Two or Three female vocal combination? For Sergio and Cy.

[Aqua do Brasil]

Dear Forum Members,

Sergio Mendes and Brasil 66 started with the four musicians and two women vocal duo trademark. This delightful combination in which the singing ladies handled their vocal quality as well as voices as as instruments to get a more intersting sonic landscape to the repertoire was very unique in the sixties.

I wonder, dear forum members which combination you all prefer?
The basic two women vocal combination from Brasil 66. 77 or the later
groups three women combinations as The New 77 , 88, 99, till 2004?

In my opinion I prefer the two women combination, although there are some fine moments were Carol Rogers sang solo for example on LIFE’s GOES ON from the Brasil 88 Elektra 1978 release.
In Sergio’s second A&M period there was tendency to use along with the three women combination a complete women and man choir, think of Olympia , Voodoo, Rainbows Ends Some Morning and Arara amongst others.

I think that Sergio’s trademark with the two women is innovative and delightfull enough. Mark their hits, as The Look Of Love, Never Gonna Let You Go (which was an woman/man love duet), Fool On The Hill and Mas Que Nada (which was sung only by a double/multi tracked Lani as I known from Forum members sources).

Two ladies gives this tight unique transparant fresness to the song material and IMHO three or more singing women overkill the songs a little bit from a sonic point of view.

All the best,
Aqua do Brasil


Note: Are you aware, The biggest hits in the recording history were ballads!

 

[Mike Blakesley]

I prefer the two-women approach. The bigger Sergio's group got, the less appealing his music was to me. Some people feel differently. But there's nothing quite like the simplicity of those B'66 albums. Even after the orchestra started playing a bigger role, the only time the "magic" failed, at least for me, was on about half the tracks of YE-ME-LE.

Regarding your Note: That's not too surprising... A heavy-metal artist can release a ballad, and everyone on the planet may like it, but may NOT like his other material. Ballads go down easy, so they are more popular.

 

[Brasil_Nut]

Being a fan of most everything Sergio has done over the years, it would be hard to state a preference, vocal-wise. I mean, the early two-girl approach is sensational. However, the three-girl (in some cases four) combination can be just as pleasing.

The difference is best heard on live recordings. Take, for instance, Lani and Karen singing Scarborough Fair on Live At Expo '70...they harmonize, with Karen carrying the lower notes; Lani the higher. A pleasing sound, indeed. Then again, take the way Marietta, Carol and Gracinha sang the live version of Fato Consumado...what an incredible ending -- each singing a different part -- all in harmony.

The stuff goosebumps are made of!

And so, it is hard to pinpoint which is best for me. As I've stated before, the one thing I like best about Sergio's music is his ability to reinvent and introduce new sounds from one project to another -- each unique and different in their own way. To me, the mark of a musical genius.

Sergio is unparalleled as an arranger. A friend recently made the observation that Sergio had used the "Les Paul" approach in recording the first Brasil '66 album -- in reference to the fact that he had double-tracked Lani's voice to get his trademark "two girl" sound. I have to say I agree.

Someone here at the Corner (I want to say it was Neil) said he thought Sergio might have recorded Lani's vocals in two different takes, thus the sound of "two girls" harmonizing with one another. Again, I have to agree. If he had just recorded Lani once, then doubled the vocals, it would have sounded like one person double-tracked. However, by recording one vocal, then laying another vocal atop the first, it would (and did) give the illusion of two distinct vocalists. Amazing.

Later on, as Janis Hansen said, Lani's vocals were the first to be laid down. Janis (or Karen) were then brought in to sing along with Lani's tracks. Thus, the "Sergio Mendes Sound". Once again, amazing. It was original and fresh -- just what the industry and A&M Records needed to create the "A&M Sound" of the '60s.

All in all, it was a magical formula that produced something new and different. And, it brought bossa nova into the mainstream. Not an easy accomplishment.

Sergio, my friend, you are to be commended!

Jon