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viewing 1 To 14 of 14 items
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LP
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FARO 246ORG-LP
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Orange color vinyl. Between the release of his first album in 1962 and 2024, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together. Originally moving over in the mid-sixties on the back of bossa nova's international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. He spent the years following Vietnam in Rio writing music for TV and film, as well as four cult favorite albums in collaboration with some of Brazil's most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario, and O Terco. Túnel Acústico features two songs originally conceived during Valle's time on the West Coast: "Feels So Good," a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track "Life Is What It Is," composed around the same time, with percussionist Laudir De Oliveira from the group Chicago. Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the "Feels So Good" demo was restored with the help of producer Daniel Maunick, who also utilized AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware's vocal hook, as well as extra keyboards and percussion. On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc. The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno, Céu, and Moreno Veloso, as well as Valle's brother Paulo Sergio Valle.
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Cassette
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FARO 246CS
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Cassette version. Between the release of his first album in 1962 and 2024, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together. Originally moving over in the mid-sixties on the back of bossa nova's international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. He spent the years following Vietnam in Rio writing music for TV and film, as well as four cult favorite albums in collaboration with some of Brazil's most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario, and O Terco. Túnel Acústico features two songs originally conceived during Valle's time on the West Coast: "Feels So Good," a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track "Life Is What It Is," composed around the same time, with percussionist Laudir De Oliveira from the group Chicago. Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the "Feels So Good" demo was restored with the help of producer Daniel Maunick, who also utilized AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware's vocal hook, as well as extra keyboards and percussion. On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc. The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno, Céu, and Moreno Veloso, as well as Valle's brother Paulo Sergio Valle.
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CD
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FARO 246CD
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Between the release of his first album in 1962 and 2024, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together. Originally moving over in the mid-sixties on the back of bossa nova's international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. He spent the years following Vietnam in Rio writing music for TV and film, as well as four cult favorite albums in collaboration with some of Brazil's most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario, and O Terco. Túnel Acústico features two songs originally conceived during Valle's time on the West Coast: "Feels So Good," a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track "Life Is What It Is," composed around the same time, with percussionist Laudir De Oliveira from the group Chicago. Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the "Feels So Good" demo was restored with the help of producer Daniel Maunick, who also utilized AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware's vocal hook, as well as extra keyboards and percussion. On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc. The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno, Céu, and Moreno Veloso, as well as Valle's brother Paulo Sergio Valle.
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FARO 246LP
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LP version. Between the release of his first album in 1962 and 2024, Marcos Valle has released twenty-two studio albums traversing definitive bossa nova, classic samba, iconic disco pop, psychedelic rock, nineties dance and orchestral music. With his twenty-third studio album Túnel Acustico, Valle set out to bring it all together. Originally moving over in the mid-sixties on the back of bossa nova's international proliferation, Valle toured with Sergio Mendes and became hugely in demand as a composer and arranger. He spent the years following Vietnam in Rio writing music for TV and film, as well as four cult favorite albums in collaboration with some of Brazil's most groundbreaking musicians including Milton Nascimento, Azymuth, Som Imaginario, and O Terco. Túnel Acústico features two songs originally conceived during Valle's time on the West Coast: "Feels So Good," a stirring two-step soul triumph written in 1979 with soul icon Leon Ware, and the sublime AOR disco track "Life Is What It Is," composed around the same time, with percussionist Laudir De Oliveira from the group Chicago. Built around an unfinished demo Marcos found on a shelf in his house 44 years after it was made, the "Feels So Good" demo was restored with the help of producer Daniel Maunick, who also utilized AI stem-separation to remove the placeholder vocal ad-libs. Valle added Portuguese lyrics to sit alongside Ware's vocal hook, as well as extra keyboards and percussion. On Túnel Acústico, Valle's core band features two members of the renowned Brazilian jazz-funk group Azymuth: Alex Malheiros on bass and Renato Massa on drums. The rhythm section is completed by percussionist Ian Moreira, with additional contributions from guitarist Paulinho Guitarra and trumpeter Jesse Sadoc. The contemporarily composed music on Túnel Acústico features an impressive lineup of guest lyricists, including renowned Brazilian artists: Joyce Moreno, Céu, and Moreno Veloso, as well as Valle's brother Paulo Sergio Valle.
