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Maria Bethânia
Mel
CD, 1992
| Herstellungsland | Deutschland |
|---|---|
| Veröffentlichungs-Jahr | 1992 |
| Orig. Release | 1979 |
| Zeit | 31:51 |
| EAN-Nr. | 042283828728 |
| Label/Labelcode | Verve / LC 0383 |
| Plattenfirma/Katalog-Nr. | Verve / 8382872 |
| Musikrichtung | World Music |
| Sammlungen | Gesucht | Flohmarkt |
|---|---|---|
| 1 | 0 | 0 |
Tracklist
I = Instrumental
L = Live
B = Bonustrack
H = Hidden Track
C = Coversong
| CD | |||
|---|---|---|---|
| Track | Titel | Zeit | Besonderheit |
| Gesamtzeit | 31:51 | ||
| 1. | Mel | 3:50 | |
| 2. | Ela E Eu | 2:24 | |
| 3. | Cheiro De Amor | 2:23 | |
| 4. | Da Cor Brasileira | 3:00 | |
| 5. | Loucura | 2:45 | |
| 6. | Gota De Sangue | 2:32 | |
| 7. | Grito De Alerta | 3:03 | |
| 8. | Labios De Mel | 2:50 | |
| 9. | Amando Sobre Os Jornais | 2:22 | |
| 10. | Nenhum Verao | 2:46 | |
| 11. | Infinito Desejo | 2:47 | |
| 12. | Queda D'agua | 1:09 | |
Infos
MARIA BETHÂNIA: MEL (HONEY): Notes and Credits (838 287-2
In many ways Mel, recorded in 1979, is a companion piece to Alibi, an albums released the year before. Together they represent the fully maturation of Bethânia as a romantic singer, for by the late '70s her voice - soulful, slightly gruff but always sensual - came fully under the command of her dramatic intent.
To this day Alibi is the highest-selling release of Brazilian popular music (with well over 1 million copies sold), and in Mel Perinho Albuquerque once again produced, under Bethânia's musical direction. The spareness in its instrumentation provides the ideal foundation for Bethânia. Songs like "Gota de Sangue (Drop of Blood)," accompanied only by piano, reveal the great tenderness and longing which she is capable of conveying in a song.
As with Alibi before it, Mel further solidified Bethânia's stature in Brazil. lt arrived in the shops already with sales of over 500,000 copies and the accompanying show, with a full orchestra conducted by Albuquerque, played for two full months in Rio de Janeiro.
Among all the many qualities of Bethânia's art, perhaps the most remarkable is the sheer force of her emotion. Her brother Caetano Veloso goes so far as to call her "the best dramatic singer we have in Brazil." Songs like "Lábios de Mel (Lips of Honey)" reveal the way she wraps the syllables around the beat. And "Infinito Desejo (Infinite Desire)," one of her many classics, shows just how well she swings.
Mel means honey, and ist's a word and theme that reoccurs throughout the disk. The title track, as many of the songs here, is a love song:
The queen bee
Made of me an Instrument
Of your pleasure, yes, and your glory.
(Caetano Veloso / Wally Salomao)
"Ela e Eu (She and I)" says:
There are flowers of concentrated color
Waved burn rocks with their salt
Vibrations of the sun in the dust of the road
Many things, almost nothing
Cataclysmd, carnaval
There are many inhabited planets
And the emptiness of the immense sky
Well and Dill and mouth and honey
And this voice that God gave me
But nothing id equal
To her and me.
(Caetano Veloso)
"Lábios de Mel (Lips of Hone)" declared:
Your lips are honey
Which the bee took from a flower.
(Waldir Rocha)
The sentiments, as is the wont of Bethânia, are romantic, the references steeped in the disciplined poetry for which Brazilian music is famous.
Maria Bethânia was born in 1946 in the bayside down of Santo Amaro de Purificacao in Bahia, Brazil, in a house filled with music. Her brother Caetano took early to guitar, and both her parents sang. But Maria herself eyed a career in theater. When she and Caetano moved to the state's capital, Salvador, she acted in a musical which Caetano scored and had instant recognition - not as an actress, though her dramatic strengths were obvious, but as a singer, for there her talents shone brightest of all.
Over the coming years her reputation grew and with it came invitations to record.
Even by 1966, her strength of will and singleness of purpose established itself when she declared, "I only sing what I want, how I want, when I want." And from that time until today, with over 27 albums recorded, she has never lost her faultless sense of direction.
(Text and translations by Gerald Seligman)
MEL (Caetano Veloso - Waily Salomao)
ELA E EU (Caetano Veloso)
CHEIRO DE AMOR (Duda - Jota - Paulo Sergio Valle - Ribeiro)
DA COR BRASILEIRA (Joyce - Ana Terra)
LOUCURA (Lupicinio Rodrigues)
GOTA DE SANGUE (Angela Rô Rô)
GRITO DE ALERTA (Gonzaga Jr.)
LÁBIOS DE MEL (Waldir Rocha)
AMANDO SOBRE OS JORNAIS (Chico Buarque)
NENHUM VERAO (Túlio Mouräo)
INFINITO DESEJO (Gonzaga Jr.)
