings and oboes echo one another in a song of the forest...fantastic!

For What It's Worth: The perfect example of how Sergio recorded Karen to keep his sound intact. Well, she takes the sound and runs with it. She's amazing! Gracinha absolutely loves Karen's reading of this song. She told us so in New York last November. "It was the best thing she did," she told Paul Jeromack and I. The single had a different arrangement, well suited to the dance club scene. As for me, I love this song far better than the original, hands down.

Sometimes In Winter: I think of this beautiful "Blood, Sweat & Tears" song as Lani's parting ballad. What an amazing, goose-pimple-inducing reading she gives...wow! Karen joins Lani on chorus, adding an amazing dimension. Sergio's sad, almost painful reading gives one the feeling that this was a very special love. Just about one of the best Brasil '66 ballads there is.

Celebration Of The Sunrise: Vocalese at its best. Close your eyes. Listen. You can see the sun rising above the trees. It's a new day. The joy and pain of Stillness is lovingly wrapped within this peaceful tune.

Stillness Reprise: There's a telling part of Stillness which is found within the reprise. After all, Brasil '66 would begin and end with Lani Hall. It somehow seems fitting that Stillness should close with one final song -- a goodbye if you will -- by Lani herself. A fitting farewell to the sound of Sergio Mendes & Brasil '66.

From here on, it would be Sergio Mendes & Brasil '77, with Karen Philipp and Gracinha Leporace on vocals. Although I've mentioned this about a dozen times, our family saw Brasil '66 in late '71 at the Monterey Jazz Festival. I guess Stillness is special for me because it was (to my knowledge -- and Gracinha confirmed this) the first and last time that Lani, Karen and Gracinha appeared together under the banner of Brasil '66. That absolutely blows my mind!

I recall the concert opened with Sebastio and Claudio walking to the front of the stage, clapping to the rhythm of Roda. The announcer said, "Ladies and Gentlemen please welcome Sergio Mendes & Brasil '66!" Out they came -- all four of 'em. From stage-left came Karen, followed by Gracinha. Behind Gracinha came Sergio and Lani, hand in hand. Together, the six of them clapped to the rhythm of Roda. We, in the audience, followed suit. Sergio took to his keyboards, the band took their places, and the girls broke into an upbeat version of Roda. It was amazing! The girls were wearing the same off-white garb as appear on the cover of Pais Tropical -- Lani's similar to Karen's -- hoods and all.

Yes, Stillness is one of Sergio's under-rated masterpieces. Reaction to the album is hot or cold. It wasn't the typical Sergio Mendes & Brasil '66 album. In many ways, Pais Tropical was more "Brasil '66" than Stillness, but that's what makes it so special. It's a departure, an escape, a look toward new horizons...

Take a look at the back-cover photo. There's the essence of Stillness in a nutshell.

Jon

 

[Harry]

^^Nice job, Jon. Great descriptions.

For those who weren't around here in the early days of the board, there was a long discussion about the lyrics to "Lost In Paradise." As is sometimes the case with many recorded songs, lyrics tend to sound a bit jumbled - we've all experienced that particular phenomenon. "Lost In Paradise" is a bit of a double-whammy given the somewhat nonsense lyrics sung by a native Brazilian in her own lovely accent.

Anyway, we batted it around for quite awhile and came up with the following:

Lost In Paradise
(Caetano Veloso)

My little grasshopper airplane cannot fly very high
I find you so far from my side
I'm lost in my own green light

Don't help me, my love, my brother, my girl
Just tell her name; just let me say "Who Am I?"
Don't help me, my love, my brother, my girl
Just tell her name; just let me say "Who Am I?"

A big white plastic finger surrounds my dark green hair
But it's not your unknown caress
It's not from your unknown right hand
Oh

Don't help me, my love, my brother, my girl
Just tell her name; just let me say "Who Am I?"
Don't help me, my love, my brother, my girl
Just tell her name; just let me say "Who Am I?"

I am the sun, the darkness, my name is green wave
Death, salt, South America’s my name
World is my name, my size
And under my name, here am I
My little grasshopper airplane cannot fly very high

Don't help me, my love, my brother, my girl
Just tell her name; just let me say "Who Am I?"
Don't help me, my love, my brother, my girl
Just tell her name; just let me say "Who Am I?"
Don't help me, my love, my brother, my girl
Just tell her name; just let me say "Who Am I?"

