Clube Da Esquina

Partly of my hope with doing the 1001 albums was to find a hidden gem that I hadn't heard of before... I think this is one of them. From my first listen, I enjoyed it, no idea of the lyrics meaning, but felt really good. Musically it's a great mix: vibrant, pleasant, upbeat, dreamy and (in places) hauntingly beautiful.

Beautifully vibrant album. Every track manages to twist and turn through several variations within 2-3 minutes while maintaining a core sound throughout the LP - it's immediately clear the influence this has had in Melody's Echo Chamber and other dream/psychic rock projects of the like. Amazing that this was recorded in 1972 as well, each instrument is layered so well in the mix it sounds modern as can be.

I've been listening to this album for a few days now trying to put into words what I feel when I hear it. The whole package is a very ambitious release by the duo. I love the mix of mild psychedelia with what I assume are some traditional sounds. I've read tat Brazilian music takes more of its influence from European and African sounds than what we attribute to a Latin American sound and I think I agree. This is one of those albums that I've seen on lists of albums worth checking out for a few years now but it wasn't until last week when I finally heard it for the first time. I've fallen in love with it. Even the short tracks that seem like they could be developed more seem right after a few listens. I'm not sure if I could pick a favorite yet, although lyrically (yes I looked up tranlations) I'd say it was O Trem Azel (The Blue Train). I will be listening to this a lot more in the future. I feel like I could keep exploring this for months and still discover more to love about it.

Rapaiz, bom demais isso daqui, dá pra chorar três dias com esse album, meu amigo.

Never heard of Milton Nascimento nor Lô Borges nor this album. Genre: Música popular brasileira Very pleasant sounding. Nice experience. Almost bought this for $5.99 on iTunes, but they only offer the 15-track edition, excluding six songs from this double album. Am I missing something? Without a translation of the lyrics, it’s difficult to assess the artistry as a whole, but the sound is novel (at least to my ears). Some similarities to Sérgio Mendes, without the dramatic percussion of Brasil ‘66. On some tracks I felt frustrated not having a translation of the lyrics. Intricate chord structures, very nice progressions, avoiding the temptation to overdo; chiefly composed for voice and guitar. There are some tuning and pitch problems (serious on the orchestral backgrounds especially harsh-sounding on “Um Gosto da Sol”), and ‘buzzing’ on the acoustic guitar. But overall, the instrumentals are entrancing and satisfying, with great variety. Vocal quality is okay, a little too airy, weak on the Iberian ‘moorish’ fluctuations and trills, and lacking in both range and timbre. It’s satisfactory for a jazzy sound, but not stellar. Falsetto particularly weak. Recording technology not up to British or American standards of the time, but that’s to be expected. Is it me or does Portuguese lack a poetic sound? I wonder how these songs would sound in German. 😁😁 In sum, this is a good album, and I’m glad I was introduced to it. 3/5

Shame on me for being Brazilian and never listen to this whole album. Sure, I know some songs but listen to them completely was a very nice experience. Sometimes Milton Nascimento makes me sleepy (mainly his new songs after "Clube da Esquina"), but this album is completely the opposite, it makes me fells with a lot of energy. I don't know if this list includes more Brazilian albums or even Brazilian artists, but this one was very pleasable

Like eating delicious foreign cuisine for the first time: these are flavors I had no idea existed, but now that I’ve had it, I can’t get enough.

In the aftermath of the Tropicália movement came a sprawling yet consequential album that helped the Brazilian music scene remain fresh and forward-looking. For Clube da Esquina, and its iconic album cover, vividly captures the imaginations of Milton Nascimento and Lô Borges and ensures that they are also worthy of consideration after the wildly creative deluge (and forced defections) of Velsoso, Gil, Costa, Zé, et al. It may feel overlong at points and the language barrier is insurmountable but this is still essential listening regardless.

This has to be one of the best unknown albums on this list. It's a double albums that needs to be a double and is not padded out by filler. I love the genre hopping between folk, psychedelia, exotica and even baroque pop. Superb in every department more people need to hear albums like this.

