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LP
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HONEY 055LP
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Honey Pie Records present a reissue of Elza Soares's Se Acaso Você Chegasse, originally released in 1960. A highly distinctive personality! A dark, dense, raspy voice as a strong and deliberated expression of her poor social origins. For all her entire life singer Elza Soares was one of the strongest and most respected Brazilian performers across genres. Originally released in 1960, Se Acaso Você Chegasse was her second album. A superb and tuff statement on the black side of samba and bossa styles. A lively, colorful, energetic collection of songs based on a stream of big-band arrangements by the great Oswaldo Borba (E Sua Orquestra). A treasure in the whole history of Brazilian music.
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LP
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HONEY 028LP
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Honey Pie Records present a reissue of Elza Soares's A Bossa Negra, originally released in 1961. One of the most shocking but ultimately uplifting stories of Brazilian music: Soares grew up in extreme poverty in a favela, at 13 was forced to marry a man who raped her, gave birth to three stillborn children -- but still fought her way to the top of the industry, married Garrincha, lost him to booze and loose women, in addition to their son and her mother in car accidents. And she is still going strong! This is probably her best album and indeed is absolutely lovely, grooves like nothing else. She sings with passion and fire in her lungs like the fabulously versatile singing magician she is. Her husky voice became her trademark. After finishing A Bossa Negra -- her second album -- Elza went to Chile to represent Brazil in the 1962 Football World Cup, where she met with Louis Armstrong personally.
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LP
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MAIS 035LP
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LP version. Elza Soares returns with new remixes of tracks from her acclaimed The Woman At The End Of The World album (MAIS 031CD/LP, 2016). Mixing rock 'n roll, free-jazz, noise, and electronics, The Woman At The End Of The World was ripe for remixing and Mais Um Discos reached out to producers in London, Lisbon, New York, and Elza's hometown of Rio de Janeiro to create an album where the new school of cutting edge Lusophone producers -- and two legends from New York and London -- take Elza's music into new dimensions. From London there was only one man to go to for a remix -- DJ, broadcaster, label owner, and Elza's biggest fan, Gilles Peterson. Teaming up with Simbad they turn "Pra Fuder" into a percussive monster. Gilles on his contribution: "I played the album cut all 2016 and so needed a new version for this summer! An honor to work once again with my queen of grimy samba." Representing the future sound of Lisbon are Principe Discos, DJ Marfox adds his rapid-fire future-Afro-Lisbon polyrhythms to "Maria Da Vila Matilde", and Nidia Minaj turns "Pra Fuder" into a dark and moody warehouse rattler. Soundway Records' iZem gives
"O Canal" a trippy Arabic feel, whilst New York ambient guru Laraaji infuses the acapella "Coracao Do Mar" with his trademark celestial vibes. Rio de Janeiro bass-head Omulu sprinkles shards of funk-carioca to "Mulher Do Fim Do Mundo", Marginal Men and BadSista give "Firmeza" low-end wobble, as Caetano Veloso cohort Ricardo Dias Gomes washes "Solto" with synths and effects.
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CD
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MAIS 035CD
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Elza Soares returns with new remixes of tracks from her acclaimed The Woman At The End Of The World album (MAIS 031CD/LP, 2016). Mixing rock 'n roll, free-jazz, noise, and electronics, The Woman At The End Of The World was ripe for remixing and Mais Um Discos reached out to producers in London, Lisbon, New York, and Elza's hometown of Rio de Janeiro to create an album where the new school of cutting edge Lusophone producers -- and two legends from New York and London -- take Elza's music into new dimensions. From London there was only one man to go to for a remix -- DJ, broadcaster, label owner, and Elza's biggest fan, Gilles Peterson. Teaming up with Simbad they turn "Pra Fuder" into a percussive monster. Gilles on his contribution: "I played the album cut all 2016 and so needed a new version for this summer! An honor to work once again with my queen of grimy samba." Representing the future sound of Lisbon are Principe Discos, DJ Marfox adds his rapid-fire future-Afro-Lisbon polyrhythms to "Maria Da Vila Matilde", and Nidia Minaj turns "Pra Fuder" into a dark and moody warehouse rattler. Soundway Records' iZem gives
"O Canal" a trippy Arabic feel, whilst New York ambient guru Laraaji infuses the acapella "Coracao Do Mar" with his trademark celestial vibes. Rio de Janeiro bass-head Omulu sprinkles shards of funk-carioca to "Mulher Do Fim Do Mundo", Marginal Men and BadSista give "Firmeza" low-end wobble, as Caetano Veloso cohort Ricardo Dias Gomes washes "Solto" with synths and effects. CD version includes an additional remix from Kiko Dinucci and all 11 tracks of The Woman At The End Of The World.