My little grasshopper airplane cannot fly very high

© 1970 ? Rodra Music, Inc.

In the final verse, there was a disagreement among some of us as to just what the next to last line should be. Some thought it should be:

And honor my name, here my

I think the 'd' sound within what would be 'honor' makes it 'under', so I listed it the way I hear it above.

With the release of the Japanese CD of Stillness comes yet another set of lyrics possibilities, but I'll stick with ours. Feel free to add your own modifications!

Harry
...listening intently, online...

 

[Brasil_Nut]

^^Nice job, Jon. Great descriptions.

Thank you, Harry. That means a lot coming from you -- being our resident voice of reason in your soft-spoken way. I do genuinely appreciate your compliment.

In the final verse, there was a disagreement among some of us as to just what the next to last line should be. Some thought it should be:

And honor my name, here my

I think the 'd' sound within what would be 'honor' makes it 'under', so I listed it the way I hear it above.

I always heard "And under my name, here am I..." I don't know if I'm correct, but that's what I hear. My Mom, who has a knack for being able to decifer warbled lyrics, also hears the word 'under' here.

If it's good enough for Mom and Harry, it's good enough for me!

Jon

...who under-slept and awoke much too early, offline...

 

[Mike Blakesley]

...and me. I've always heard "Under my name, here am I" too. It makes sense.

Is that really NOT Lani Hall on "Chelsea Morning?" I remember Paula once saying that she, after lots of listens, had finally convinced herself that is IS Lani, and she was disappointed because she didn't like that vocal.

I've listened to it thousands of times and it still sounds like Lani to me, but then it's amazing what can be done in the studio.

 

[Brasil_Nut]

...and me. I've always heard "Under my name, here am I" too. It makes sense.

Agreed. For good measure, I listened to 'Lost In Paradise' a couple of times this afternoon. It has to be "Under my name, here am I..." As much as it can, it does make sense.

Is that really NOT Lani Hall on "Chelsea Morning?" I remember Paula once saying that she, after lots of listens, had finally convinced herself that is IS Lani, and she was disappointed because she didn't like that vocal.

I've listened to it thousands of times and it still sounds like Lani to me, but then it's amazing what can be done in the studio.

According to Gracinha, "Chelsea Morning" is composed of she and Karen. I remember Paula telling me the same thing -- that she never did like that vocal. I've listened to this countless times and always arrived at the conclusion that it was, indeed, Lani Hall. Paul Jeromack and I asked Gracinha about this very thing in New York last November. The conversation went something like this...

"Do you appear on Ye-Me-Le, the album?" I asked.

"I do, here and there..." Gracinha replied.

"Is 'For What It's Worth' Karen double-tracked?" Asked Paul.

"It is, yes. It's the only solo song she did with Brasil '66. She was the soloist on 'So Many People' and 'Gone Forever' with Brasil '77."

"Then Stillness was all three of you?" I asked.

"No," she replied directly. "Stillness was Lani's last album. Karen and I were Brasil '66 at that point. We sung on things like 'Chelsea Morning' and stuff. Lani just came in and recorded her tracks. The three of us did that chant (she's referring to 'Celebration Of The Sunrise') at the end of the album, just like we did with 'Ye-Me-Le'..."

So there we have it. Unless Gracinha is mistaken, this is what she revealed to us. You know, if you give a close listen to the live version of 'Chelsea Morning' with Geri Stevens and Gracinha, you can hear where Gracinha appears on the Stillness version.

Jon

...baffled, amazed and thrilled with Sergio's vocal arrangements, online and off...

 

[jww]

Is it possible Grachina could have meant that she and Karen sang on Chelsea Morning with Lani, since many of the other tracks seem to feature Lani up front, except for Lost...and For What... Again, it does not matter in the end. This is a masterful album. Does anyone beside me hear the John Denver song Calypso at the start of Sometime in Winter, with the orchestration that swells and dips? It just has always reminded me of that song... Keep up the good work all, a fascinating look into our favorites! JWW

 

[Brasil_Nut]

Is it possible Grachina could have meant that she and Karen sang on Chelsea Morning with Lani, since many of the other tracks seem to feature Lani up front, except for Lost...and For What... Again, it does not matter in the end. This is a masterful album.

