Gilberto Gil - Frevo Rasgado
(1968)
Tracks
1 Frevo Rasgado 1:53
2 Coragem Pra Soportar 2:55
3 Domingou 2:55
4 Marginália II 2:39
5 Pega a Voga, Cabeludo 4:44
6 Êle Falava Nisso Todo Dia 2:33
7 Procissão 2:55
8 Luzia Luluza 4:03
9 Pé da Roseria 3:03
10 Domingo No Parque 3:42
11 Barca Grande 2:41
12 A Coisa Mais Linda Que Existe 3:59
13 Questão de Ordem 5:31
14 A Luta Contra a Lata ou a Falência do Café 2:49
Some call him the pure definition of World Music, others call him thee individual who drove the Tropicalia movement forward with his unrivalled fusion of Samba, Classical and Rock n Roll, whatever the case, there is no doubting the mans musical ability and more importantly the threat he posed with his talents to the powers that be in the Brazilian government.
Gilberto Gil made his musical beginnings in the fifties, but did not release a solo album until 1967, by this stage the Tropicalia movement was in its infancy but very much a happening thing. Men like
Caetano Veloso and
Gilberto Gil were really only just starting to push the boundaries of musical endeavour in 67, but by 68 the authorities could be left in little doubt that the noises coming from Brazilian youth were slightly disconcerting to say the least.
A string of landmark albums from Brazil came one after another between 67 and 69, we have already covered Os Mutantes’ debut in 68 and I am sure there will be yet more mentions in the coming months from the cellar of other efforts, but it is to Gilberto Gil’s second release,
Frevo Rasgado, that we turn to today, arguably one of the best World music albums of all time and a serious contender for one of the greatest pieces of work ever released full stop.
Joyous, exciting, exuberant, raucous and boardering on the Psychedelic, this album begins with the title track;
Frevo Rasgado I guarantee from the very first notes will instantly make you feel good about life. Its vibe is unquestionably Brazilian, but please have no fear, this is not over the top Rio carnival time, the Samba elements are hidden behind a very controlled Brass and Horn section, creating a rather excellent opener, which sets you up nicely for the rest of the album.
Backed by Os Mutantes on a couple of tracks, Gil injects these songs with an energy and life which is very difficult to compare with any artist on the planet at that time or since. For example
Pega a Voga, Cabeludo and
Domingo No Parque, these songs really do go places, indeed a triumph for the Tropicalia movement, they are so jolly and cheerful, marvellous stuff.
All that said, the elements going into Gil’s writing throughout this album is not unique to Brazil or even for that matter to Western music in the late sixties, but Gil’s major achievement with this release must surely be to have raised the bar for mixing classical elements into modern music, even dare I say it as a result giving George Martin a run for his money. An example of this is Track Four;
Marginália II has so many elements going on with it that each individual listen of this song provides something new each time.
Ultimately Gil would find himself exiled for a few years by the Brazilian government in the late sixties, a victim of the power of his own music. But instead of being a bad thing, he found himself in England rubbing shoulders with the likes of
Pink Floyd, opening the door for a whole new chapter in his musical development. And now after helping depose of a Government, he himself dabbles in politics, even becoming a Minister, all things considered, a truly remarkable man.