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Brazil Classics, Vol. 5
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Album: Brazil Classics, Vol. 5: The Hips of Tradition
# Song Title   Time
1)    Ogod, Ano 2000
2)    Sem A Letra "A"
3)    Feira De Santana
4)    Sofro De Juventude
5)    Cortina 1
6)    Tai
7)    Iracema
8)    Fliperama
9)    O Amor Velho-Menina
10)    Cortina 2
11)    Tatuaramb
12)    Jingle Do Disco
13)    Lua-Gira-Sol
14)    Cortina 3
15)    Multiplicar-se Unica
16)    Cortina 4
17)    O Pao Nosso De Cada Ms
18)    Amar
 

Album: Brazil Classics, Vol. 5: The Hips of Tradition
# Song Title   Time
1)    Ogod, Ano 2000
2)    Sem A Letra "A"
3)    Feira De Santana
4)    Sofro De Juventude
5)    Cortina 1
6)    Tai
7)    Iracema
8)    Fliperama
9)    O Amor Velho-Menina
10)    Cortina 2
11)    Tatuaramb
12)    Jingle Do Disco
13)    Lua-Gira-Sol
14)    Cortina 3
15)    Multiplicar-se Unica
16)    Cortina 4
17)    O Pao Nosso De Cada Ms
18)    Amar
 
Product Description
Product Details
Performer Notes
  • Personnel: Tom Ze, David Byrne (vocals, guitar); Ronaldo de Carvalho (vocals, keyboards, percussion); Eder Sandoli (guitar, mandolin, percussion); Arto Lindsay (guitar); Jarbas Mariz (mandolin, berimbau, percussion); Gilberto Assis (bass, percussion); Greg Cohen (bass); Lauro Lellis (drums, percussion); Cyro Baptista (percussion); Marie Oliveira, Edy Oliveira (background vocals).
  • Engineers: Leandro Oliveira, Marco Beato Paulo Grassman, Tom Ze.
  • Recorded at Sonoris Causa Studios, Sao Paulo, Brazil; Shelter Island Sound, New York, New York. Includes liner notes by Charles A. Perrone, Peter Figlestahler & Tom Ze.
  • This 1992 album by Tom Z was already produced by Luaka Bop, David Byrne's label, after his discovery by Byrne when he was almost dropping everything to return to his hometown to work in a gas station. "I don't make art, I make spoken and sung journalism." This self-coined definition by Tom Z helps listeners understand his music. Pop music with self-made instruments, references to modern erudite music, and strong reminiscences of ancient northeastern cantigas de cego and other grooves. On this album subtitled "The Return of Tom Z," he sticks to the concept developed in the '60s by tropiclia, the movement he helped to conceptualize, which perceived music as a cultural industry production for which it is valid to take any world influences, mixing them with Brazilian rhythms, concrete poetry, existentialism, drum machine loops (added later), pop culture, contemporary urban grooves, and everything else that eventually could be thought of. Tom Z has lots of thoughts to express in his lyrics, which had an English version in the inlay, and this release may be very appealing for those who are into world music. It even explores some indigenous styles, delivered in an almost pure form. But, as he himself put out, his albums shouldn't be listened to for beautiful melodies. ~ Alvaro Neder
Professional Reviews
Dirty Linen (Apr/May 93, p.63) - "...Hips. Good word for this music. It calls for dancing. It calls for thought...a music that pays passing tribute to everything from European deconstruction through rap and rock to the smoothest samba Rio has to offer..."
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