🎵 AotW Sergio Mendes & Brasil '66 YE-ME-LE (A&M SP 4236)

[LPJim]

AOTW: YE-ME-LE
Sergio Mendes & Brasil '66
SP-4236

Side One: Wichita Lineman 2:48/ Norwegian Wood 3:53/ Some Time Ago 2:24/ Moanin' 3:05/ Look Who's Mine 3:35.
Side Two: Ye-Me-Le 2:27/ Easy to be Hard 2;45/ Where are you coming From? 4:05/ Masquerade 3:37/ What the World Needs Now 2:14.

Produced & arranged by Sergio Mendes/ Engineer Larry Levine/ Studio: A&M Recording Studio/ Orchestra arranged and conducted by Dave Grusin/ Guitar Oscar Castro Neves/ Cover painting Ivan De Moraes/ Art Direction Tom Wilkes/ Photography Jim McCrary.

Reissued on A&M Japan CD available via Dusty Groove and Melody Blvd.

JB -- predicting many views and responses for this AOTW, online.

"For What it's Worth" my favorite trax are "N.W." -- another example of B '66 stylishly enhancing a Beatles composition -- and "Masquerade."

 

[Harry]

As with just about all of the Brasil '66 albums, I really enjoy this one too. Although I never list it near the top of that bunch, it still has much to love. I like the big production work here -- the Dave Grusin orchestrations don't bother me at all the way they do some. I can't think of a better way to finish off an album than with the big finish of Burt Bacharach's "What The World Needs Now." But the real treats here for me are "Norwegian Wood", "Easy To Be Hard", the title track "Ye-Me-Le", "Look Who's Mine", and one that's snuck up on me in the last few years, "Masquerade."

Lesser tracks for me are "Wichita Lineman", "Some Time Ago", and "Where Are You Coming From?", though I can get into the first couple of those at times as well.

Back in the vinyl-only days, I'd pretty well worn out my first copy of the album. When I went to get a new one, all I could find was the Pickwick version (SPC-3749). It's track listing was shortened by one (leaving "Moanin'" off) but I bought it anyway just to get some cleaner vinyl. The cover is different too, with a Carnaval/Mardi Gras-regaled individual in the foreground.

These days, I've got the Japanese CD (POCM-1996) and all 10 tracks from the album appear on that 2-CD VERY BEST OF compilation from the UK. The mastering of "Wichita Lineman" on the latter though leaves much to be desired. It's full of dropouts, in spite of it's "digitally remastered" claims. The other tracks sound fine.

Harry
...looking forward to listening to the AOTW in the car tomorrow, online...

 

[jimac51]

"Look Who's Mine"-another great English lyric by the Bergmans and one of the sexiest Brasil '66 songs! "Moanin'" is a nod to Cannonball Adderley,who gave Sergio a U.S. audience in 1963. I had that Pickwick cheapie for years,too but found a nice,relatively clean radio station copy of the original last year at one of our Music Expos. Mac

 

[Rudy]

This is one Brasil '66 album I don't play very often. The only tracks that really "click" for me are "Norwegian Wood" and "Masquerade." "Ye-Me-Le" isn't a bad track, but the last part of it seems to drag somewhat. The other tracks are OK, just not very memorable. The one track that makes me cringe is what I feel is one of the worst arrangements of "Moanin'" I've ever heard. The "Brasil '66" treatment does not fit this song, no matter which way I look at it: the rhythm is wrong (this song works best with a gospel or "swing" beat to it), the vocals have no soul (my same complaint about "The Look Of Love," in that case, a sultry song turned into throwaway pop), and the dreaded strings are pushing their way through. This song is supermarket background music, IMHO.

I'm glad I didn't spend more than $5 on this one...but at least I got it on the good imported vinyl. When I purchased it, the vinyl looked OK, but it had one of those "gummy plastic" lined sleeves, the same type of sleeves that A&M was selling for awhile (which I believe came via A&M/Canada). These sleeves should have been sent to the landfill--if they ever see extreme temperatures, the chemicals from this type of plastic will leech out onto the vinyl. This one was stuck to the vinyl, and it left some nasty deposits on it. Fortunately I had some very strong cleaner for the record vacuum, and the LP now plays almost as quietly as a CD.