I didn't envision giving full marks to a foreign language album, but my appreciation for this grew as I listened. He has the voice of an angel and switches genres competently and with ease. The lyrics I looked up were meaningful. One of the songs was banned in Brazil for being too revolutionary; when you listen to it, it sounds like a happy-go-lucky flower power tune. The contrast is super interesting to me. Best track: Paisagem da Janela

Was okay to start with, but then really began to grate

The production on this album is incredible. The vocals are clear and sound very close and intimate. The music itself is beautiful both melodically and harmonically. Chord structures are intricate and the songs themselves are suite like in their changes. In terms of genre, this album infuses jazz, classical, and western folk into Brazilian music to create something truly unique. This album pays tribute to earlier musical forms (like Bossa Nova) and weaves them into more contemporary styles to create a truly unique piece of baroque pop with tinges of psychedelia.

Clube da Esquina is one of the masterpieces of brazilian music. An MPB classic, with nods to psycholdelic pop, rock and some experimental moments. The vocals by Milton Nascimento and Beto Guedes are the hightlights, specially because their voices are in contrast. When this double album opens with "Tudo Que Você Podia Ser" you already know that you are in for an incredible ride and that the artists involved are in the peak of their creativity. "Dos Cruces", "Me Deixa Em Paz" and "Nada Será Como Antes" are also worth noting.

If you liked this, check out the history of rock in Latin America documentary on Netflix. I’ve got a corresponding playlist on Spotify too. If you didnt like this, also check out that documentary and then maybe you will

What an absolute joy. After the first 11 songs, I found myself thinking this was a candidate for the most surprising 5 on this list. But it turns out, the issue was there were still 10 more songs to go. This is probably just nit-picking, and we should probably evaluate double albums differently anyway. It just went a little too long. A few tracks reminded me of the theme song to "Chico and The Man", which is a compliment. There's elation to be found all over this album. This was made some 15 years before Paul Simon raped and pillaged from the genre to make Graceland. And somehow this sounds fresher and more alive.

I don’t know what he is saying, but I have no reason to doubt him. Can’t say I’ve heard anything quite like this, and I like it

I enjoyed the beginning of this album, and it was even a possible 4 stars for me. But then by the end of the (very long) album it felt like the artist was just making noises at me. I want to justify giving this a 2 with the analogy of an artist painting a beautiful painting and then finger painting all over it with the remaining of the paint on their pallet.

Didn't understand a word anyone was saying. 5/5

Another classic. I am due SUCH a run of duffers. As a long-time Tropicalia convert, I'm surprised I only stumbled across this album last year, through some random conversation. But that's what happened, and now it is a staple. I adore the Quarteto Em Cy cover of Tudo Que Você Podia Ser, did not know it was a cover before hearing this album. But what a trip we go on listening to this. Can't adequately explain how good it is. A journey in every song. Absolutely wonderful. I like the story of the two kids on the cover too. “I was eating a piece of bread that someone had given me, because I was starving. And I was barefoot. But I never knew I was on the cover of a record. My mother will be thrilled. We never had a photo of me as a boy.” Faves, Tudo Que Você Podia Ser, Clube Da Esquina No2, O Trem Azul, Um Gosto De Sol, Nada Sera Comp Antes.

An absolutely inspired album. I wasn’t at all expecting the diverse assortment of songwriting prowess on this record, but it’s an absolute masterpiece. Leaving aside the obvious exoticism of foreign language works, this album would be incredible wherever it had originated. It doesn’t draw too heavily upon a “traditional” Brazilian sound, which really expands its sonic palette. The songs take centre stage here, not the novelty of world music. While the album is about an hour long, none of these songs overstay their welcome and they really catch you off guard with how contemporary they manage to sound despite this record appearing in 1972. It’s simply brilliant, and while it hasn’t achieved the same commercial acclaim as some other Brazilian offerings, it really needs a reappraisal.

A 1972 'música popular brasileira' record that furthers post-bossa nova elements through its excessive panning production and midtempo expressions. The distinct tonal characteristics of the acoustic guitar and delicate vocals flow naturally throughout the entire record, providing vibrant cultural visualization through diverse compositions. Contributing majorly to popular Brazilian music, 'Clube de Esquina' shapes up to be a compelling contribution to MPB through organic presentation and easy listening.