You know, I think JWW nailed it. Stillness is masterful from beginning to end. I couldn't agree with him more.

Does anyone beside me hear the John Denver song Calypso at the start of Sometime in Winter, with the orchestration that swells and dips? It just has always reminded me of that song... Keep up the good work all, a fascinating look into our favorites! JWW

Is that what I hear? Calypso? I'll be darned! I've always loved Sometimes In Winter, the song. Of course, it was written by Steve Katz of Blood, Sweat & Tears. I love their version as well. I knew I heard another song within Sergio's version...now I know what it could be. Thanks JWW!

Jon

 

[sbsugar]

...and me. I've always heard "Under my name, here am I" too. It makes sense.

Is that really NOT Lani Hall on "Chelsea Morning?" I remember Paula once saying that she, after lots of listens, had finally convinced herself that is IS Lani, and she was disappointed because she didn't like that vocal.

I've listened to it thousands of times and it still sounds like Lani to me, but then it's amazing what can be done in the studio.

I am also shocked that this is not Lani. Wow. You learn something new every day....

 

[Brasil_Nut]

(In reference to Lani Hall not singing on Chelsea Morning)

I am also shocked that this is not Lani. Wow. You learn something new every day...

Once again, it comes down to Sergio and his masterful way with a vocal arrangement. His sound would have continued in the same vein had Karen not left the group in 1972. Then again, Geri Stevens had 'The Sergio Mendes Sound' down pat.

Here's an interesting observation: Karen might have taken part in the planning and execution of Primal Roots. Thanks to Paula, I have a tape of a '71 Mendes performance. It has 'The Circle Game' as the percussion segment. The vocalists? Karen Philipp and Gracinha Leporace. In addition, I say hats off to Geri Stevens, who obviously had some fancy memorizing to do in a short period of time...'The Circle Game' is most definitely a tongue twister, especially if you don't speak the language!

Jon

 

[Brasil_Nut]

Is that really NOT Lani Hall on "Chelsea Morning?" I remember Paula once saying that she, after lots of listens, had finally convinced herself that is IS Lani, and she was disappointed because she didn't like that vocal.

I've listened to it thousands of times and it still sounds like Lani to me, but then it's amazing what can be done in the studio.

You know, if there's one person on this forum who knows the voice of Lani Hall, it's Paula Worhatch -- Lani's greatest fan. I can't stress this enough. Over the years, I've learned to trust Paula in all things related to Lani Hall and Sergio Mendes. She knows of what she speaks.

This said, I wonder if, indeed, Paula is correct. It could be that Karen and Gracinha recorded the lead tracks for Chelsea Morning. Sergio could have added Lani's vocals at a later time. Gracinha did say that Lani was pretty much out of the picture when Stillness was recorded. "Lani just came in and recorded her tracks," is what she told Paul and I.

Then again, as JWW said, Stillness is masterful from beginning to end. It's a sensational album. Regardless of who appears on what track, Stillness is a classic. You know, it's interesting to witness the evolution of Brasil '66 from Ye-Me-Le forward. Sergio took incredible strides here. His sound remained intact -- with or without the trademark voice of Lani Hall. He's amazing. Matter of fact, every member of Brasil '66 should to be commended for their contribution to the history of A&M Records!

Jon

...giving credit where credit is due, online...

 

[TulitaPepsi]

I can't believe I'm only JUST now posting on this, my very favorite Sergio album. Thank you, Mike and Jon for so perfectly expressing my opionions on this haunting conceptual masterwork - one assembled with, one feels was extraordinary care and uncommon delicacy. It's one of the seminal albums of the late 1960s.

This is the one Sergio album where every track works and flows into each other seamlessly. Like Mike, I discovered STILLNESS when quite young. It was my first Brasil '66 album after HERB ALPERT PRESENTS, in fact. I remember getting STILLNESS in Summer 1970, right after B'66 performed a 'live' version of "Lost In Paradise" on the Merv Griffin show against a background of 'Lite-Brite' tropical flowers (Don't ask me how I remember this...and no, I don't remember if Lani was singing! Oh, WHY didn't I have a VHS recorder then?! ) I had it my ten-year old mind all through summer camp, so I have a lot of good memories associated with it. Even the cover, with the group reclining on all that crabgrass by the misty lake, brings back those campground sounds and smells!