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LP
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MAIS 031LP
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2020 repress; LP version. Septuagenarian Brazilian music icon Elza Soares teams up with the cream of São Paulo's avant-garde musicians for an album of apocalyptic, experimental samba sujo ("dirty samba") that tackles the burning issues of 21st century Brazil: racism, domestic violence, sex, drug addiction and global warming. The Woman at the end of the World is Elza's 34th studio album and her first to feature previously unrecorded material, exclusively composed for her. Voted "Best Album of 2015" by Rolling Stone Brazil after its domestic release, it will now be released worldwide by UK based label Mais Um Discos. Over a sprawl of distorted guitars, squalling horn, taught strings and electronic shards, samba is savaged by rock 'n' roll, free jazz, noise and other experimental music forms. A true legend of Brazilian music Elza has an incredible musical oeuvre that stretches back over seven decades mixing samba with jazz, soul, funk, hip hop and electronica, whilst her life story is a rags-to-riches-to-rags rollercoaster of triumphs and tragedies that has made her a voice for Brazil's repressed female, black, gay and working class populations. Her music career began in the late 1950s as she sung in clubs and hotels, sometimes being forced to perform off stage because of her skin color. The '60s was a career defining period with a run of classic albums for Odeon. After decades of hardships and artistic exploration, her latest muse is São Paulo's hyped samba sujo scene. Soares presents an album that walks a tightrope between post-rock and post-samba. "I knew this album would be a bold, modern sound" she says. "These songs are tense they do not allow you to relax". The album opens with "Coracão do Mar (Heart of the Sea)" with Elza reciting a poem from celebrated Brazilian modernist poet Oswald de Andrade. Title track "Mulher do fim do Mundo" uses carnival as a metaphor for the apocalypse and according to composer Romulo Froes "translates Elza's strength and indestructability". With The Woman at the End of the World, Elza forces the joy and sadness that personifies samba to confront the dirty truths of modern day São Paulo.
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CD
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MAIS 031CD
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2017 repress. Pitchfork: 8.4 -- Best New Music. Septuagenarian Brazilian music icon Elza Soares teams up with the cream of São Paulo's avant-garde musicians for an album of apocalyptic, experimental samba sujo ("dirty samba") that tackles the burning issues of 21st century Brazil: racism, domestic violence, sex, drug addiction and global warming. The Woman at the end of the World is Elza's 34th studio album and her first to feature previously unrecorded material, exclusively composed for her. Voted "Best Album of 2015" by Rolling Stone Brazil after its domestic release, it will now be released worldwide by UK based label Mais Um Discos. Over a sprawl of distorted guitars, squalling horn, taught strings and electronic shards, samba is savaged by rock 'n' roll, free jazz, noise and other experimental music forms. A true legend of Brazilian music Elza has an incredible musical oeuvre that stretches back over seven decades mixing samba with jazz, soul, funk, hip hop and electronica, whilst her life story is a rags-to-riches-to-rags rollercoaster of triumphs and tragedies that has made her a voice for Brazil's repressed female, black, gay and working class populations. Her music career began in the late 1950s as she sung in clubs and hotels, sometimes being forced to perform off stage because of her skin color. The '60s was a career defining period with a run of classic albums for Odeon. After decades of hardships and artistic exploration, her latest muse is São Paulo's hyped samba sujo scene. Soares presents an album that walks a tightrope between post-rock and post-samba. "I knew this album would be a bold, modern sound" she says. "These songs are tense they do not allow you to relax". The album opens with "Coracão do Mar (Heart of the Sea)" with Elza reciting a poem from celebrated Brazilian modernist poet Oswald de Andrade. Title track "Mulher do fim do Mundo" uses carnival as a metaphor for the apocalypse and according to composer Romulo Froes "translates Elza's strength and indestructability". With The Woman at the End of the World, Elza forces the joy and sadness that personifies samba to confront the dirty truths of modern day São Paulo.
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