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Hmmm. OK, but how about Sergio Mendes and Brasil '66?

T

Those RRRRs

Guest
I came across Woggle's website by mistake and while scrolling down, saw this:

Sat Feb 17: We'll spotlight The Electric Light Orchestra, and check out a one-hit wonder from Pilot, take a look at the top five songs from this week in 1965 and head down to the basement and the "Jukebox From Hell" for a terrible song recorded by Morris Albert!

That's a blurb from Ross Britain's section of the site. Recently I thought about adding 98.1 to my presets again, but now I'm glad I didn't. The only thing remotely interesting left on the station IMHO is "The Lost 45." The only problem with that is that it's usually a Top Ten hit...so it becomes a moot point.

So now, the only time an "Oh Wow" record can be played, it must fall into the "terrible song" criteria. If I only one chance per week of playing a tune from "off of the wall" instead of playing a song from "The Safe 200," I would make sure that the tune was a gem. The song would be so great that it would keep the listeners by the radio until the following week just in case it was played again by accident. There are enough of those types of records available.

But not at WOGL. Nope. The "Song of the Week" by definition must suck, or it doesn't get airplay.

Morris Albert? Come on guys. The only record he's known for by the masses is "Feelings." So let's see. The upcoming "Song of the Week" may indeed be "Feelings." It probably will be since not only does it meet the criteria, but it was also a Top Ten tune. Other hits of his included, She's My Girl, Conversation, Woman, and Memories to name a few. It will be interesting to see if Woggle has the guts to play one of these since none of the preceding made it close to the Top 40.

Albert was a Brazilian Singer/ Songwriter. If they want to play something unusual from a Brazilian Singer, they should play something like "The Fool On The Hill" by Sergio Mendes and Brasil '66. It was written by Paul McCartney and John Lennon and recorded by The Beatles, but the version that charted was by Mendes in '68.

Other hits of theirs included The Look Of Love, Pretty World, Scarborough Fair, but you may remember the vocalist Lani Hall who fronted Brasil '66 from the James Bond film "Never Say Never Again." She sang the theme song from that film by the same title.

The interesting thing about the Woggle, Morris Albert, Braziliansinger debacle is that Brasil '66 also recorded a tune called One Note Samba which is the vocal version of Herb Alpert's instrumental song called Spanish Flea. ALBERT sounds like ALPERT. Maybe that's where Britain and the gang got the idea.

It's as good as any other idea I can think of to play something awful on purpose.
 
I agree about the Morris Albert song. I have heard that he made his record company (CBS, I believe) very leary of "One Hit Wonders," when he couldn't chart after Feelings.

By the way, One Note Samba and Spanish Flea are two different songs. One Note Samba was written by Antonio Carlos Jobim, along with Girl from Ipanema and many other bossa nova classics from the 60's.
 
By the way, One Note Samba and Spanish Flea are two different songs. One Note Samba was written by Antonio Carlos Jobim, along with Girl from Ipanema and many other bossa nova classics from the 60's.

Very lucid response. Thank you. You are correct about One Note Samba and Spanish Flea, however, Brasil '66 combined the two songs into one and called it One Note Samba. The vocal chorus of the record is to the tune of Spanish Flea.

The interesting thing about Girl From Ipanema is that even though it is probably the best recognized tune by Brasil '66, it didn't hit the Top 40. The version that did chart was the forgotten version by Astrud Gilberto in '64. I know Sinatra recorded it, and Alpert also had an instrumental version of the tune in '65 or '66. It was shortly thereafter that it was recorded by Brasil '66. Herb Alpert introduced (sort of) that group to the states by taking them under his wing and allowing them to perform with him in their early days on A&M records.
 
The interesting thing about Girl From Ipanema is that even though it is probably the best recognized tune by Brasil '66, it didn't hit the Top 40. The version that did chart was the forgotten version by Astrud Gilberto in '64. I know Sinatra recorded it, and Alpert also had an instrumental version of the tune in '65 or '66. It was shortly thereafter that it was recorded by Brasil '66. Herb Alpert introduced (sort of) that group to the states by taking them under his wing and allowing them to perform with him in their early days on A&M records.