My love for the album has only grown. The opening two tracks, STILLNESS and RIGHTGEOUS LIFE bring to mind a slowly awakening, lazy summer morning. And are there any more late 60s lyrics than "Smiling at some stranger...like a tarot deck card fool"? And then the joyful CHELSEA MORNING kicks in like a strong cup of Red Zinger (served in a hand-thown mug from the communal pottery emporium)! I cannot even listen to Joni Mitchell's original without thinking of how surpassingly exhilerating the B'66 version is. Joni sounds constipated next to Gracinha, Karen (and possibly Lani)! And Sergio's CANCAO DO NOSSO AMOR is, as Mike stated, his finest vocal, the arrangement just sprinkled with strings. The reflective mood is continued. VIRAMUNDO brings in a jolt of Brazilian rhythm, but with an almost haunting melancholy to the vocals - for me, it has the plaintive quality of a song heard far off in the distance on an otherwise quiet afternoon. Time for some strawberry incense and magic mushrooms, dudes - LOST IN PARADISE is Gracinhas big moment, but there is a part of me that wishes Lani had done it instead. The trippy psychedelic lyrics (eat you heart out, Prince! ) would have even more intoxicating with Lani's velvet touch. Gracinha seems just a touch uncomfortable singing in English here. Now it's Karen's turn: FOR WHAT IT'S WORTH shows Miss Phillip in "fierce diva" mode, qualities that are accentuated in the alternate take on the single, where she sounds less stoned and sharper, with crisp enunciation that really punches the song across. Another case where Sergio & Co. completely surpass the originators. (I am amused to note this cut among a recent CD compilation of "Black Power- Ghetto Rage" songs from the '60s and early '70s which cover features a fierce black girl holding two Uzis! Wonder if they know one of the best cuts was sung by a blonde Anglo soul sista!). SOMETIMES IN WINTER reminds me an impressionist painting with its shifting images and moods.... and Lani is just heartbreaking with her 'bridge' ("And you're gone now, and the lamposts call your name..")..the echos of the finish..."Makin' love in the evening sun", lead us to the joyful CELEBRATION OF THE SUNRISE with its heart-tingling sparkle of repeated chords ending...and then and echo of STILLNESS.....another day has begun.

 

[Brasil_Nut]

I can't believe I'm only JUST now posting on this, my very favorite Sergio album. Thank you, Mike and Jon for so perfectly expressing my opionions on this haunting conceptual masterwork - one assembled with, one feels was extraordinary care and uncommon delicacy. It's one of the seminal albums of the late 1960s...

Wow!

Yes, folks...the above review was posted by my "Sergio Mendes Commrade In Arms," my Dear Friend and Brother...Mr. Paul Jeromack! Paul and I have had (much like Sergio and his mirror-imaged singers) strikingly similar experiences in growing up with the music of Sergio Mendes. Our feelings about certain songs, personnel, what we felt when certain albums were released, how they effected us, our mutual admiration of Karen Philipp and Marietta Waters -- each one of these mirror the experience of the other. It's uncanny.

Yup, folks...there are really two "Brasil Nuts" here at the Corner. One of them wrote the above review...the other one's writing this right now.

Great to hear from you, Paul! I'll be talking to you soon!!

Jon

...sharing Nutty experiences, online...

 

[W.B.]

Stillness . . . would be the last album for Lani Hall as a member of the group. She'd be replaced by Gracinha Leporace, both here and in future albums, both on the cover and on the vinyl. Lani's pictured on the front and back covers, but not listed in the credits or pictured inside the gatefold with the group's individual pictures - that's where you'll find Gracinha, where she's listed as being 'introduced', in spite of her prior appearance with the group on Fool On The Hill's "Lapinha".

I did notice on the Fool On The Hill LP, that Gracinha's surname was (mis)spelled as "Leporael" as related to the "Lapinha" credits (give a "Herb Albert" award to whoever did that!). Coincidentally, "Lapinha" also featured the aforementioned Oscar Castro Neves on guitar. But as for that spelling - could that be part of having Gracinha being "introduced" on Stillness - on the hope that no one would notice the differences in letters on the surname?