-= N =-
...rushing for Herb Alpert Presents......

 

[Mr Bill]

My favorite cut is without a doubt the title track "Ye-Me-Le"... I think what I like best about it is it is sort of a "sneak preview" of what was coming in the form of Primal Roots, at least musically... This was also the first B66 LP that I was able to listen to straight thru (as an A&M-collecting teen, that is).

--Mr B

 

[JMK]

Ye-Me-Le, while not my favorite B66, holds a very special place in my heart as one of a trilogy in what I call my "A&M winter." I remember to this day picking up Ye-Me-Le in early December, 1969 (with my hard-earned allowance!), then, when my eldest sister came home for the holidays (she had introduced me to the sound of Sergio when she came home from college one year with the first three B66 albums), she ended up giving me "Brass Are (is?) Comin'" as a gift, plus she brought home "Make it Easy on Yourself," which we listened to non-stop. My big complaint with Ye-Me-Le is the lack of Portuguese or even anglicized Brasilian material (same as with Love Music, though LM did it in spades). Personally, I really dig the reworking of "Moanin'", and Jon Hendricks told me years ago that he loved that version, too, "for what it's worth." (L,H & R did the vocal version that most people remember). I had the German import LP for a long time, too, and it sounded noticeably better than the original US pressing I got in 1969. This album always brings back memories of snowy, stormy days for me.

 

[Rudy]

I had the German import LP for a long time, too, and it sounded noticeably better than the original US pressing I got in 1969. This album always brings back memories of snowy, stormy days for me.

My first "encounter" was a 45RPM single of the title track that my dad and I picked up at a department store. (We'd bought a couple dozen 45s that were out in a clearance bin.) And for the life of me, I can't recall the flip side of it!

Back in the early 80's, I remember seeing a domestic copy of the LP at Car City Classics. It wasn't in the best condition, so I passed it up. I had no idea it would take me more than a dozen years to find a better copy, which turned out to be the DG pressing I have now. And for all those years, I regretted not buying it, regardless of condition, just because I'd never been able to find anything other than the 70's albums and Fool On The Hill in most of the used bins around Detroit. I've learned now--even if it's a beaten $1 copy, at least I'll have the music, and when a better opportunity presents itself (better vinyl, or a CD), I can upgrade. Some titles are rare enough that to find any copy of them is pure luck on my part.

-= N =-

 

[TulitaPepsi]

First things first: YE-ME-LE has what I think is the most beautiful cover art for a B'66 album. And pretty daring too - I think a fair number of B'66 fans might have been turned off by the slightly primitive portrait of an Afro-Brazilian child. I think Sergio was trying for the same look with the cover for BRASILIERO, but it didn't quite come off. And I love the back cover shot of the group. In previous photo shoots, the mood was often very dour and cool - not here. Big smiles all around (even Lani!). Actually, they all look kinda stoned!


That said, I think that this is an interesting B'66 but not one I especially like all that much. It's my least favorite B'66 overall. I share Jeff's dissapointment with the lack of Brazilian material (you'd think with that cover, title and kickass opening track, it would have been) and with a few exceptions, I think the material just isn't particularly strong. The irony is that much of this material is gorgeously performed and the arrangements are generally much sparser and tighter. Everything seems designed to show off Lani & Karen's pipes to maximum advantage ("Some Time Ago" and "Moanin'" and "Norwegian Wood"). Alas, Sergio's pipes are amply displayed in "Where are You Coming From?" , an unusually turgid and heavy ballad, and the lilting "What the World Needs Now" isn't helped by an unusually noisy arrangement with a pointless finish. Sergio stalwart that I am, I've made many attempts to like it, but...I ...just...DON'T.

