Hole 37 was just the beginning. I have since discovered that there was an entire movement in Brazil during the ‘60s and ‘70s encompassing Arthur Verocai’s self-titled masterpiece, my pick for today, and a number of other brilliant albums—a movement that I was only vaguely aware of through the likes of Jorge Ben. That movement is called Música Popular Brasileira, or MPB for short.
Roughly speaking, MPB appears to just describe (as far as my wikipedia-deep knowledge can tell) Brazillian music of the sort Liam discussed in Hole 78. Namely, popular music, beginning in the mid to late ‘60s, that is pretty strictly continuous with the traditional forms laid down by local musical traditions, but which is heavily influenced by the style and form of British and American music, including blues, rock and roll, country, jazz, rock, and psychedelic music. MPB is characterised by precisely that. Specifically, it is always continuous with what we call Samba music, as well as with Bossa Nova, which was itself already influenced by American Jazz.
Given this rather wide definition, it is arguable that the term is of more sociological interest than it is useful as a way of gesturing at a coherently knit region of possible sounds. Indeed, as you listen to a number of different albums from this period, you are faced with a number of greatly varied sounds, coming out of an obviously fruitful period of creativity among Brazilian musicians that streams in all directions.
However, I think this would be too hasty. I think the tag clearly has some sonic meaning too. For one thing, each of the albums I’ve had the pleasure of listening to are unmistakably sonic descendants of samba, as I originally remarked about Arthur Verocai. But they are also unmistakably sonic descendants of the just as varied and just as fruitful revolutions in rock music in so many other places in the world at the same time. They have that exhilarating and unburdened quality of experimentation that can be heard in their rock contemporaries, embodied by artists as different as Jimi Hendrix and Tim Buckley.
Instead of going in-depth on a single pick like I normally do, I will instead take this opportunity to recommend a handful of albums, doing so in the hope that you will consider immersing yourself in a once-living tradition of music. To do so, as I have been doing, is to appreciate the web of influence and alterity that they jointly weave through their efforts.
Thus, I chose the below, optimising slightly for sonic variation and personal preference:
Gal Costa - Gal (1969): Theatrical, experimental, and highly psychedelic tropicália. This one surprised me.
Jorge Ben - Força bruta (1970): A tight, consistently well-written, and energetic classic. My personal favourite Jorge Ben album.
Chico Buarque - Construção (1971): The album closest to Arthur Verocai’s orchestral arrangements. Not as tight, as it is more song-based. Somewhat more sombre than any other here.
Erasmo Carlos - Sonhos e Memórias 1941-1972 (1972): Dream music. A mosaic of styles deftly weaved together into its samba base. Wonderfully effortless. A sure favourite of mine.
Tom Zé - Todos os olhos (1973): A more eclectic album, though also more rewarding. Its songs are like a series of fun, experimental vignettes.
I should also note that any one of these artists has at least one or more other albums worth checking out, so I encourage you to shop around a little if you like this or that particular album.
However, before you listen to any of these, or if you wish to try nothing else, I recommend you start with Acabou Chorare by Novos Baianos. It is packed to the brim with great, well-written, catchy songs. Like many of the above albums, it is very accessible while still being surprisingly complex and subtle. It is the perfect place to start.
- Rowan
Recommended Songs: Preta Pretihna, A Menina Dança, Besta É Tu
Vote now: Double Bogey - Bogey - Par - Birdie - Eagle - Hole-in-One