 

[Brasil_Nut]

I did notice on the Fool On The Hill LP, that Gracinha's surname was (mis)spelled as "Leporael" as related to the "Lapinha" credits (give a "Herb Albert" award to whoever did that!).

I remember both Sergio and Gracinha making reference to the Leporael spelling. Once, while backstage at Bimbo's, Sergio had a stack of Lps that he was signing. He picked up a copy of Fool, made a comment about the "boobs" & "Sticker" on the cover and said, "This is the album with my wife's name spelled wrong..." Another time, Gracinha was handed a copy of the album to autograph. She opened it up, smiled and said, "I'd sign this on my picture, but it doesn't seem to be here...how about if I sign by my name? My name...not Leporael!"

Coincidentally, "Lapinha" also featured the aforementioned Oscar Castro Neves on guitar. But as for that spelling - could that be part of having Gracinha being "introduced" on Stillness - on the hope that no one would notice the differences in letters on the surname?

Could be. Good observation. That's a good question. Then again, it could simply have been a way to introduce Gracinha, as many fans of Sergio were also familiar with Bossa Rio -- Gracinha's alma mater. I remember my Mother making a comment that Gracinha bore a striking resemblance to Lani Hall on the inside-cover photo -- a picture that made you look twice to confirm that it was, indeed, not Lani Hall.

Jon

...comparing Lani Hall look-a-likes, online...

 

[Brasil6699]

Stillness is my most favorite album. (PERIOD)

For all the same reasons as mentioned previously, especially the ones mentioned by Mr. Brasil Nut, Jon.

I have the cover of Righteous Life/Lost in Paradise 45, and it has the lyrics as the cover. I don't think it's that rare of a cover, is it?

I do have a question... Lost in Paradise, Lani backs Gracinha in the chorus? "Don't..."

I am done with my posting and didn't even mention once how my favorite song is "For What It's Worth" and how I still get goose bumps when I hear Karen sing it. And how much I like the 45 version of "For What It's Worth" and how I mixed the album and 45 together... oops!

 

[Dave]

Forgot to mention that this is the FIRST Sergio Mendes album I bought. I bought it for a DIME at a Salvation Army Store at least 14 years ago, near the college I was going to. It PLAYED like a 10-Cent Record, too.

Don't know what turned me on about it, either. Maybe the song set, or the photos, or perhaps Tom Scott, Joe Osborn, Mike Lang and Mike Stevens guesting on the whole album (??). Or maybe I instinctively thought THIS was the right place to start.

Should have bought it at the St. Vincent De Paul, a few years earlier, near where my Grandparent lived, which burned down. Could have bought the complete works in near mint condition along with ALL of the TJB and the BMB.

Clearly was NOT in playable or sellable condition, so I ended up giving it away to charity (forgot which one--think SOMEONE did that before I came along and bought it). I put it in a bag with a few clothes and a Sonny & Cher double LP, that I think only had ONE record in it. Remember taking it out of the bag and playing it or trying to, before the pick-up day.

Have had a perfect playing mint copy of STILLNESS since, though years later when A&M Corner came to be.

Dave

...with some late added comments on our Previous AOTW, online...

 

[Mr Bill]

Dave, Why are you posting the same post twice???:twitchy:

--Mr Bill

 

[Dave]

Dave, Why are you posting the same post twice???:twitchy:

--Mr Bill

'Cause my screen went blank (with some "Connection Timed Out" or "Error" message, or something TECHNICAL like that) and I wasn't sure if my post posted.

My computer just didn't tell me my post posted (when I returned back to A&M Forum), so I resubmitted it until it did. Luckily, didn't have to more than ONCE (Twice?). Good Answer? :|

Dave

...Well, then just IGNORE the second posting if you don't like it, then...!!!!!

 

[Dave]

Dave, Why are you posting the same post twice???:twitchy:

--Mr Bill

See previous message above...

Dave

 

[Mr Bill]

Yeah. I figured that was it. It's happened to me a couple times too. I just saw it as a way to boost my post count by asking the question twice since the post was there twice!

--Mr Bill
I'll send my "want list" to you later today...