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A selection of great albums of Brazilian popular music

This is Great Brazilian Music's selection of over 200 great Brazilian albums, of different styles and genres, listed in chronological order of release year. Click on the album covers to listen to a track from each album (* as of May 2015, this feature is temporarily unavailable, but hopefully it will be restored in June 2015). Aracy de Almeida: Canções de Noel Rosa (1955) Aracy de Almeida interprets songs of the great Rio de Janeiro poet and composer Noel Rosa (1910-1937). Tonico & Tinoco: Com suas modas sertanejas (1958) A top album by Tonico & Tinoco, one of the most famous duos of traditional sertanejo music. João Gilberto: Chega de Saudade (1959) The first bossa nova record ever and a classic masterpiece. João Gilberto at his most brilliant. Dorival Caymmi: Dorival Caymmi e seu violão (1959) The celebrated singer and songwriter from Bahia, accompanied only by his own accoustic guitar.  João Gilberto: O amor, o sorriso e a flor (1961)Another dazzling bossa nova masterpiece from the giant of the genre. Jorge Ben: Samba Esquema Novo (1963) Mixing samba with acoustic rock, Jorge Ben took Brazil with storme already with his debut album, as he delivers timeless classics as Mas que nada and Chove chuva.  Nara Leão: Nara (1964) One of the most popular singers of the bossa nova era, Nara Leão interprets both newly written material by bossa nova giants as Tom Jobim and Vinícius de Morães, as well as old samba classics - all in her own cool and elegant way. Moacir Santos: Coisas (1965) One of the best examples of sofisticed jazz, mixed with all kinds of Brazilian music. Moacir Santos is the master of the genre. Ataulfo Alves: Eu, Eternamente samba (1966) Atauflo Alves is one of the most celebrated and singular samba artists of all time. Vassalo do Samba andLaranja Madura, on this album, are two of his best and most well known songs.  Baden Powell och Vinícius de Morães: Os Afro-Sambas (1966) The eloquent poetry of Vinícius de Morães meets the finely tuned music of Baden Powell, one of the most respected guitarists and composers of his generation. The theme of the album is the sound of Afro-Brazilian music from the state of Bahia. Maria Bethânia: Canta Noel Rosa (1966)A young Maria Bethânia, on of the most unique singers of Brazilian music, presents what is arguably the most beautiful interpretations ever of the music of the famous 1930's poet and composer Noel Rosa. Baden Powell: Tristeza on Guitar (1966) One of the most beautiful albums of composer/guitarist Baden Powell. As close to musical perfection as one can possibly get.  Roberto Carlos: Roberto Carlos (1966) The most celebrated artist of the Jovem Guarda movement at the creative hight of his career, performs excellent pop songs, as Namorada de um amigo meu and Apaixonado por você Chico Buarque: Chico Buarque de Hollanda (1966) The debut album of Chico Buarque was an instant timeless classic, with samba, bossa nova and marchinhas paired with the young Buarque's already poetic lyrics. Tom Jobim: Wave (1967) The most easily accessible and perhaps the most brilliant album in the career of renowned composer Tom Jobim. Caetano Veloso: Caetano Veloso (1968) The solo debut of one of the great geniouses of Brazilian music and also the beginning of the tropicalist movement, and, as such, one of the milestones of Brazilian music. The album contains tropicalist classics such as Alegria, alegria, Tropicália and Soy loco por ti América. Caetano Veloso, Gal Costa, Gilberto Gil, Nara Leão, Os Mutantes and Tom Zé: Tropicália ou Panis et Circenses (1968) A very controversial album at the time of its release, which Tropicália ou Panis et Circenses features all the frontfigures of the tropicalist movement, which revolutionized Brazilian music in the late 1960's with their unique sound. João Donato: Quem é quem? (1968) João Donato's very personal mix of samba and bossa nova, with touches of soul and jazz has never sounded more charming than on this absolutely stunning album, which sounds just as fresh and exciting today as it did in 1968. Os Mutantes: Os Mutantes (1968)The debut album of os Mutantes is a unique psychedelic gem, managing to be both playful and beautiful, with a sound like no other band on earth. Gal Costa: Gal Costa (1968)This is Gal Costa at her best and at the height of her tropicalist phase, performing splendid songs written by artists like Caetano Veloso and Gilberto Gil. Jorge Ben: Jorge Ben (1969) Jorge Ben reinvents himself as an artists, with a more lavish, elaborate and funky sound, with inspiration both from the tropicalist movement and black American music. At the core of the music, as always when it comes to Jorge Ben, is samba. Vanusa: Vanusa (1969) Model and singer Vanusa dishes up an excellent, slightly psychedelic pop album and one of the absolute highlights of the Jovem Guarda movement of the 1960's. Carlos Lyra: Saravá (1969) Carlos Lyra was one of the most talented