GAL COSTA CAETANO VELOSO DOMINGO LP BRAZIL ORIG RARE MUTANTES TROPICALIA MONO 67
$
139
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Description
GAL COSTA & CAETANO VELOSO DOMINGO
PSYCH TROPICALIA BOSSA ORIGINAL LP RARE 1967
Costa debuted her professional career on the night of August 22, 1964 on the concert Nós, por exemplo, where she performed alongside Veloso, Gil,Maria Bethânia and Tom Zé, among others. The concert inaugurated the Vila Velha Theatre in her hometown. During the same year, she also performed in Nova Bossa Velha, Velha Bossa Nova, at the same place and with the same singing partners. She then left Salvador to live in the house of her cousin Nívea in Rio de Janeiro, following the footsteps of Bethânia, whose concert, Opinião, had become a huge hit on the town.
Costa's first professional recording happened on Bethânia's debut album, released in 1965. It was the duet "Sol Negro", written by Bethânia's brother, Caetano Veloso. She then released her first singles through RCA Records, "Eu vim da Bahia", written by Gil, and "Sim, foi você", written by Veloso. On the following year, Costa met Gilberto personally and participated on TV Rio's 1st International Music Festival performing "Minha Senhora", written by Gil and Torquato Neto. It failed to captivate the Festival's audience.
Costa's first album Domingo was released on 1967 through Philips Records. It was also Veloso's debut. Costa stayed on the label, which later becamePolygram, until 1983. One song released from this album, "Coração Vagabundo", became a huge hit. On the same year, Costa also performed two songs on the 2nd International Music Festival, which was then hosted by Rede Globo. They were "Bom Dia", written by Gil and Nana Caymmi and "Dadá Maria", written by Renato Teixeira. The latter was performed with Sílvio César on the Festival and with Teixeira on the recording.
In 1968, Costa became a part of the Tropicalismo movement. She recorded four songs on Tropicália: ou Panis et Circenses. They were "Mamãe coragem", written by Veloso and Torquato Neto, "Parque industrial", by Tom Zé, "Enquanto seu lobo não vem", by Veloso, and "Baby", also by Veloso. The latter became Costa's first nationwide solo hit, becoming a classic of Brazilian popular music. On the same year, she participated on the 3rd International Music Festival, performing "Gabriela Mais Bela", written by Roberto and Erasmo Carlos. In November, she participated on Rede Record's 4th Music Festival, performing the song "Divino Maravilhoso", by Gil and Veloso. The song also became a nationwide hit and a classic song of popular music.
On 1969, Costa released her eponymous solo debut album, which included "Baby" and "Divino Maravilhoso". The album is considered a Tropicalismo classic, balanced between Brazilian stylizations and North American psychedelic influences. It also featured Costa's third and fourth solo hits, Jorge Ben Jor's "Que pena (Ele já não gosta mais de mim)" and Veloso's "Não identificado", respectively. On the same year, she recorded her second solo album, titled Gal, and featuring the hits "Meu nome é Gal", by Roberto and Erasmo Carlos, and "Cinema Olympia", by Veloso. The album served as the basis for the repertoire of the concert Gal!.
Her next album, Legal, was not as far from the mainstream as its predecessor, and a live album the following year again balanced smooth Brazilian sounds with heavy rock. In 1973, the cover of Costa's album Índia was censored—it focuses on her camel toe red bikini bottom. Costa has recorded songs composed by a number of Brazil's most popular songwriters such as Tom Jobim, Ben, and Erasmo Carlos. In 1982 the single "Festa Do Interior" from the double album Fantasia became her biggest ever hit, going multi-platinum by the end of the year. Costa appeared in the 1995 film The Mandarin(O Mandarim) as the singer Carmen Miranda. She has recorded songs in Portuguese, Spanish and English.
A Todo Vapor is a really fascinating live document of Gal Costa from the early '70s where she proved to be as exciting and diverse on-stage as she was at that time in the studio. The first seven tracks (of 18) feature Costa alone, accompanied by only her own acoustic guitar and the performances are dramatic, intimate, precise, emotional, and stunningly clear. These tracks display her voice perfectly, pushing up front all of the natural characteristics of Costa's incredibly strong pipes in with the urgent beauty one can only obtain from a live performance. A Todo Vapor would've been a fine set with only these tracks, but the real treat comes in about halfway through the eight-minute epic, "Vapor Barato," when out of nowhere, her band joins in and turns the slow, intimate descending progression into a scorching lament with Costa wailing over the top, showcasing her impressive dexterity and emotional fervor. This intensity and incredible form continue throughout the rest of the recording; the band is tight and progressive, experimental and dynamic -- actually quite mad -- similar to her band on her two self-titled records from 1969, so it's no surprise that the group brings inconceivable brilliance to "Pérola Negra," "Chuva, Suor E Cerveja," and others as well as churning out a particularly inspired version of "Hotel das Estrelas." The recording quality isn't bad for the time, but it does suffer from some poor editing between songs. Still, A Todo Vapor is a great document to add to further expand the character of Gal Costa.[edit]
PHILIPS 33rpm
P765.007P MADE IN BRAZIL
MONO CONDITION:
COVER: VG+
RECORDS: VG++
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