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LP
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MAR 070LP
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Reissue, originally released in 1981. An essential album for lovers of Brazilian boogie. During the 1970s, Marcos Valle moved to the US, tired of living under the repressive military dictatorship in Brazil. He collaborated with musicians like Leon Ware and Chicago in Los Angeles. Upon returning to Brazil in the 1980s, he recorded Vontade de Rever Você where he explored all the musical influences he had received in the US, particularly boogie, soul, and funk. For this recording, he collaborated with musicians such as Sivuca, Peter Cetera from Chicago, Robson Jorge, and José Roberto Bertrami from Azymuth. LP deluxe edition 180g. Vinyl plus hard cardboard cover, obi, and download card.
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7"
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VAMPI 45084EP
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Following the great success of "Estrelar", Marcos Valle released another boogie single, comprising two non-album tracks, in 1984. He settled in Los Angeles in the mid-70s, tired of living under Brazil's military dictatorship, and started to collaborate with such talented artists as Leon Ware or Chicago. "Bicicleta" shows all the music influences received during his US years, especially boogie, soul and funk, featuring stellar collaborator: Lincoln Olivetti. "Bicicleta" is reissued for the first time, in replica original artwork and remastered sound.
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LP
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VAMPI 215LP
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2023 restock, new lower pricing. Vampisoul present a reissue of Marcos Valle's 1983 self-titled album. Valle is one of the few artists one cannot miss if one has the slightest interest in Brazilian music. Whether one's taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded an album to match. By the late '60s he had already put out enough quality records to secure a place within the top Brazilian songwriters of all time, but his career did not stop there and he continued releasing amazing music over the following decades. He settled in Los Angeles in the mid-70s, tired of living under Brazil's military dictatorship, and started to collaborate with such talented artists as Leon Ware and Chicago. This LP from 1983 is the follow-up to the great Vontade De Rever Você (1981), his second album after moving back to Brazil. It shows all the music influences from his US years, especially boogie, soul and funk, and features stellar collaborators in Lincoln Olivetti, Robson Jorge, and Leon Ware. The opening track, the Brazilian boogie anthem "Estrelar," is Valle's biggest hit from the '80s and one of the most celebrated songs, making clear that what he accomplished while in LA would now make its way into Brazil. Valle pictures a beach lifestyle and summertime vibe across the entire album that describes his surfing days in Southern California. A couple of early Valle's classic songs are updated here to sit nicely next to soaring disco, killer vocal boogie numbers, and blissing instrumentals, making a well-balanced track list that satisfies both listening pleasure and dancefloor needs. This is an essential album for lovers of the work of Ware, who is the co-writer of three songs in the LP, including "Estrelar," first drafted when both artists were working together in the States and then recorded again when Valle returned to Brazil. Presented in facsimile artwork and pressed on 180g vinyl.