Brilliant but needs a lot more listening

incredibly good what the hell

A hidden classic- well worth the time to revisit

Really enjoying this album after my first listen. Some impressive musicianship, and this Latin-infused psychedelic, progressive blend is so interesting

The one track I really like is O Trem Azul. Aside from that, I like the vibe of the album, but nothing else stood out as a really memorable song.

¿Pero esto qué es?¿Me invento unas letras y me invento unas melodías y las uno, tenga ritmo o no?Un 1 en toda regla.

Thank you I'm happy I got this album at this particular time Favorites: Trem De Doido

Clube da Esquina is a double album by the Brazilian music artists collective Clube da Esquina, originally released in 1972. Wow, this was super cool. I've always seen that album cover but this is the first time I'm listening to the record. Super airy production on here. They really caught a perfect balance between traditional Brazilian folk (?) and psychedelic pop. It's very dreamy in places. There's even some fuzz guitar on here! A pretty perfect album to throw on and smoke a joint to. This definitely warrants further listens but I'm feeling good today so I'll throw a 5.

It's the only album so far on this challenge (600+ albums) that I listened to three times. What a captivating, beautiful and smooth album. It's brilliant that is was made over 50 years ago, it sounds as fresh as it was released a few years ago. I don't understand the language but I read it's one of the best and most influential Brazilian albums of all time. I am happy I discovered this gem thanks to this challenge.

This represents brazil more the football and samba

lovely

5/5

One of the best Brazilian albums of all time. In par with Acabou Chorare.

Properly unbelievable record.

Good god, this is great. To be frank, I didn’t understand a single word being said since I don’t know Portuguese, lmao. I think it says a lot that I still found a lot to appreciate and enjoy here. There’s so much beauty in this album. The different genres to be found here are all nice. The vocals are amazing and angelic at points. That along with the phenomenal instrumentation and performances make this such a great listen. It’s just a really fun ride all the way to the end, and that says something since this album is an hour long, haha. This is a Brazilian classic, and one that i’d highly recommend

Fantastic. Loved this. 5/5

Such a great album. I wish Brazil was real.

Absolutely one of the hidden gems I had hoped to stumble upon when starting this journey. Gorgeous trip from beginning to end.

I don’t speak Portuguese so I don’t know what the songs mean and I’m purely going off sound. And based off of sound alone, these songs are absolutely amazing. This may be one of the most enjoyable albums I’ve ever listened to. This is why I signed up for this project, to find albums I normally wouldn’t come across, not another best of or live version of a Beatles album. I will definitely be looking more into the artist to find out about this album and what they’re singing about. I highly recommend this album. I added so many songs to my favorites.

A landmark in MPB. A beautiful genre shifting epic.

É tudo o que poderia ser.

