Songs that Sergio should have arranged and Lani should have sung

Intuitive Samba

Member
Thread Starter
"Out of my Book" by Peter Hammill (Van Der Graff Generator) ? That was recorded on that band's 2nd album in late 1969.
Also, in late 1969, another British band (Jethro Tull) recorded Ian Anderson's "For Michael Collins, Jeffrey and Me."
The verses could have a slow Brasilian beat (which is already kinda implied, if you ask me, based on the acoustic guitar figure) -- and the chorus/refrain could have a double-time (double-tempo) Brazilian-type beat, as well.
It could have a similar style/"feel" to "Sometimes in Winter" (on Stillness).

Also, from Tull's 3rd LP -- Benefit -- is another song "Inside" which is a possibility for a treatment -- or, at least, for an early 1970s Lani solo recording, maybe? (I had previously mentioned "Alive and Well and Living In" -- which was originally on the U.K. but not U.S. version of that album. That song finally saw American release on the Living in the Past compilation in 1972.)
 
Last edited:
I was sitting in an office today for a bit and thought of two selections that would have worked with Sergio and Lani. They are both from The "Warm" album by Herb Alpert and are "Zazueira" by Jorge Ben and "Sandbox" by John Pisano. I think they would have been good selections, especially since John Pisano was guest guitarist on three of the Brasil'66 albums. John's guitar and Sergio's piano could have had a great sound working with each other on Sandbox with Lani and Karen on vocals.
 

Steven J. Gross

Well-Known Member
I was sitting in an office today for a bit and thought of two selections that would have worked with Sergio and Lani. They are both from The "Warm" album by Herb Alpert and are "Zazueira" by Jorge Ben and "Sandbox" by John Pisano. I think they would have been good selections, especially since John Pisano was guest guitarist on three of the Brasil'66 albums. John's guitar and Sergio's piano could have had a great sound working with each other on Sandbox with Lani and Karen on vocals.
I would love to see them both revert back to that genre in a serious way...
 
I would love to see them both revert back to that genre in a serious way...
I listen to the Brasil'66 cd's more than any other cd that I have. I have gotten others turned onto the sounds of Sergio Mendes as well. I despise much of the music of today and would love a Brasil'66 reunion of the surviving members for a studio recording of a double cd or extended recording of 20-25 songs including all those mentioned by members of this thread.
I even though of another song the they should have recorded that I heard on the radio by Chris Montez yesterday-The More I see You. The AM station that I often listen to the the car plays him as well as Brasil'66.
 

Rudy

ᕦ(ò_óˇ)ᕤ
Staff member
Site Admin
I was sitting in an office today for a bit and thought of two selections that would have worked with Sergio and Lani. They are both from The "Warm" album by Herb Alpert and are "Zazueira" by Jorge Ben and "Sandbox" by John Pisano.
"Zazueira" was on the second Bossa Rio album and is probably closest to how it would have sounded with B66 performing it.
 

TulitaPepsi

Active Member
I have always thought Sergio should tackle "O Que é Que a Baiana Tem?" one of Carmen Miranda's most famous Brazilian songs, introduced in the film "Banana da Terra" (1939) before she went to Hollywood. He has never recorded any of Carmen's sings, and would be a perfect tribute to Brazil's first international star from another. It was written by Sergio's friend Dori Caymmi when he was sixteen years old. . I can practically hear Lani or Gracinha perform this!

A gorgeous mellow version performed by Sergio's friends Chico Buarque, Caetano Veloso, Gilberto Gil and Dori Caymmi

Clara Nunes does a great version, with a Mendes flavor.

Carmen's original:

A bit more about the song itself: O Que É Que A Baiana Tem? - Wikipedia
 

TulitaPepsi

Active Member
The translated English lyrics to "Viola" belie the gentle soothing melody :

The hand that plays a guitar
(A mão que toca um violão)

If necessary make war
(Se for preciso faz a guerra)

Kill the world, hurt the earth
(Mata o mundo, fere a terra)

The voice that sings a song
(A voz que canta uma canção)

If need be sing a hymn
(Se for preciso canta um hino)

Praying Mantis
(Louva à morte)

Viola in moonlit night
(Viola em noite enluarada)

In the backlands it's like a sword
(No sertão é como espada)

Hope of revenge
(Esperança de vingança)

The same foot that samba dances
(O mesmo pé que dança um samba)

If I need to go to fight
(Se preciso vai à luta)

Capoeira
(Capoeira)


Who has the companion at night
(Quem tem de noite a companheira)

Do you know that peace is fleeting
(Sabe que a paz é passageira)

To defend it gets up
(Prá defendê-la se levanta)

And shouts, "I will!"
(E grita: "Eu vou!")