I'm sorry but the version by Astrud Gilberto was hardly the forgotten version of Ipanema. It was HUGE and the Getz/Gilberto CD that has the long version of the single is STILL one of the all time greatest selling jazz albums in the US (now in the Verve 'desert island discs' series). I grew up listening to Brasil '66 and don't recall ever hearing their version of Ipanema, so I think it's incorrect to say it was their best recognized tune. "Look of Love" was all over the radio, "Fool on the Hill" got a lot of airplay, their "Night and Day" got played at MOR stations and "Mais Que Nada" (which always sounded great on the radio but I don't think charted) got a revival in the Austin Powers movie.
 
I'm sorry but the version by Astrud Gilberto was hardly the forgotten version of Ipanema. It was HUGE and the Getz/Gilberto CD that has the long version of the single is STILL one of the all time greatest selling jazz albums in the US

You may be right, but I was going by today's standards and my own listening experience. Indeed, the Gilberto version may have been the more popular version of the song, but I haven't heard it in this millenium. It may still be popular with some classic jazz afficionados, however, when I was working in Trenton last year, I know WBUD still played the Brasil '66 version of Ipanema.

I grew up listening to Brasil '66 and don't recall ever hearing their version of Ipanema,

Interesting. I grew up south of Trenton, and recall the Brasil '66 version. Maybe it's a regional thing.

I think it's incorrect to say it was their best recognized tune.

I think the actual song Girl From Ipanema (no matter who recorded it) is probably better recognized today than Look Of Love or Night and Day. I don't know, it's not a scientific poll.

"Mais Que Nada" (which always sounded great on the radio but I don't think charted) got a revival in the Austin Powers movie.

The song didn't chart, but I'm glad you too recognized it in Austin Powers.

Interesting discussion. Thank you.
 
Good stuff about Sergio Mendes and Brasil '66. Lani Hall wen ton to become Mrs. Herb Alpert. And the tunes mentioned, good ones, all of them. Astrud Gilberto's hit with Stan Getz(a Philly guy)is rightly called one of the best jazz pieces to come from the '60's. I have both the charted long version and a live version recorded at Carnegie Hall in '64 with Astrud's husband, Joao, playing guitar to open the tune. He then sings the lyrics in Portuguese; Astrud reprises in English, and Getz just WAILS! These days, bossa nova would be world music, I bet.

Dave Gardiner

WVCH 740/WNWR 1540

Philadelphia
 
Long time lurker here, but I had to register for this topic, as somewhat of a knowledgeable person on the subject of A&M Records and Sergio Mendes & Brasil '66.

First off, Brasil '66 (that band with that moniker) never recorded any version of "The Girl From Ipanema". They were active from 1966 through about 1971-72, doing seven studio albums for the A&M label, and one live album that was never released in the US (LIVE AT EXPO '70).

Sergio Mendes, the leader of that group, had a career as a jazz pianist that preceded his success with Brasil '66, recording a bunch of albums for the Philips and Atlantic labels. Two of his Atlantic albums had versions of "The Girl From Ipanema" (THE SWINGER FROM RIO and THE BEAT OF BRAZIL), but neither were probably ever played much on radio, certainly not as hits, anyway.

Around 1972-73, Brasil '66 became Brasil '77, and there was one more recording of Sergio and that newer group doing "The Girl From Ipanema", and that was on another live album recorded at the Greek Theatre in Los Angeles but never released in the US (called IN CONCERT). It remains one of the few Sergio Mendes album to not ever be available on CD. The vocalists on that Brasil '77 version were Gracinha Leporace (Mrs. Mendes) and Geri Stevens (Karen Philipp had left the group by this time). Again, it's impossible that that recording ever got any airplay on a US radio station.

I'm pretty sure the original poster was a bit confused and thought that the hit version by Stan Getz and Astrud Gilberto was a Sergio Mendes recording.

Furthermore, "Mais Que Nada" by Brasil '66 did indeed chart, though it didn't crack the top 40. It reached number 47 and was on the chart for eight weeks. And the other track mentioned here was officially titled "One Note Samba/Spanish Flea" as it appeared on the first Brasil '66 album called HERB ALPERT PRESENTS SERGIO MENDES & BRASIL '66, an album that was just released on CD for the first time in the US late last year.
 
1. Thank you Foe Paw!!!

2. The (an) instrumental version of "The Girl.." was the song playing in the elevator when Jake and Elwood Blues rode up to the Cooke County Tax Assessors Office to pay the taxes on the orphanage. A stroke of genius using that song as the SWAT Teams encircled the building.
 