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CD
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FARO 211CD
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The original Rio beach boy returns in style, with a new record of unabashedly feel-good Brazilian party music. Featuring Azymuth bassist Alex Malheiros, a horn section including Valle's go-to high-trumpeter Jesse Sadoc, and percussion master Armando Marcal, Sempre has all the masterful composition, exceptional musicality, and forward-thinking ideas you'd expect from the Brazilian titan. Updating Marcos Valle's seminal boogie-era sound, Sempre spans ecstatic disco, cosmic samba, and late-night jazz-funk, drawing obvious comparisons to some of Valle's late-seventies and early-eighties output. But lyrically the new album is more closely reminiscent of Valle's progressive early '70s releases. Heralding love, tolerance, and living in the present, while satirizing political corruption, Sempre recalls a time in which Valle, together with his brother Paulo Sergio, was writing subtly subversive lyrics in order to bypass the censorship imposed by the military dictatorship, which ruled over Brazil between 1964 and 1985. The album marries compositional genius with pure pop perfection. From the blistering brass arrangements on up-tempo disco hit "Olha Quem Tá Chegando" and the infinitely classy "Vou Amanhã Saber", to the nine-minute synth heavy instrumental funk stepper "Odisséia", which gradually morphs into an interplanetary samba jam, the songs are tightened and given an extra coat of gloss by London based producer Daniel Maunick. More moments of boogie delight come in the form of "Minha Roma" and the sunshine anthem title-track. Translating as "Ever", Sempre is a testament to the continual drive for development and reinvention that has defined Marcos Valle's astounding six-decade career. Ever changing, ever moving forward, he began as one of the second-wave of early bossa nova composers in the '60s, writing the world famous bossa standard "Summer Samba (So Nice)" for his sophomore album Samba 68. After a brief stint in the States, Valle returned to Brazil, and the early '70s saw the release of four ground-breaking Valle albums. These albums would see Valle work alongside a number of hugely influential Brazilian bands, including Milton Nascimento's backing band Som Imaginaro, the prog-rock band O Terco, and jazz funk legends Azymuth. Returning back to the US in '75, Valle resided in LA, writing music for the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn, and Leon Ware, before returning to Brazil once more. Since the mid-nineties, Valle has been experiencing a renaissance with Far Out Recordings. Sempre is his fifth album for the label, following 2010's critically acclaimed Estatica (FARO 153CD).
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FARO 211LP
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2021 repress. 180 gram vinyl; includes download code. The original Rio beach boy returns in style, with a new record of unabashedly feel-good Brazilian party music. Featuring Azymuth bassist Alex Malheiros, a horn section including Valle's go-to high-trumpeter Jesse Sadoc, and percussion master Armando Marcal, Sempre has all the masterful composition, exceptional musicality, and forward-thinking ideas you'd expect from the Brazilian titan. Updating Marcos Valle's seminal boogie-era sound, Sempre spans ecstatic disco, cosmic samba, and late-night jazz-funk, drawing obvious comparisons to some of Valle's late-seventies and early-eighties output. But lyrically the new album is more closely reminiscent of Valle's progressive early '70s releases. Heralding love, tolerance, and living in the present, while satirizing political corruption, Sempre recalls a time in which Valle, together with his brother Paulo Sergio, was writing subtly subversive lyrics in order to bypass the censorship imposed by the military dictatorship, which ruled over Brazil between 1964 and 1985. The album marries compositional genius with pure pop perfection. From the blistering brass arrangements on up-tempo disco hit "Olha Quem Tá Chegando" and the infinitely classy "Vou Amanhã Saber", to the nine-minute synth heavy instrumental funk stepper "Odisséia", which gradually morphs into an interplanetary samba jam, the songs are tightened and given an extra coat of gloss by London based producer Daniel Maunick. More moments of boogie delight come in the form of "Minha Roma" and the sunshine anthem title-track. Translating as "Ever", Sempre is a testament to the continual drive for development and reinvention that has defined Marcos Valle's astounding six-decade career. Ever changing, ever moving forward, he began as one of the second-wave of early bossa nova composers in the '60s, writing the world famous bossa standard "Summer Samba (So Nice)" for his sophomore album Samba 68. After a brief stint in the States, Valle returned to Brazil, and the early '70s saw the release of four ground-breaking Valle albums. These albums would see Valle work alongside a number of hugely influential Brazilian bands, including Milton Nascimento's backing band Som Imaginaro, the prog-rock band O Terco, and jazz funk legends Azymuth. Returning back to the US in '75, Valle resided in LA, writing music for the likes of Eumir Deodato, Airto Moreira, Chicago, Sarah Vaughn, and Leon Ware, before returning to Brazil once more. Since the mid-nineties, Valle has been experiencing a renaissance with Far Out Recordings. Sempre is his fifth album for the label, following 2010's critically acclaimed Estatica (FARO 153CD).