and elegant artists of the 1960's bossa nova movement and he certainly shows the best of his form on this album. Gilberto Gil: Gilberto Gil (1969) A tropicalist album from Gilberto Gil, full of energy and exuberant creativity. It also contains one of most famous songs of Brazilian popular music: Aquele Abraço. Zimbo Trio e Metais: Decisão (1969) An instrumental classic within the bossa nova and samba-jazz genres. Os Mutantes: Mutantes (1969) The second album of the legendary tropicalist rock band, again showcase their playful creativity. It is the most psychedelic album of the band. Chico Buarque: Chico Buarque de Hollanda No 4 (1970) One of the strongest albums of one of the most famous and respected artists in Brazil, showcases an inspired Chico Buarque, who has cleraly evolved as an artists, compared to his three earlier albums. He has added more nuance, vibrance and vitality to his already amazingly strong repertoire.  Egberto Gismonti: Sonho 70 (1970) Arguably the most elegant and compelte album of this wilful composer, Sonho 70 draws from elements of both samba, contemporary pop music and classical music. Jorge Ben: Força Bruta (1970) Jorge Ben at the top of his career, presenting his unique, acoustic and increadibly funky samba-soul music. Milton Nascimento: Milton (1970) One of the great albums of the Clube da Esquina genre, with traditional music from the state of Minas Gerais mixed with elements of contemporary jazz and Beatelesque pop music - and of course Milton Nascimento's unique and world famous voice. Tim Maia: Tim Maia (1970) The first album of Brazilian soul and one of the absolute top albums of the genre. Listening to this, it's easy to understand why Tim Maia is considered as one of the greatest singers in Brazilian music history.  Os Mutantes: A divina comédia ou ando meio desligado (1970) Yet another fantasic album by Os Mutantes, where the band again unites their trademark cheekiness, rock'n'roll attitude and odd musicak beauty. This time around, Arnaldo Baptista's bass guitar takes a more prominent role. Ronnie Von: A Máquina Voadora (1970) Teenage girl pop idol and slick tv show host Ronnie Von surprised Brazil by recording three excellent albums of psychedelic rock between 1968 and 1970. This is probably the best of the bunch. Dom Salvador e Abolição: Som Sangue e Raça (1971) A fantasic fusion of Brazilian and North American black music, awe-inspiring, exhuberant and funky samba-jazz and samba-soul, with elements of various traditional Brazilian music styles and rock. One of the first and very much one of the best works of the genre. A true classic.  Caetano Veloso: Caetano Veloso (1971) Album recorded with English lyrics by Caetano Veloso during his forced exile in London. It contains stunning classics such as London, London and Maria Bethânia. Erasmo Carlos: Carlos, Erasmo (1971) Erasmo Carlos hits a homerun with this excellently produced album, where his colorful and very personal brand of rock/pop meets MPB. Tim Maia: Tim Maia (1971) Tim Maia's second album is just as strong as his debut from the previous year. Brazilian soul at its best.  Gal Costa: Fa-Tal Gal a Todo Vapor (1971) A famous live album, from the final days of the tropicalist movement. The epic Vapor Barato, written by Jards Macalé and Wally Salomão, is the highlight. Paulinho da Viola: Paulinho da Viola (1971) Paulinho has always been one of the most elegant of all samba masters and his talent is on show for all to hear on this album, with classics such as Num Samba Curto and Para Ver as Meninas. Vinícius de Morães, Toquinho, Marília Medalha: Como dizia o poeta (1971) One of the most exquisite albums of Bohemina poet and singer Vinícius de Morães, here in colaboration with celebrated guitarist and composer Toquinho and singer Maria Medalha. The album contains a couple of Vinícius most famous and beloved songs, like Tarde em Itapoã, A Tonga da Mironga do Kabuletê and Como dizia o poeta. Martinho da Vila: Memórias de um sargento de milícias (1971) One of the big stars of samba scene and the undisputed modern-king king of the partido-alto subgenre is on his best form on this recording. Chico Buarque: Construção (1971) One of the most praised classics of the MPB genre and Chico Buarque at his best. Simply a masterpiece from start to finish.  Maria Bethânia: A tua presença (1971) Maria Bethânia has one of the most powerful and easily recognisable voices of all Brazilian music and she has seldom had a better material to work with than on this album. Silvinha: Silvinha (1971) Contemporary soul and pop meets elements of traditional Brazilian music on a sensational album, buslting with joyful energy. Os Mutantes: Jardim Elétrico (1971) On their fourth album, the legendary psychedelic band takes a turn towards a more electric guitar oriented rock sound, but remains true to their very original, cheeky, intentive style. Milton Nascimento and Lô Borges: Clube da Esquina (1972) Easily the most well known album from the Clube da Esquina years, it was originally released as a double LP. Folk music from the state of Minas Gerais is mixed with elements of contemporary jazz and Beatelesque pop to form a unique, dreamy soundscape on this beautiful classic. Alceu Valença e Geraldo Azevedo: Quadrofônico (1972) Alceu Valença and Geraldo Azevedo stylishely mix folk music from Northeastern Brazil with contemporary pop, achieving an odd but unique and very exciting sound. Novos Baianos: Acabou Chorare (1972) Samba, trio elétrico music and rock, mixed to absolute perfection on one of the most brilliant classics of the MPB genre.  