Label: Universal Music - SET 73145280832,Mercury - SET 73145280832 • Format: 2x, CD Album • Country: Brazil • Genre: Latin, Folk, World, & Country •
James Last Et Son Orchestre* - Hit-Parade De La Danse two years ago, Nara was fearful for her life. By now, she knew the reason she was here but few else did. Now they made speaking out openly about the government a security risk.
Most artists played little mind to those laws, and found ways to skirt or mock them. However, then, in latethe rumblings were becoming ground swells. Friends of her, Caetano Veloso and Gilberto Gil, both flat mates, were awaken on a December night, that same year, to the urgent knocking of some unknown visitor. In jail, after forcibly getting all of their hair buzzed off, they were questioned. Why Corcovado - Nara Leão - Dez Anos Depois they making fun of their own people and disrespecting the national anthem?
Why were they disobeying unwritten laws against playing electric guitars? Now in there, Caetano was reading about a person jailed for being emotionally detached from his environment.
The irony of ironies struck Caetano as well. It was something that scarred him. In July of that year, they all did. With that move, the dictatorship saw her as a turncoat of the highest order. A few years earlier, inNara had been instrumental in the promotion and the development of a new kind of music called bossanova. That music was supposed to be the urbane, cosmopolitan face of a new Brazilian generation. Rather than conform, though, Nara had rapidly moved beyond it, and begun promoting of a new, Corcovado - Nara Leão - Dez Anos Depois kind of popular Brazilian music.
In the end, she was no Astrud Gilberto. Artists like Edu Lobo, Chico Buarque, and Caetano, all in some form or fashion got a start at the tail end of her path. However, by the end of the year a short trip back Uma Noite Especial - Chitãozinho E Xororó* - Somos Apaixonados Brazil let her know better.
Unless she stopped recording anti-dictatorship songs and her husband film polemic movies, she and her husband were going to jail. In France, was where she chose to settle in and get used to a life in domesticity. Living her life peacefully with her husband was what mattered to her now. For nearly two years, before Isabel was born, she had resigned to make anymore music.
By the time the dictatorship took power, inshe was the glowing face that the government wanted to promote as this new type of Brazilian they were ushering in. Unlike the rebellious rock that was slowly creeping in, here was a sound that was tempered by jazz-y modalities. Her music and image, was all logical expressions of what a young Brazilian should strive for, not like the uncontrollable sound of western rock-n-roll.
However, the lyricism and artists herself was nothing like the person they expected her to be. The tale of tape shows that she was in tune with a new movement advancing underground. Songs by Vinicius de Moraes, Edu Lobo, and Baden Powell, were from performers trying to take the bossanova further from the chi-chi or jet-set crowd that favored that sound.
As popular as she was, she would run into the likes of Caetano or Maria Bethania, and find in them a common cause. By the end ofshe openly made headlines by declaring that she wanted to do nothing with Corcovado - Nara Leão - Dez Anos Depois and berating those who used it as a tool for conformity. Little by little, she was gathering righteous steam.
As her notoriety closed the walls of fame around her, Nara understood her open disdain and participation in protesting the military junta had run its course. Physically and mentally, her mind was already elsewhere, though. Looking towards Europe for a holistic escape, a brief tour in Portugal, had solidified a new influence Nara had been toying with: Gallic music.
Orchestrations and arrangements speaking to a far less Brazilian High Roller - Cheap Trick - Heaven Tonight started to creep in. Bywhen she fully embraced the idea of starting anew, Paris became her newfound homeland. At that moment, for her, music was the last thing on her mind.
Pregnant with her first child, Isabel, Nara devoted herself wholesale to motherhood, only performing sparingly when the mood suited her. With time, she came across the realization that music still had something to speak to her child. For that reason alone, she had to leave a statement for her. Nara would reimagine them in a way no one had realized, Não Me Digas Nada (Só Uma Palavra) - Suzana - Mesmo Assim a way that showed both the essence right below the tracks and the promise they still could hold for others.
Spacious, vibrating, and supremely personal, the sonic shapes created by the two read both as otherworldly and infinite. Holy warbles, pitched-perfect, to hit you exactly, without the need for an explanation.
When the album goes to the second LP, Nara moves away from the minimalism of the first half and leaves others to add to the purity of vision she saw to put on tape. And here, you see it experience a new awakening — spectral and deeply conflicted — deeply rooted in the pining emotion still willing to show even more layers, within its contrasted gradients.
It is that special. There are no magic words to properly capture this landmark album. You have to hear it. You have to come back to it.
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