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CD
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FARO 022X-CD
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Up until Nova Bossa Nova, Marcos Valle's first release for Far Out Recordings originally released in 1997, Marcos Valle hadn't released an album for well over a decade. After 1983, he resented the way the music industry had changed with commercialization and new demands curtailing his creative freedom. This was until 1994 when Marcos met Far Out Recordings boss Joe Davis and they recorded a track for Far Out's first Friends From Rio album. This new collaborative partnership resulted in a new solo album, which commenced recording in 1996. Nova Bossa Nova brought Marcos bouncing back into the '90s, slotting nicely in place alongside the acid jazz movement as well as a voracious new demand for Brazilian music on dancefloors from London to Tokyo. It was witnessing the London club scene's growing appetite for Brazilian music, as well as a lack of new sounds coming out of Brazil at the time, that a young Joe Davis put in a proposal to record a new album with one of his musical idols. Joe wanted to facilitate an album which would combine the latest technologies and production techniques, with live to analog tape recording: a Marcos Valle album tailor-made for London's clubs. Always open to modern influences and possibilities, Marcos agreed to the project, and Joe and his production partner Roc Hunter flew to Rio in '96. The record wasn't released until '98, as the original ½ inch tapes were stolen from Far Out's London studio, meaning parts of the album had to be re-recorded. Nova Bossa Nova was unveiled at the peak of the of the Brazilian movement, the record would also prove to be something of a revolution, inspiring a new generation of artists like Bebel Gilberto, Sabrina Malheiros, Da Lata, and Bossacucanova, who continued to fuse Brazilian influences with modern electronic sounds. The album takes a panoramic view of Valle's career, which was so fundamental in defining the standard of bossa back in the sixties and continues to do so to this day. "Nova Bossa Nova", the album's title track is an update on Marcos's trademark style, developing a more modern, funkier sound. Other gems include the dancefloor ready re-work of his 1970 hit "Freio Aerodynamico", and the smooth instrumentals "Bar Ingles", a jazz fusion looper, and the sun-soaked samba "Nordeste".
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FARO 022X-LP
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2023 restock; LP version. 180 gram vinyl; Includes download code. Up until Nova Bossa Nova, Marcos Valle's first release for Far Out Recordings originally released in 1997, Marcos Valle hadn't released an album for well over a decade. After 1983, he resented the way the music industry had changed with commercialization and new demands curtailing his creative freedom. This was until 1994 when Marcos met Far Out Recordings boss Joe Davis and they recorded a track for Far Out's first Friends From Rio album. This new collaborative partnership resulted in a new solo album, which commenced recording in 1996. Nova Bossa Nova brought Marcos bouncing back into the '90s, slotting nicely in place alongside the acid jazz movement as well as a voracious new demand for Brazilian music on dancefloors from London to Tokyo. It was witnessing the London club scene's growing appetite for Brazilian music, as well as a lack of new sounds coming out of Brazil at the time, that a young Joe Davis put in a proposal to record a new album with one of his musical idols. Joe wanted to facilitate an album which would combine the latest technologies and production techniques, with live to analog tape recording: a Marcos Valle album tailor-made for London's clubs. Always open to modern influences and possibilities, Marcos agreed to the project, and Joe and his production partner Roc Hunter flew to Rio in '96. The record wasn't released until '98, as the original ½ inch tapes were stolen from Far Out's London studio, meaning parts of the album had to be re-recorded. Nova Bossa Nova was unveiled at the peak of the of the Brazilian movement, the record would also prove to be something of a revolution, inspiring a new generation of artists like Bebel Gilberto, Sabrina Malheiros, Da Lata, and Bossacucanova, who continued to fuse Brazilian influences with modern electronic sounds. The album takes a panoramic view of Valle's career, which was so fundamental in defining the standard of bossa back in the sixties and continues to do so to this day. "Nova Bossa Nova", the album's title track is an update on Marcos's trademark style, developing a more modern, funkier sound. Other gems include the dancefloor ready re-work of his 1970 hit "Freio Aerodynamico", and the smooth instrumentals "Bar Ingles", a jazz fusion looper, and the sun-soaked samba "Nordeste".
