Gal Costa

Editorial Reviews

All Music Guide - Jon Pruett
It is easy to see why Gal Costa is so well-received by the Brazilian masses when she has such delightful recordings as these under her belt. Added period charm lies in the numerous psych effects and fuzz guitars that pepper this release. Costa's young vocal work is so full and inviting -- it can be a bit of a surprise when she rears back and turns out a lackadaisical growl. The album begins with a Caetano Veloso song "Nao Identificado" that starts with a whirr of psychedelic effects before launching into a beautifully arranged mid-paced ballad. The strings flutter and aid Costa's already warm and sensuous vocal work. Certain tracks, like "Sebastiana," sound like Costa ...
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Editorial Reviews

All Music Guide - Jon Pruett
It is easy to see why Gal Costa is so well-received by the Brazilian masses when she has such delightful recordings as these under her belt. Added period charm lies in the numerous psych effects and fuzz guitars that pepper this release. Costa's young vocal work is so full and inviting -- it can be a bit of a surprise when she rears back and turns out a lackadaisical growl. The album begins with a Caetano Veloso song "Nao Identificado" that starts with a whirr of psychedelic effects before launching into a beautifully arranged mid-paced ballad. The strings flutter and aid Costa's already warm and sensuous vocal work. Certain tracks, like "Sebastiana," sound like Costa recorded the vocals in the bottom of the well, but this is OK. This track also features Gilberto Gil at the end, engaging Costa in what sounds like some sort of heated, happy exchange. The centerpiece of the album is most certainly "Baby," written by Veloso who also jumps in on the vocal duties. Costa's echoing vocal pours out the melody carefully while the strings glide and swirl along. This song was one of the few chosen for the influential Tropicalia: Panis et Circenses album. Equally marked by fuzz guitar freakouts as it is with dreamy bossa nova, this record is one of the jewels in the crown of Tropicalia, as well as pop music in general.
All Music Guide - Fred Thomas
A lot changed between Gal Costa's pleasantly straightforward 1967 debut Domingo and her eponymous follow-up two years later. Domingo, also a debut for young Brazilian songwriter Caetano Veloso, featured a set of airy, somewhat standard bossa nova tunes, sung ably by Costa. Mere months after the release of this relatively safe debut, however, Costa and Veloso found themselves alongside Os Mutantes, Tom Zé, and Gilberto Gil, recording contributions to Tropicália: Ou Panis et Circencis, the unofficial manifesto of the Tropicalismo movement. The compilation dove headfirst into avant-garde experimentalism, embracing the psychedelic tendencies happening in American underground circles, and the politically charged energy of radical dissent to Brazil's ongoing military dictatorship. This wild new hybrid of Brazilian pop and far-reaching outside influences resulted in something instantly miles away from everything that came before it, and Costa's self-titled Tropicalismo debut is no exception. The album begins with a flutter of psychedelic echo effects, dissolving into gloriously lush string arrangements and lighthearted organ on "Nao Identificado," a brilliant opening track that introduces Costa's velvety voice, gently at first, as if to ease the listener into the new sounds about to be revealed. Softly glowing chamber pop arrangements like "Lost in Paradise" melt into unchained grooves and buzzing fuzz guitar bug-outs like the Gilberto Gil-aided "Namorinho de Portão" and the child-like singsonginess of "Divino Maravilhoso." The echo-heavy productions, patient strings, and gorgeously floating melody of "Baby" drive the album to its brilliant summit, offering a perfect articulation of the pensive, sexy, strange, and above all else, sunny blur that Tropicalismo was, even in its very beginnings.
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Product Details

  • Release Date: 1/13/2009
  • Label: 4 Men With Beards
  • UPC: 646315116915
  • Catalog Number: 169
  • Sales rank: 32,053

Album Credits

Performance Credits
Gal Costa Primary Artist
Gilberto Gil Arranjo
Rogerio Duprat Musical Direction, Arranjo
Technical Credits
Gilberto Gil Arranger
Manoel Barenbein Producer
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