**Clube da Esquina** is a landmark double album released in 1972 by Milton Nascimento and Lô Borges, a collaboration that not only pushed the boundaries of Brazilian popular music but also solidified its place in the pantheon of global music history. This in-depth review will explore the album's lyrics, music, production, themes, and influence, while also addressing its strengths and potential drawbacks. ### **Lyrics** The lyrical content of *Clube da Esquina* is a rich tapestry of poetic imagery and introspective themes, a fusion of personal and political reflections. The lyrics, written by a variety of collaborators including Márcio Borges, Ronaldo Bastos, and Fernando Brant, often explore themes of identity, belonging, and resistance. One standout track, “Cais,” encapsulates the album’s lyrical depth. The song’s melancholic tone and metaphoric language speak of existential longing and the search for meaning, with lines like “Apenas começo a achar / O cais e os domingos” (“I’m only beginning to find / The harbor and the Sundays”). The imagery of a harbor symbolizes a place of safety and belonging, yet the search itself suggests an eternal quest for fulfillment. “Paisagem da Janela” offers a contrasting lyrical tone, portraying the beauty of the everyday. With lines like “Da janela lateral / Do quarto de dormir / Vejo uma igreja, um sinal de glória” (“From the side window / Of the bedroom / I see a church, a sign of glory”), the lyrics capture the essence of appreciating small moments. This juxtaposition of the mundane with the sublime is a recurring motif in the album. However, the album is not just about introspection. Tracks like “San Vicente” and “Trem de Doido” allude to social and political unrest, expressing a subtle but palpable critique of the military dictatorship in Brazil at the time. This layered approach to lyricism—combining the personal with the political, the poetic with the plainspoken—is a hallmark of *Clube da Esquina*. ### **Music** Musically, *Clube da Esquina* is a groundbreaking fusion of Brazilian genres like samba, bossa nova, and baião with elements of rock, jazz, and classical music. This eclectic mix creates a soundscape that is both distinctly Brazilian and universally resonant. The opening track, “Tudo Que Você Podia Ser,” sets the tone with its intricate guitar work and compelling vocal harmonies. The song’s chord progression, while seemingly simple, reveals complex harmonic structures that evoke both joy and melancholy. Milton Nascimento’s unique vocal timbre, combined with Lô Borges’ more straightforward singing style, provides a compelling dynamic throughout the album. “Clube da Esquina No. 2” is another musical highlight. Its gentle piano intro, paired with an evocative string arrangement, showcases the album’s sophisticated approach to orchestration. The track’s melodic lines are hauntingly beautiful, demonstrating the influence of classical music on Nascimento’s compositional style. The production, led by Milton Nascimento, Lô Borges, and producer Eumir Deodato, is innovative for its time. The album’s use of stereo separation and reverb creates a spacious, almost ethereal sound. Tracks like “O Trem Azul” and “Nuvem Cigana” feature layers of instrumentation that reveal new details with each listen, from subtle percussion accents to lush string arrangements. This attention to sonic detail makes the album a rewarding experience for both casual and critical listeners. ### **Themes** *Clube da Esquina* is an album rich in thematic complexity, weaving together personal narratives with broader social commentary. One of the central themes is the concept of belonging, both to a physical place and to a community of like-minded individuals. This is perhaps most evident in the album’s title itself, which refers to the “club on the corner,” a metaphor for the collective of musicians and poets from the Minas Gerais region who came together to create this work. The theme of exile—both literal and metaphorical—is another prominent motif. Songs like “Um Gosto de Sol” and “Saídas e Bandeiras No. 1” reflect a sense of displacement and yearning for home. This is not surprising given the political climate in Brazil at the time, when many artists felt marginalized or silenced under the repressive regime. Yet, amid these darker themes, there is also a strong undercurrent of hope and resilience. “Cravo e Canela,” with its upbeat rhythm and celebratory lyrics, is a testament to the power of joy and community in the face of adversity. The album, in this sense, is a celebration of human spirit and artistic expression, a defiant statement of beauty in a time of turmoil. ### **Influence** The influence of *Clube da Esquina* on Brazilian music—and world music more broadly—cannot be overstated. The album challenged the conventions of MPB (Música Popular Brasileira), introducing new harmonic and melodic ideas that would shape the genre for decades to come. Its experimental approach to songwriting and production inspired a generation of musicians, from the Tropicália movement in Brazil to international artists like David Byrne and Beck. The album’s fusion of regional Brazilian styles with global musical influences also set the stage for future cross-cultural collaborations. Artists like Caetano Veloso, Gilberto Gil, and even contemporary acts such as Devendra Banhart and Seu Jorge have cited *Clube da Esquina* as a key influence on their work. In addition to its musical impact, the album’s political undertones and lyrical sophistication have made it a touchstone for artists seeking to address social issues through their work. It remains a powerful example of how music can serve as both a form of artistic expression and a vehicle for resistance. ### **Pros and Cons** **Pros:** 1. **Musical Innovation:** *Clube da Esquina* is a masterclass in genre-blending, effortlessly combining Brazilian folk traditions with contemporary global sounds. This musical synthesis creates a unique and timeless soundscape. 2. **Lyrical Depth:** The album’s lyrics are poetic and thought-provoking, dealing with themes of love, identity, and political unrest. The use of metaphor and symbolism allows for multiple interpretations, making the album rich in meaning. 3. **Production Quality:** The production is sophisticated, with a clear emphasis on creating a lush, immersive sound. The use of stereo separation, reverb, and multi-layered instrumentation adds depth to the listening experience. 4. **Vocal Performances:** Milton Nascimento’s voice is a standout, conveying a range of emotions from hope to despair. His unique timbre and phrasing are complemented beautifully by the voices of Lô Borges and other collaborators. 5. **Cohesive Vision:** Despite the album’s eclectic mix of genres and styles, it maintains a cohesive artistic vision. Each track contributes to the overall narrative, making the album greater than the sum of its parts. **Cons:** 1. **Accessibility:** For listeners unfamiliar with Brazilian music or the context in which the album was created, *Clube da Esquina* can be challenging. The complexity of the music and the abstract nature of the lyrics may require multiple listens to fully appreciate. 2. **Length:** At over an hour long, the album can feel overwhelming, particularly for those not accustomed to double albums. Some tracks, while individually strong, may feel superfluous in the context of the whole album. 3. **Language Barrier:** The album’s lyrics are in Portuguese, which may limit its accessibility to non-Portuguese-speaking audiences. While the music itself transcends language, understanding the full depth of the lyrics requires a grasp of the language or translated liner notes. 4. **Pacing:** The album’s pacing can be uneven at times, with shifts from upbeat tracks to slower, more introspective songs that may disrupt the flow for some listeners. This can create a sense of disjointedness in an otherwise cohesive work. ### **Conclusion** *Clube da Esquina* is a monumental achievement in Brazilian music, a testament to the creative synergy between Milton Nascimento, Lô Borges, and their collaborators. Its lyrical depth, musical innovation, and sophisticated production make it a compelling listen, even more than 50 years after its release. While it may present some challenges in terms of accessibility and length, these are minor drawbacks in the context of its overall artistic impact. The album’s themes of belonging, exile, and resilience resonate deeply, reflecting both the personal experiences of its creators and the broader social context of Brazil in the early 1970s. Its influence on subsequent generations of musicians is profound, and it remains a touchstone for those seeking to explore the intersections of music, poetry, and social commentary. In sum, *Clube da Esquina* is not just an album; it is a cultural artifact that continues to inspire and challenge listeners, inviting them to delve into its rich, multifaceted world. It is a work that rewards repeated listening, revealing new layers of meaning and beauty with each encounter.