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LP
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MRSSS 546LP
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2021 restock, originally released for RSD 2017 release. Marcos Valle is one of the few artists you cannot miss if you have the slightest interest in Brazilian music. Whether your taste is focused on bossa jazz, samba, psych folk or soul, Valle has surely recorded a great album for you. By the late '60s he had already put out enough quality records to secure a place within the top Brazilian songwriters of all time, but his career luckily did not stop there and he continued releasing amazing music over the following decades. He settled in Los Angeles in the mid-70s, tired of living under Brazil's military dictatorship, and started to collaborate with such talented artists as Leon Ware or Chicago. Vontade De Rever Você, released in 1981, is his first album after moving back to Brazil and shows all the music influences received during his US years, especially boogie, soul and funk, featuring stellar collaborators: Sivuca, Chicago's Peter Cetera, Robson Jorge, and even Azymuth's José Roberto Bertrami on the Rhodes. The opening track, "A Paraíba Não É Chicago", is Marcos Valle's own take on Leon Ware's "Baby Don't Stop Me", making clear that what he accomplished while in LA would now make its way into Brazil. This is an essential album for lovers of boogie. Listen to the irresistible groove of "Pecados De Amor" (Valle's own composition although previously recorded by Cristina Camargo) or "Velhos Surfistas Querendo Voar" and you will soon realize that this album is one of the most solid efforts in his entire discography. Even when the pace is kept mid-tempo, as on the closing tune "Não Pode Ser Qualquer Mulher", Valle's songs manage to shake the dancefloor with his very well achieved mix of Brazilian sounds and funky rhythms. This first ever vinyl reissue is presented in facsimile artwork and pressed on 180 gram vinyl.
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CD
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FARO 153CD
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2010 release. Estática is a recent masterpiece from Marcos Valle. Evoking his Carioca sound - where expansive orchestral sweep meets beautiful melody and complex harmony - Valle mixes perfect romantic bossa-pop with cinematic brass and strings and explores a six decade career that has swung between pop, bossa nova, delicate psychedelia, jazz, and funk. Many of these tracks sound strangely familiar, as if you've always known them, fresher and more immediate than ever in Valle's modern renaissance on Far Out Recordings. This album - Valle's fourth original recording for Far Out Recordings - features standout compositions including the instant classic "Vamos Sambar", the infectious jazz of "Baião Maracatú", and the stunning duets and brass of "Papo De Maluco". Valle's soft scatting on the floaty "Arranca Toco"; cinematic orchestral "Novo Acorde"; and rich psych incidentals show that Valle is as creatively inspired - by Rio, music, and a lifetime of travel touring the globe - as he ever was as the original Ipanema beach poet. Produced by Daniel Maunick; recorded, mixed, and co- produced by David Brinkworth (Harmonic 33); and with Marcos' unparalleled arrangements, aided by horn and string arrangements by Jesse Sedoc Vocals, Valle is brought back with a widescreen bang. One of the second-wave of early bossa nova composers, following in the footsteps of Gilberto and Jobim, Valle is "the man who punched Marlon Brando and made millions". Born in Rio de Janeiro in 1943, Marcos began writing songs with his brother Paulo Sergio (who wrote lyrics to two tracks on Estática). As his reputation grew, he released his debut album Samba Demais for EMI Brazil (1964). It was his first release on Verve however that brought him well-deserved fame, Samba '68 (1968) becoming a Brazilian musical landmark thanks to tracks such as "Batucada" and "Crickets Sing For Anamaria". The early-seventies spawned two Valle masterpiece's, Garra (1971) and Vento Sul (1972), which combined, as MOJO states, the "cosmic expansion of Pink Floyd with the orchestral sweep of Ennio Morricone."
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CD
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LITA 090CD
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"Marcos Valle was originally released in 1970 and not only features a seductive cover image of Marcos reading the local papers with a bottle of liquor nearby, but a dynamic musical backing from some of Brazil's most gifted players. Hip-hop fans may even recognize the opening horn blasts of 'Ele E Ela,' which were sampled to great effect on Jay-Z's 'Thank You.' Any way you spin it, we at Light in the Attic are extremely proud to present Marcos Valle as part of our four-album Marcos Valle reissue campaign.... features extensive liner notes by San Francisco-based writer Allen Thayer (Wax Poetics) with exclusive interview content and song-by-song breakdown from Marcos himself." CD version includes a rare bonus track.
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