This rare and sought-after album features the brilliant Middle-Eastern influenced track ‘Tuareg’! This is a landmark piece of Brazilian psychedelic rock experimentalism and is awash with Hendrix-style fuzz guitars, funky drumming, unusual orchestrations and weird sound effects! This is easily the most tripped-out of Gal Costa’s albums and represents a high point of the Tropicalia movement - indeed, this album features contributions from Rogerio DuPrat, Caetano Veloso, Jorge Ben, and Giberto Gil, and is awash with the political power and cultural experimentalism that marked Tropicalia’s brief flowering. Very highly recommended!……………..
This Brazilian classic finally gets a proper US release one of the greatest psychedelic albums of the late 60s, and a key part of the Tropicalia movement as well! The record is easily the most tripped-out album ever from Gal Costa far more sinister than Gal’s debut of a few months before. The session was still recorded with full arrangements by the legendary Rogerio Duprat (who’d worked previously with Costa, Os Mutantes, and others), but it also features a lot heavier guitar and a blazingly psychedelic feel overall. Gal’s usually-sweet vocals take on a much sharper edge and the album’s awash in the political power and cultural experimentation that characterized the best years of Tropicalia. Caetano Veloso and Gilberto Gil make a guest appearance, and also contribute some songs to the set as do Jorge Ben, Jards Macale, and Roberto & Erasmo Carlos. First time on CD in the US and newly remastered, with liner notes from Chris Dunn, author of Brutality Garden: Tropicalia & The Emergence Of A Brazilian Counterculture. Features the famous tracks 'Tuareg’, 'Cinema Olympia’, and 'Meu Nome E Gal’………………..
As previously mentioned by another reviewer, this is not the place to start with the great Gal Costa. Her album Não Identificado would be the place for that. That was the first album by her that I heard and it’s immediately beautiful. But after you fall in love with that one, which you will, give this one a try. I bought this album months ago. The first few times I listened I was a bit perplexed. However I persevered due to my love for the artist and MBP and all I can say is WOW! It all starts falling into place eventually, brilliantly. Now I’m convinced it’s one of the great rock/psychedelic/blues classics of all time. Some of the production choices can sound a bit dated at times to modern ears, but it still packs a huge wallop. Definitely one of the greatest Gal Costa albums ever, and that’s saying something……….ByT. McAuley…………..
The second solo album by Brazilian superstar Gal Costa, this is one of the purest. loudest expressions of the late-1960s “tropicalia” scene, with clanging electric guitars, and crazed vocals that were unlike much of Costa’s later, croonier career. Fabled avant-classical composer-arranger Rogerio Duprat adds his eclectic touch, and Gal gets wild like she seldom did in later years. Anyone wanting to check out how psychedelic music entered into Brazilian rock and pop will definitely want to check this one out. (DJ Joe Sixpack, Slipcue Brazilian Music Guide)……ByDJ Joe Sixpack……….
After Caetano Veloso broke out with his solo debut, the self-titled 1968 release recognized as the building block for the now infamous Brazilian Tropicalia movement, his friends and musical peers released similar albums, always upping the ante in terms of outrageousness and inventiveness. This release, the second of two self-titled albums released by Gal Costa in 1969, set the high watermark in terms of overall insanity and complete experimental freedom for the entire lot; not Veloso nor Gilberto Gil, Tom Zé, or even the rambunctious Os Mutantes stepped this far out into psychedelia, and even though Costa had hinted at the noisier aspects she was interested in exploring with her previous release, this album must have shocked listeners when it arrived on the shelves. In fact, 35 years of MPB – or music from anywhere else in the world for that matter – hasn’t heard another sonic assault quite like this. Costa is a ball of contradictions here: overtly wild but in control; sweet and accessible, yet brash; and, at times, almost violent as she screams and moans her way through the album while spindly, whiny guitars mix with soulful bass grooves, bombastic drums, exotic horns, woodwinds, and strings. The sonic textures are taken completely over the top with judicious use of delays, reverbs, and various production techniques new and exciting at the time. When taken all together, the listener may not at first notice the high quality of the songwriting for the unreal, emotional freak-outs laced throughout the performances. Costa’s crazy improvisations over Caetano Veloso’s tune “The Empty Boat” serve as evidence of this delightful impulsiveness when placed side by side with Veloso’s own rather forward-thinking recording of the song, which sounds positively conservative by comparison. All in all, Gal Costa is an indescribable, unpredictable, ambitious, and fun record preserving a slice of time when Brazil was at its most controversial state musically and politically and is a must-have for any psychedelic collection……….by Gregory McIntosh ……………
The most experimental and psychedelic record of Gal’s early career, attuned to the tropicalist movement, where irreverence and improvisation are used to the extreme, while Brazilian music was dominated by the aesthetics of bossa nova. Highlight for the participation of guitarist Lanny Gordin………………
Tracklist Cinema Olympia Tuareg Cultura E Civilização País Tropical Meu Nome É Gal Com Medro, Com Pedro The Empty Boat Objeto Sim, Objeto Não Pulsars E Quasars