already knew it is beautiful, like the person sughested to me

flawless

An absolute blast from start to finish as your entry into Brazilian music.

This is an undeniably pretty record. Lots of good genre variations throughout while still being a true Brazilian record. Some jazz, samba, 60's/70's lounge and pscyh rock, pop sensibilities, folk instrumentation. O trem azul is beautiful. Nuvem Cigana is like a big band song. Don Cruces has this very dramatic build/change halfway through that reminds me of bullfighter music for some reason. The playing and the vibe is just nice. Club de Esquina No2 and Me Dexia Em Paz are both beautiful guitar focused ballads. Os Povos is very beautiful/lots of good singing/simple song structure. I think I had massive expectations with this record based on the praise of it I've seen and I'd say it delivered. It may be a little too long/too varied as some tracks don't deliver as hard or feel out of place (looking at you Um Gosto De Sol sounding like a scott walker song or Paisagem De Janela sounding like a island vacation commercial or Trem De Doido's very fuzzy guitar leads). However, even those songs are still good songs.

5 out of 5. Like a lot of these albums don't know what to expect going in but this double album was magnificent and I would consider adding this to my own personal collection. The bossa nova, folk, psychedelia, and mix of other styles is smooth and a joy to listen to.

I just had tacos and margaritas before listening to this album. I love it. I love acoustic guitars and fuzzy electrics guitar solos. It seems to jump around and not just repeat itself. I will be coming back.

Smukkeste sange. Meget livsbekræftende. Næsten perfekt synes jeg :)

Already have this in my library from some MPB cruising I did a year or so ago. A really nice album, great sounding, good vibe overall. Great collection of music from that area of music.

I've had two big double albums back-to-back - it was Songs In The Key Of Life yesterday, and today this offering from Brazil that I had never even come close to hearing of. I liked the Stevie Wonder, four stars, and did not expect this to match up. I was wrong. This is so much more enjoyable. I have no idea what the lyrics are, but the musicality is just so enjoyable that it doesn't matter. Quite lovely.