Hand, guitar, song and sword
(Mão, violão, canção e espada)

And moonlit guitar
(E viola enluarada)

By field and city
(Pelo campo e cidade)

Flag bearer, capoeira
(Porta bandeira, capoeira)

Parading go singing:
(Desfilando vão cantando:)

Freedom
(Liberdade)

Who has the companion at night
(Quem tem de noite a companheira)

Do you know that peace is fleeting
(Sabe que a paz é passageira)

To defend it gets up
(Prá defendê-la se levanta)

And shouts, "I will!"
(E grita: "Eu vou!" )

Flag carrier
(Porta bandeira)

Capoeira
(Capoeira)

Parading go singing:
(Desfilando vão cantando):

Freedom
(Liberdade)

Freedom
(Liberdade)

Freedom
(Liberdade)

Freedom .
(Liberdade) .

.
.

.
 

Rudy

ᕦ(ò_óˇ)ᕤ
Staff member
Site Admin
These songs were very much part of the MPB (música popular brasileira) movement at the time. It grew out of post-Bossa Nova music and often included political/social issues in the lyrics, and melded the older Brazilian styles (samba, Bossa Nova) with jazz and pop music. Edu Lobo was one of the pioneers of that movement and his composition "Arrastão" (co-written with Vinícius de Moraes) put Elis Regina on the map, who turned it into a top-selling hit single in 1965.
 

lj

Active Member
The translated English lyrics to "Viola" belie the gentle soothing melody :

The hand that plays a guitar
(A mão que toca um violão)

If necessary make war
(Se for preciso faz a guerra)

Kill the world, hurt the earth
(Mata o mundo, fere a terra)

The voice that sings a song
(A voz que canta uma canção)

If need be sing a hymn
(Se for preciso canta um hino)

Praying Mantis
(Louva à morte)

Viola in moonlit night
(Viola em noite enluarada)

In the backlands it's like a sword
(No sertão é como espada)

Hope of revenge
(Esperança de vingança)

The same foot that samba dances
(O mesmo pé que dança um samba)

If I need to go to fight
(Se preciso vai à luta)

Capoeira
(Capoeira)

Who has the companion at night
(Quem tem de noite a companheira)

Do you know that peace is fleeting
(Sabe que a paz é passageira)

To defend it gets up
(Prá defendê-la se levanta)

And shouts, "I will!"
(E grita: "Eu vou!")

Hand, guitar, song and sword
(Mão, violão, canção e espada)

And moonlit guitar
(E viola enluarada)

By field and city
(Pelo campo e cidade)

Flag bearer, capoeira
(Porta bandeira, capoeira)

Parading go singing:
(Desfilando vão cantando:)

Freedom
(Liberdade)

Who has the companion at night
(Quem tem de noite a companheira)

Do you know that peace is fleeting
(Sabe que a paz é passageira)

To defend it gets up
(Prá defendê-la se levanta)

And shouts, "I will!"
(E grita: "Eu vou!" )

Flag carrier
(Porta bandeira)

Capoeira
(Capoeira)

Parading go singing:
(Desfilando vão cantando):

Freedom
(Liberdade)

Freedom
(Liberdade)

Freedom
(Liberdade)

Freedom .
(Liberdade) .

.
.

.
 

lj

Active Member
Viola was written by the brilliant Marcos Valle (music) and his brother Paulo Sergio (lyrics). Interestingly, Valle, Edu Lobo and Dori Caymmi were all born in 1943 and were close friends. Carlos Lyra and Roberto Menescal were their music teachers. An incredible amount of music talent to say the least!
 
Top Bottom