Not only was Stan Getz a local guy (died in '91) but according to Bill Wright, Sr. of WIBBAGE/WPEN fame, Astrid Gilberto was living in the Chadds Ford area in the 90's. I never tire of their sounds and that of Brazil '66.
 
I'm pretty sure the original poster was a bit confused and thought that the hit version by Stan Getz and Astrud Gilberto was a Sergio Mendes recording.

I was convinced that I was right about this one. So convinced was I that I called WBUD today and spoke with Eric Johnson, the Program Director. He confirmed that the version they play was indeed the Gilberto version. I have no problem admitting when I'm wrong, unlike some talk/entertainment hosts I've heard who always have to be right, even if it means dropping a deragatory name or two on the other person who dares to disagree.

Anyway, enough about that.

I know there is another version of the song (not Alpert or Sinatra) recorded after the Gilberto version that received some airplay. That's why I was convinced that I had heard two different and distinct female voices on this record. It was probably "Honey Drippers & The Pegalo Singers," another Bossa Nova/ Soul Jazz kind of group. Somewhere I saw this album, either in a radio station or at someone's home, but I can't confirm or deny that that is the right version either.

But I had an interesting conversation with Johnson. For most people who post on the Philly board, 1260 AM is flea-bite stick in Delaware. But others may recognize that frequency as belonging to WBUD.

It's a 5000 kw'er from Trenton that's been around since the 50's that currently runs an automated "Sunny" kind of format featuring Manilow, Carpenters, Jim Croce, etc. When I first heard the station they played big band and standards, but eventually they evolved into their "Great Gold" format in the 90's which focused primarily on oldies.

A couple of years ago they ceased their local programming, terminated their on-air staff and used a satellite service called "Unforgettable Favorites." According to Johnson, the numbers fell in half. They decided to return to their own music and program the station locally again, but without on-air talent in order to save money, and the station consistently holds about a 4.0 again in Trenton. Unfortunately, he said, it's harder and harder for that AM station to make money because of the changing face of radio.

Today, we are seeing more syndication than ever.

Does anyone have opinions or data on whether or not it has been more beneficial either economically or ratings-wise for underperformers on a national basis to go to syndication versus fully automating the station?
 
Well, look on the "cosmic" side of things. Those RRRR's now has "66" posts. And Sergio Mendes' birthday was this past week (the 11th). He turned "66".

Oooooh.

:)
 
I thought Brasil '66 (what a *cool* name :)) had a distinct sound. Very bossa nova. Very Brazilian. Very summery (as was Getz/Gilberto's "...Ipanema", the only version of that song I ever remember hearing).

SM&B'66's versions of "The Fool...", "The Look...", and "Scarborough..." are fine counterpoints to the versions by the Fab Four, Dusty, and S&G respectively. As for "Mais Que Nada"... it's bossa nova that ROCKS! Sorry it missed the top 40.

I have my 1996 edition of the Whitburn Top 40 book with me. Brasil '77 never made Billboard's Top 40 under that incarnation, but Mendes (his name credited alone) did return to the Top 10 in 1983 with "Never Gonna Let You Go", with Joe Pizzulo and Leza Miller on vocals.

My mother used to have two SM&B'66 LPs. I think she gave them away to our church's yard sale about 11 years ago.

ixnay
 
I'm still a big fan. Have, I think, six or more greatest hits LP's ... "Four Sider" and two original A&M "Greatest" and "Classics" CDs still. Great stuff! "Bim Bom," "So Many Stars," "Goin' Out of My Head" and the hits, of course, still faves. The "AM edited" original version of "Ipanema" by Getz/Gilberto is the most familiar, but the five-minute plus original in both languages is a jazz classic. Remember the days of "dayparted" AM when "Fool on the Hill" was played as a huge hit next to the "rock" stuff of the day? Those were the days... Dayparted "Top 40" and "Boss Radio." How'd it ever work so well compared with today?
 
Well, look on the "cosmic" side of things. Those RRRR's now has "66" posts. And Sergio Mendes' birthday was this past week (the 11th). He turned "66".

Oooooh.

Oooooh is right. You're freakin' me out! I was gonna have a ouija beef and beer this weekend. Not now. You ruined my plans.
 
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