The end of the military dictatorship in Brazil left the country lost in its references and opened way for a period of wild hedonism. Realce, one of Gilberto Gil's most disco-influenced albums, is a document of that period. Released in LP format in 1979, it had the disco ideology expressed in several songs like "Realce" (which became slang for a dangerous drug frequently consumed in those places), "Sarara Miolo" (also a danceable tune, finds room for social criticism through black pride, where Gil reproaches the use of straightening and discoloring of hair by his brothers and sisters), "Marina" (featuring Dorival Caymmi), and "Toda Menina Baiana" (a hybrid of disco and Bahian samba).

Fellini - Amor Louco (1989) {RDS Fonográfica ‎RDL4111 rel 2000}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 364 Mb | MP3 @320 -> 112 Mb
Full Artwork @ 300 dpi (png) -> 33 Mb | 5% repair rar
© 1989, 2000 Wop-Bop Records / RDS Fonográfica ‎| RDL 4111
Alternative / Brazilian Post Punk / Indie Folk Rock / New Brazilian Folk

Amor Louco (Portuguese for Mad Love) is the fourth studio album by Brazilian post-punk band Fellini. It was released on February 15, 1990 by now-defunct independent record label Wop-Bop Records and re-released in CD form in 2001 by another independent label, RDS. It was originally Fellini's last album, due to their break-up in the following year; however, they reunited in 2001 and released another album, Amanhã É Tarde.

What the pianist from Cádiz (Andalucia/Spain) is doing in terms of jazz, in the light of flamenco, may finally unite believers and non believers from either side. While taking the jazz language to the limits of those permitted by flamenco styles. . Leaving no room for doubt, Chano has placed his mainly jazz piano in the middle of flamenco art, while favoring the exaggerated "jondo" side, and has found his philosopher’s stone, he is drawing flamenco’s blood through jazz’s veins, adding an “olé” to even the blues and the more recent bebop.

If it is true that the best and most lasting innovations draw much of their deep strength from the past, then Vinicius Cantuaria may have a lock on the future of Brazilian music. Here the Brazilian singer/songwriter/instrumentalist conjures up a fascinating record, deeply rooted in the bossa nova yet infused with a cool, studied Generation X sensibility, a willingness to explore new combinations of sound, and the ability to lose itself in strange places. Many of these songs are incantations where the European and contemporary spices are applied ever so subtly – a string quartet darkly colors the title track, Erik Friedlander's cello adds warm undercurrents, Cantuaria's electronic samples delicately add mysterious shadows. Yet at the same time, the bossa nova rhythm is almost always there swinging away, gently driving the music underneath Cantuaria's warm Portuguese vocals.

Known for his expert songwriting, emotive vocals and fantastic instrumental technique, Cantuaria has led a successful career as a solo artist since the 1980s and as a collaborator of the utmost taste even longer, including work with Caetano Veloso, David Byrne, Bill Frisell, Arto Lindsay and Ryuichi Sakamoto. The new recording Vinicius canta Antonio Carlos Jobim is a dedication to this hero of Brazilian music. Cantuaria takes on this classic material in the most personal way he could, performing most of the music himself, playing acoustic and electric guitars and percussion. The album was recorded in Tokyo and Rio de Janeiro, and provided an opportunity to reach out to a number of talented and musical friends, most notably Frisell, Sakamoto, Joyce, guitarist Chico Pinheiro and Melody Gardot.

Joan Manuel Serrat i Teresa is a Spanish musician, singer-songwriter, recording artist, and performer. He is considered one of the most important figures of modern, popular music in both the Spanish and Catalan languages. Serrat's lyrical style has been influenced by other poets such as Mario Benedetti, Antonio Machado, Miguel Hernández, Rafael Alberti, Federico García Lorca, Pablo Neruda, and León Felipe. He has also recorded songs by Violeta Parra and Víctor Jara. Serrat was one of the pioneers of what is known in Catalan as "Nova Cançó". Joan Manuel Serrat is also known by the names "El noi del Poble-sec" and "El Nano". In 1970, he represented Spain in the IV Festival Internacional da Canção in Rio with Penélope, where he won the Lyrics, Music and Performance awards.

Inspired by both Brazilian music and the boundless possibilities of the Internet, electronic composer Ryuichi Sakamoto wrote Smoochy, an endlessly intriguing exploration of what happens when the old world meets the future. Using his Brazilian Internet concept as a foundation, Sakamoto goes on to add a variety of other musics, including jazz and Latin pop, to the music, creating a dense and fascinating musical web of electronics and percussion. Occasionally, he gets too self-consciously arty for his own good, but most of the album finds Sakamoto at his best.]

The type of record you put on when you want the music to make you feel good, for a long time. Recorded in 1998 it's about as graceful as you can get, a descarga record that just grooves and grooves and grooves; five of the tunes are over nine minutes long. Bebo is on cruise control, his piano figures settling the mostly Spanish band into a groove, letting the soloists take their time. And his improvisations, they're the thing you wait for.

Pianist Omar Sosa and his band fuse divergent musical influences on the CD Prietos. Sounds from Morocco, Ecuador, Venezuela, Ivory Coast, Brazil, the United States, and Burkina Faso coalesce with musical sensibilities from Sosa's homeland of Cuba. Especially striking on Prietos is the intertwining of hip-hop verse with traditional sounding Yoruban lyrics and Afro-Cuban rhythms. Though the contrast between the urban U.S. art form and the time-honored Cuban tradition may appear to be bit incongruous, Sosa and his crew of talented musicians make it flow on such tunes as "Takes a Second."

Los Van Van, another group which qualifies as an "institution" in itself and which has continued going strong even after the passing of Juan Formell. Somewhat surprisingly for socialist Cuba, the early music of Los Van Van is much more engaged with the psychedelic pop and rock sounds coming from the imperialist countries of the U.S. and England than were in and around Latin New York and the diasporas of Puerto Rico or the Dominican Republic. In that sense Los Van Van could be compared to the Tropicália movement in Brazil, freely taking and digesting elements from across the musical spectrum. I'm more partial to their second album, which didn't come along until quite a few years after this debut - it has more of a soul and funk influence - but this record is still great even if it sounds more "dated" because of its paisley and baroque embellishments.

The Latin pop and rock en español fields are full of talented artists who would probably be huge in the English-language market if they didn't sing in Spanish exclusively. Some non-Spanish-speaking listeners don't mind listening to lyrics they don't understand – the beat and the melody are enough for them – but many others insist on understanding every word that is coming out of an artist's mouth. Thus, Latin stars usually don't cross over to English-speaking audiences until they start singing in English, which is what Shakira does on 2001's Laundry Service. "Whenever, Wherever," this album's infectious lead single, is to Shakira what "Livin' la Vida Loca" was to Ricky Martin: the major hit that brought her to English-speaking audiences in a big way.