Didn’t understand a single word they said but it was still a 10

There was one part in one song that I heard when I was out gardening that sounded vaguely like the ice cream truck but it was like it was right behind me and it kind of startled me. Other than that very good and not threatening

I’ll always remember this clip I saw of Pharrell Williams speaking with Rick Rubin where he explains how much more of an impact good chord progressions have on him over fancy and technical time signatures. He describes them as coordinates that bring him somewhere. I found that really profound, and it honestly changed the way I look at music. I haven’t experienced an album that really made me look back on that clip and think about how right he was in a long time. But this managed to bring that back for me. I’m not exactly sure what it is about musicians in foreign countries like Brazil and Spain, but they understand that concept of powerful and moving chord progressions way better than we do over here. We just don’t do it as well. This album transcends the realm of just your traditional psychedelic pop album. It is so much more than that in every way. Of the ten thousand other albums from the same time period that fit under the same umbrella which you will find on this list, this one is absolutely worth your time the most. Something about this album left me a little speechless. It lies in the category of albums I really love that leave no stone unturned. No moment of this feels like it’s lacking. Even on the few songs I don’t like. It is near impeccable in every manner. I don’t know if there is any way this could be improved. I can’t think of a sound or an instrument that would need to be added to make this better. They hit every mark. The way this evolves on traditional bossa nova and is wholly unique and very inspired at the same time is miraculous. It sounds incredible production wise, and every instrument is layered masterfully. There were so many moments where a particular arrangement would shock me with how out of place and simultaneously perfectly in line it felt with the rest of the album. I urge anyone reading this to sit down and really sink into this album. It is something very special. Rating: 9/10

Best find from this list so far, by far. Absolutely beautiful, has so much soul and there is not a single bad song on the album as a whole. 5/5

Holy SHIT this album rules. I've seen it here and there over the years, and heard about its importance in Brazilian music history. But I did myself no favors by sleeping on it until now. It's a lush, beautifully orchestrated psych/pop record with unexpected twists and turns on virtually every track. There's instrumentation happening here that I've never heard. Think Pet Sounds with more flamenco guitars. Not to mention how timeless the production sounds. I'm baffled by the fact that this came out in '72. Extra points for the cover, which might be one of the more visually striking album covers I've ever seen.

Imagine zooming in on the lifecycle of several seeds (these songs)—each blossoming into a distinct, striking flower—then zooming out to behold how every vibrant participant played its part in forming a garden (this album) of immaculate, harmonious beauty.

This is the kind of album that is a bit hard to review, simply because it wasn't written for or out of my cultural context. There is much to like here for me. The instrumentation is excellent. The singing is good. But man the entire thing is just so different from what I would normally listen to. I think it probably deserves 5 stars for what it is.

Альбом очень жизнерадостный настоящая бразилия

Pretty genius.

Really cool album which is hard to describe. A very unique blend of sounds with each song providing some serious surprises.

Trem Azul is one of the best songs ever made.

This album was many peoples first introduction to Brazilian music. This album is so soothing and listenable, timeless. Since I don’t speak Portuguese, the album plays like an instrumental work. The soft lyrical singing is like a fine tuned instrument. I love this album and am glad to be reminded of it so I can add it to my current rotation of music. It's perfect.

This is possibly the most conflicted I’ve been on rating an album so far. The political climate of 1972 for Brazil underscores a lot of this album, and there’s a passion throughout it that’s so easy to feel, but probably very hard to understand in 2024 without an innate knowledge of the subject that I just don’t have. Let me be clear: I’d be a moron to not acknowledge that this is a good album. It does not sound like it came from 1972 at all – there’s an exploration of so many genres here that it feels like the album had an incredible vision of what music was gonna be for at least the next 20 or 30 years, if not longer, and it’s all carried by two things: guitar playing that simply feels timeless, whether it’s acoustic, electric, or bass, and absolutely passionate vocals by Milton Nascimento & Lo Borges that you can feel even through the language barrier. My confliction is not “is this good or bad” – it’s do I give this a 4 or 5? I feel like I can’t give it a 5 because of that language barrier, and how I don’t think I can fully enjoy the album because of that, but I’d also probably be a moron to not give it a 5 out of pure trust in how cathartic this album must have felt in 1972, and how well it’s aged into modern times; so many of the other 70s albums we’ve heard have occasionally had mixing issues or choices that clearly dated them. If we were going by 10, it’d be an easy choice to just say 9/10 and get it over with, but for a 5 point scale, I think I have no choice but to round it up, just out of respect for nailing everything it tries to do.

no notes. i just really enjoyed that.