 

[Rudy]

Alas, Sergio's pipes are amply displayed in "Where are You Coming From?" , an unusually turgid and heavy ballad, and the lilting "What the World Needs Now" isn't helped by an unusually noisy arrangement with a pointless finish. Sergio stalwart that I am, I've made many attempts to like it, but...I ...just...DON'T.

You're right--I forgot to mention that ending. I like the arrangement when it starts off, but that ending..??? What is the point of the equivalent of an orchestral trainwreck to end a song?

Lack of Brazilian music is also a good point, since that's one aspect of B66 I've always liked. My favorite tracks on other albums are the Brazilian tracks, especially Fool On The Hill. I could play "Festa," "Casa Forte" and "Lapinha" and be completely satisfied!

Maybe one day Sergio wakes up and discovers he's not a vocalist...?

-= N =-

 

[Harry]

I just noticed that the Japanese CD of YE-ME-LE misspells the group's name on the face of the CD as BRAZIL '66.

Harry
...waiting for the IBM guy to finish and listening to the AOTW at work, online...

 

[JMK]

Have you noticed that on the Japanese CD of Crystal Illusions, not only do they spell Brasil with a "Z" on the CD, for some reason the lettering on the reproduced album cover is black, and, equally inexplicably, the title has been moved over so that it's partially in one of the crystals.

 

[Joe]

Not exactly my favorite Brasil '66 album but it does have a few positive notes. IMHO, "Norwegian Wood" is probably the best track on there, I just happen to be a fan of Lennon/ McCartney material.

The title track is pretty good, with a really good beat to it. I really like how it begins very low and then everything else starts to swing.

I always thought Brasil '66's recording of Three Dog Night's "Easy to Be Hard" had a definitive sound in a way. I think Lani does a great job "vocal-wise".

I like "What the World Needs Now", I just don't like how fast the song goes. After hearing Jackie DeShannon's hit I figured that was the definitive recording.

I think most of the original jazz / Bossa Nova, Brazilian feel of the original Brasil '66 was now practically dead, but this album is good enough for me. Joe, NP: "Norwegian Wood"

 

[IndyIvan]

First off let me say thank you to Internet Radio and my Parnter for my introduciton to Brasil 66. And to Lani Hall for her spellbinding voice that drew me from the bed room to find out who was singing. It was only about a year ago and I can remember that moment like it was today. Everytime I hear "With a little help from my friends" I remember that day.

Okay now that Ive been sentimental; Sergio Mendes and Brasil 66 are among my rankings of top favorit easy listening groups. But for several months now I have been searching the internet to find out more about the voice that put a spell on me. It was only to day that I found out it was Lani Hall. I read most of the quote's here and feel that although Sergio Mendes is a fabulous pianist, arranger, producer and musical director. Credit is due to Herb Alpert and his wife Lani Hall (the Voice of Barsil 66). I have an early cd of Sergio Mendes and Brasil 65 and to be frank, it suck's! Were it not for Lani's voice and rythmatic flair Brasil 66 would have just been Brasil 65!

I still have much to learn about Lani and have yet to hear more current albums from Sergio and Brasil 77, and so on, but I guess you could say I will probabley always be stuck in '66.

 

[Harry]

Welcome IndyIvan,

Well you've found a good source for information on both Sergio Mendes and Lani Hall. You'll find quite a few knowledgable fans here, and we're always ready to answer questions you may have.

Harry
...fan of both Lani and Sergio, online...

 

[Mike Blakesley]

Overall this is my least favorite B'66 album, but like all of them, it has top favorite songs of mine. The title track especially is one I always must crank up to top volume. I love the way the bass guitar bounces all over the place, only to drop back to the "right" note on the down-beat. (That IS the downbeat, right?)

I'm also a big fan of "Norwegian Wood" and "Masquerade," and to a lesser degree "Moanin'" and "Some Time Ago." I can't stand "Where Are You Coming From." I think Sergio finally found his vocal chops on the next album, STILLNESS, with "Cancao Do Nosso Amor" and "Sometimes In Winter."