QUEDA D'ÁGUA (Caetano Veloso)
Production: Perinho Albuquerque
Artistic Direction: Maria Bethânia
Engineers: Ary Cavalhaes, Luiz Claudio, Chocolate
Piano: Tulio Mouräo, Pema Fróes (Mel, Loucoura, Da Cor Brasileiro),
Angela Ro Rô (Gota de Sangue)
Bass: Luizäo, Moacyr Albuquerque (Mel, Loucoura, Da Cor Brasileiro)
Electric and Acoustic Guitar: Perinho Albuquerque
Drums: Tuti Moreno
Percussion: Djalma Corrêa, Bira da Silva, Ney, Doutor, Geraldo
Vibraphone: Pinduca
Steel Guitar: Rick
Tenor Sax: Bijü
Flutes: Jorginho, Meirelles, Copinha
Trumpets: Formiga, Heraldo, Santos
Trombones: Manoel Araújo, Joäo Luiz, Flamarion Strings
Recorded November, 1979, Rio de Janeiro
In many ways Mel, recorded in 1979, is a companion piece to Alibi, an albums released the year before. Together they represent the fully maturation of Bethânia as a romantic singer, for by the late '70s her voice - soulful, slightly gruff but always sensual - came fully under the command of her dramatic intent.
To this day Alibi is the highest-selling release of Brazilian popular music (with well over 1 million copies sold), and in Mel Perinho Albuquerque once again produced, under Bethânia's musical direction. The spareness in its instrumentation provides the ideal foundation for Bethânia. Songs like "Gota de Sangue (Drop of Blood)," accompanied only by piano, reveal the great tenderness and longing which she is capable of conveying in a song.
As with Alibi before it, Mel further solidified Bethânia's stature in Brazil. lt arrived in the shops already with sales of over 500,000 copies and the accompanying show, with a full orchestra conducted by Albuquerque, played for two full months in Rio de Janeiro.
Among all the many qualities of Bethânia's art, perhaps the most remarkable is the sheer force of her emotion. Her brother Caetano Veloso goes so far as to call her "the best dramatic singer we have in Brazil." Songs like "Lábios de Mel (Lips of Honey)" reveal the way she wraps the syllables around the beat. And "Infinito Desejo (Infinite Desire)," one of her many classics, shows just how well she swings.
Mel means honey, and ist's a word and theme that reoccurs throughout the disk. The title track, as many of the songs here, is a love song:
The queen bee
Made of me an Instrument
Of your pleasure, yes, and your glory.
(Caetano Veloso / Wally Salomao)
"Ela e Eu (She and I)" says:
There are flowers of concentrated color
Waved burn rocks with their salt
Vibrations of the sun in the dust of the road
Many things, almost nothing
Cataclysmd, carnaval
There are many inhabited planets
And the emptiness of the immense sky
Well and Dill and mouth and honey
And this voice that God gave me
But nothing id equal
To her and me.
(Caetano Veloso)
"Lábios de Mel (Lips of Hone)" declared:
Your lips are honey
Which the bee took from a flower.
(Waldir Rocha)
The sentiments, as is the wont of Bethânia, are romantic, the references steeped in the disciplined poetry for which Brazilian music is famous.
Maria Bethânia was born in 1946 in the bayside down of Santo Amaro de Purificacao in Bahia, Brazil, in a house filled with music. Her brother Caetano took early to guitar, and both her parents sang. But Maria herself eyed a career in theater. When she and Caetano moved to the state's capital, Salvador, she acted in a musical which Caetano scored and had instant recognition - not as an actress, though her dramatic strengths were obvious, but as a singer, for there her talents shone brightest of all.
Over the coming years her reputation grew and with it came invitations to record.
Even by 1966, her strength of will and singleness of purpose established itself when she declared, "I only sing what I want, how I want, when I want." And from that time until today, with over 27 albums recorded, she has never lost her faultless sense of direction.
(Text and translations by Gerald Seligman)
MEL (Caetano Veloso - Waily Salomao)
ELA E EU (Caetano Veloso)
CHEIRO DE AMOR (Duda - Jota - Paulo Sergio Valle - Ribeiro)
DA COR BRASILEIRA (Joyce - Ana Terra)
LOUCURA (Lupicinio Rodrigues)
GOTA DE SANGUE (Angela Rô Rô)
GRITO DE ALERTA (Gonzaga Jr.)
LÁBIOS DE MEL (Waldir Rocha)
AMANDO SOBRE OS JORNAIS (Chico Buarque)
NENHUM VERAO (Túlio Mouräo)
INFINITO DESEJO (Gonzaga Jr.)
QUEDA D'ÁGUA (Caetano Veloso)
Production: Perinho Albuquerque
Artistic Direction: Maria Bethânia
Engineers: Ary Cavalhaes, Luiz Claudio, Chocolate
Piano: Tulio Mouräo, Pema Fróes (Mel, Loucoura, Da Cor Brasileiro),
Angela Ro Rô (Gota de Sangue)
Bass: Luizäo, Moacyr Albuquerque (Mel, Loucoura, Da Cor Brasileiro)
Electric and Acoustic Guitar: Perinho Albuquerque
Drums: Tuti Moreno
Percussion: Djalma Corrêa, Bira da Silva, Ney, Doutor, Geraldo
Vibraphone: Pinduca
Steel Guitar: Rick
Tenor Sax: Bijü
Flutes: Jorginho, Meirelles, Copinha
Trumpets: Formiga, Heraldo, Santos
Trombones: Manoel Araújo, Joäo Luiz, Flamarion Strings
Recorded November, 1979, Rio de Janeiro