Totally enjoyed this. I had never heard of this artist. Reminded me of Buena Vista Social Club but more melancholy.

I'll listen to anything Brazilian.

Amazing vocals, can feel the emotion in the voice. Highs and lows in terms of energy throughout the album, great listen. 4.5

This is the shit I came here for. Fantastic. Loved this.

Very chilled and laid back I really enjoyed it!

This is an amazing album. I listened to it dozens of times during COVID. Perfect intersection of post bossa Brazilian weird. Some of the songs are so moving! It’s a beautiful listen up close, and also a great backgrounder. A classic! 5/5

5.0 + I get lost in the echoey halls of this pan-genre masterpiece, mesmerized by elastic guitar fingerpick-strumming, reverb-laden vocals and a panoply of jungle-like percussive splashes.

Classic

Very niceee

A great album that shows how much is going on in Brazil music wise. Is this tropical rock or how it's called? Maybe even better.

So many gorgeous songs. It took me three lisitens before I realized I had heard O Trem Azul before, being covered by Elisa Regina. I loved the call back, it gave amazing context.

What an interesting record. So many twists and changes of direction in most of the songs. It's a strange mixture of pop, classical, psychedelia and whatever the Brazilian version of flamenco is, but it works for me and absolutely loved it. One of the best things I've heard this year. A low 5.

After a batch of albums that I couldn't listen to more than two songs comes this masterpiece. I have no words to describe the greatness of this album.

Wistful, intimate, warm, and ethereal. From pop to rock to folk with touches of bossa nova, Beatlesque psychedelia, and full of lovely arrangements and orchestrations, ‘Clube Da Esquina’ is wonderful. I have no idea what Milton Nascimento or Lô Borges are singing about, but I know that I want more of it.

good

Holy shit, this is awesome. The singing, the influences, the gorgeous chord progressions, and how ahead of it's time it feels. This is a powerhouse of a double LP with both singers bringing their S+++ game. Perhaps it's a little long, but it's hard to notice when every song is a banger. The Beatles influences are clear, but Borges and especially Nascimento take those influences and run, making one of the best pop albums I've ever heard. You can hear influences that inspired pop and rock bands all the way up through the 90s, and the fact that there's some that won't like this because it's not in English is a crime against themselves. I don't understand a single word and it's already a five, so imagine what the lyrics bring to the table. I adore this, were it not for Kimono My House this would be my favorite album so far.

PREFS : Tudo Que Você Podia Ser, O Trem Azul, Nuvem Cigana, Cravo e Canela, Dos Cruces, Um Girassol Da Cor De Seu Cabello, San Vicente, Clube Da Esquina N°2, Paisagem De Janela, Me Deixa Em Paz, Saidas e Bandeiras N°2, Um Gosto De Sol, Lilia, Trem De Doido, Nada Sera Como Antes MOINS PREF : Cais

Awesome

At its best, sublime, and at its worst a bit generic. Overall, love the mix of Brazilian folk & psych-rock. Have to remember this one for a midsummer road trip

What a great album. Lots of elements that we see get used by other bands in later decades, different types of songs all over, real fun to listen to