To me this album sounds like Sergio is having trouble finding new songs to adapt to the B'66 "formula." Things like "What the World Needs Now" and "Wichita Lineman" just don't fit, IMHO. You can just tell the changes are in the wind.

 

[Rudy]

Things like "What the World Needs Now" and "Wichita Lineman" just don't fit, IMHO. You can just tell the changes are in the wind.

"Lineman" almost sounds like it's trying to cash in on the "Scarborough Fair" formula...

-= N =-
...crazy from the heat...

 

[IndyIvan]

Hey Everyone,

How do I get the A&M Corner Internet Radio Stations to work?

 

[William]

I can't think of a better way to finish off an album than with the big finish of Burt Bacharach's "What The World Needs Now."

That's funny... I can't think of a worse way to finish off an album than with the "Paramount" ending of that song! I think that might be the single worst Grusin moment I've ever heard, in fact.

I actually kinda like Grusin's charts for "Moanin'" and "Where Are You Coming From?"--even if the latter is marred beyond hope by Sergio's less-than-stellar singing. I like hearing him as part of an ensemble vocal (as on all the early albums, and "Masquerade" here), but this business of featuring himself on one depressing song on almost every B'66 record... yeesh.

My favorite track would be "Some Time Ago," which I first heard as an instrumental by the great jazz flugelhornist Art Farmer. With lyrics and the Rhodes piano, it has a nice mellow late-'60s/early-'70s sound that I dig. It's a refreshingly low-key contrast to the rather over-the-top sound of the remainder of the album...

- William

 

[Harry]

I can't think of a better way to finish off an album than with the big finish of Burt Bacharach's "What The World Needs Now."

That's funny... I can't think of a worse way to finish off an album than with the "Paramount" ending of that song! I think that might be the single worst Grusin moment I've ever heard, in fact.

That's what's great about these forums: finding out that the one thing you love about a record is exactly what drives someone else away. Fascinating!

Harry
NP: radio at work

 

[Captaindave]

I prefer the earlier albums. As was suggested in a couple of the posts above, it seems like there is a search in process for songs to fit that which had become identified as the Brasil 66 sound and style.It seems to me that something similar might have been happening to Herb Alpert near the end of the TJB era as well, and may be one of the reasons why I don't care for albums such as The Brass Are Comin' as well as the earlier ones - it's kind of like the well is running dry,so to speak.....earlier albums had such strong,defining material for both of these groups that maybe...well...it's probably hard to keep churning out great,new songs every time.

 

[Mike Blakesley]

The discussion of the cover above led me to a couple more thoughts about this.

I think Sergio Mendes really got into "challenging" his audience. Starting with FOOL ON THE HILL, he took major risks with each record:

FOOL: The naked-lady cover...the less-accessible Brasilian material...longer songs, not as "pop-ish" as the preceding albums. Just look at the song list on the back of the album; it would probably turn-off people who were looking for a pop album (very few English words there).

CRYSTAL ILLUSIONS: The title song. I don't think any A&M artist went farther off the wall than this!

YE-ME-LE: Starting with the cover. Don't get me wrong, I really like the cover. But it's clearly not a product of the marketing department. And the title...not as catchy/commercial as EQUINOX or LOOK AROUND or even CRYSTAL ILLUSIONS.

Then STILLNESS. A near complete abandonment of the sound that made them famous. An album cover that, while beautifully done, completely shatters the group's previous image.

PAIS TROPICAL. Again, a hard-to-sell title. Any casual "pop" fans Sergio may have gained from STILLNESS were probably turned off by the title and some of the song titles and the jungle graphics. (which I still love anyway!)

Then the final touch, PRIMAL ROOTS. A non-commercial cover, and as far away from commercial music as possible.

It's almost as if he was daring his audience to jump ship! And he's still doing it today, with albums like OCEANO and BRASILEIRA. Challenging the audience to follow his direction (with a few nods to pure pop in the 70s and 80s, but hey, who's wouldn't want hit records?)

All of which makes savoring the music all the more satisfying for those of us who have stuck around for the whole ride!