"Clube da Esquina" is a double album by the Brazillian music collective Clube da Esquina and credited to Lô Borges and Milton Nascimento. It also features arrangements by Eumir Deodato and Wagner Tiso and conductions by Paulo Moura. The music is generically classified as baroque pop, folk and pyscychedelic pop but more specifically MPB (Música Popular Brasileira or Brazillian Pop Music) which is post- bossa nova combining jazz, rock with Brazillian samba, samba-canção and baião. Yes, this album incorporates many styles often within the same song. This album is extremely important in the history of Brazillian music. "Tudo Que Você Podia Ser" begins the album with an acoustic guitar. It's melodic pop with a hint of samba. Nascimento comes in with a clear, powerful, tenor voice. This would not sound out of place as a 70's country rock ballad. The drums are more prominent in "O Trem Azul." Both acoustic and electrical guitar. Vocal harmonization. A 60's pyschedelic pop feel. Beautiful sounding. "Cravo e Canela" has a Spanish acoustic guitar with subtle bossa nova beat. The soft-loud-soft dynamic. I immediately thought of Paul Simon. Maybe, when I next hear Paul Simon I will think of these guys. "Um Girassol Da Cor De Seu Cabelo" starts out slow and melancholy with its the piano and beat. The drums kick in with strings and we're in Beatles territory. The drum picks up the pace and now we're into something entirely different. An album highlight. "Clube da Esquina" is mostly instrumental with an urgent beat, subtle guitar and background vocals. The vocals are in the background and more part of the instrumentation. Wow, I feel like I'm placed in 80's/90's alternative rock. "Paisagem Da Janela" has a simple beat and sounds like a simple, happy and poppy 60's song. Nice harmonies. Alright, we got a Latin beat in "Me Deixa Em Paz." Tenor voices of Nascimento and Alaíde Costa reaching high octaves and also using falsettos. The bossa nova beat kicks in a little harder. Lô Borges takes over vocals on "Trem De Doido." Hey, this is rock and we're back to the 70's. Great drumming and a Carol's Santana-esque solo. This is a great album. I don't know if I've heard an album that switches styles within and between songs so flawlessly. When a song starts don't expect it to end there. The variety: baroque pop, samba beats, pyscychedelic pop, 70's rock and pop and 80's/90's alternative music. And then you add Nascimento's incredible tenor voice. Yeah. A album everyone should hear.

Melhor álbum de todos os tempos amo demais

God I fucking love this album. First album so far that I’ve listened to already. fuck this album is gorgeous. Clube da esquina No2 sounds like absolute heaven. I haven't listened to the album the whole way through in ages and hearing the second half particularly is so refreshing and glorious bruh. this is exactly what a double album should be. broad range of bangers, chunes and emotional rollercoasters. if only I knew what they are on about. when he says asi vivamos seperados in dos cruces 🔥 (basically the only lyric I know cos its the same as in spanish). Paisajem da Janela is such just a feel good swayyey dancey vibe. This album stands beside Songs in the Key of Life as one of the all-time great double albums bruggy. Holy fucking shit when the bass comes in and the instrumental changes in track 13 what the heck. This album sounds so fucking good it's insane. Get your best headphones and fucking get auditory heroin for an hour. fucking god trem de doido is gorgeous. this album sounds so modern for 1972 its insane. what te fuck. also this album cover goes fucking hard. album of the fucking life. I wish trem de doido was longer that was insane. this is easily the best album on the challenge yet. im sorry replacements im sorry Hendrix this is just it. it is insanity how good this album is. oh yay this song title is the same as in spanish. track 20 nothing will be like before. ill try figure out lyrics. he'll nah there's no lyrics on Spotify. this arrangement is gorgeous. I know I've used that word many a time here already but its bleedin true wow. What an album!!!!!!!

o homem voz, baita som e letras, BR esqueça tudo

love it this album go crazy

CLASSICO BR!

This was a cool album! I wasn't 100% jamming on it, but i suspect that if i had any degree of Portuguese fluency it'd be 5 stars for me, so I'll give it the benefit of the doubt.

Unexpectedly awesome, tracks were varied but equally good. My favorite was Nada Será Como Antes

Got into this album a couple years ago after listening to Wayne Shorter’s “Native Dancer” album a lot. Love his voice and style. Really cool tunes and arrangements. So many songs on here. The title track is my favorite and Cravo e Canela (there’s a really great live Flora Purim version!)

Wow this is awesome! Never heard this before but 5 stars for the beautiful guitar voicings. Definitely coming back to this one.

Holy SHIT this is already beautiful. Obviously I don’t speak Portugese(?) so i have no inkling of what’s being said but it is PRETTY DAMMIT. It’s also so stylistically diverse and some of the guitar work especially is what some indie bands are still doing today. 90% of this album could be released this very second and it would not seem out of place.

Nicely done, very chill, reminded me of Japanese pop in places.

Beautiful easy listening. Rightly on this list.

Good