Sebastião Tapajós e Pedro dos Santos: Sebastião Tapajós e Pedro dos Santos (1972) An excellent album comprised by largely instrumental music, transcending genres, but always with samba at the core. Jorge Ben: Ben (1972) Jorge Ben, again showcasing his trademark samba-funk and samba-soul, presents an album repleat with simply absorbing tracks, such as Que nega é essa? and Quem cochicha o rabo espicha. Lô Borges: Lô Borges (1972) Lô Borges was only 20 years old when this, his first solo album, was released. He preservs the same, characteristic Clube da Esquina sound as on his famous colaboration with Milton Nascimento, the previous year. The songs are melancholic, dreamy and very beautiful. Nêlson Ângelo and Joyce: Nêlson Ângelo e Joyce (1972) Joyce is mostly known as a bossa nova singer, but here she joins Nêlson Ângelo to record a very nice and almost medidative Clube da Esquina styled album. Elis Regina: Elis (1972)One of the strongest albums from one of the most celebrated singers of the MPB genre. Vinícius de Morães and Toquinho: São demais os perigos desta vida (1972) Classic album from one of the most beloved musical duos in Brazilian music. The poetry of Vinícius de Morães meets the music of Toquinho, creating immortal songs as Tatamirô and Pra viver em grande amor.  Sérgio Sampaio: Eu quero é botar meu bloco na rua (1973) Contemporary rock and singer song writer music meets samba accompanied by splendid and moving lyrics on a truly magnificent album, from one of the least known geniouses of Brazilian popular music. Music that goes straight to the heart of the listener and which would - eventually - render Sérgio Sampaio many dedicated admirers, not the least among other musicians and artists. Edu Lobo: Missa Breve (1973) Edu Lobo was one of the pioneers of modern MPB during the 1960's and continued it the same, timeless style during the 1970's. Never was his talent more clear than on this album. Dominguinhos: Festa no sertão (1973) In the generations following the forró genre's undisputed master Luiz Gonzaga, Dominguinhos is definitely one of the most famous artists. His sanfona (Northeast Brazilian accordeon) takes the front seat on this instrumental recording. Os Tincoãs: Os Tincoãs (1973) The trio of os Tincoãs presents amazing renditions traditional style Afro-Brazilian songs from Bahia - transcendental, both in terms of musi, rhythms and vocals. Lula Côrtes & Lailson: Satwa (1973) Lula Côrtes and Laison produce their own, very personal, slingtly psychedelic and quite meditative version of Northeast Brazilian guitar music, on a rare album that with time has acquired cult status. Elza Soares: Elza pede passagem (1973) A stunning album where Elza Soares adds touches of danceable jazz and soul to twelve samba classics. Elza Soares never sounded more energetic and enticing. Raul Seixas: Krig-Ha-Bandolo (1973) Raul Seixas mixes traditional Brazilian rhythms, rock'n'roll and thought provoking lyrics and in the process creates one of the most personal, well known and beloved classics of Brazilian rock history. Marku Ribas: Underground (1973) A talented composer and great singer, whose music sounds like a mix of Jorge Ben and Tim Maia. That's an adequate description of this magnificent album by Marku Ribas.  João Gilberto: João Gilberto (1973)Elegant, sensitive and perfectionist as ever, this is one of the best albums by João Gilberto, the undisputed master of bossa nova. Walter Franco: Ou não (1973) Very strange, very avant-gard and very enjoyable. This kind of concept albums are usually more interesting in theory than they are pleasant to the ear, but Walter Franco manages to come up with one of those rare exceptions which are both conceptually interesting and quite fun to listen to. Paulinho da Viola: Nervos de Aço (1973) Another excellent album by smooth samba poet Paulinho da Viola.  Luiz Bonfá: Jacarandá (1973) Famous guitar virtuoso Luiz Bonfá tastefully mixes samba and jazz. Tom Jobim: Matita Perê (1973) One of the most praised albums by Tom Jobim. The focus lies on exquisitely gentle melodic harmonies.  Luiz Melodia: Pêrola Negra (1973) The first and most highly commended album by Luiz Melodia, with music that defies all traditional genre classification, drawing from samba, soul, forró, pop, rock and jazz - a classic within MPB. Alceu Valença: Molhado de Suor (1973) Just as on his debut, Alceu Valença neatly blends traditional music from the Brazilian Northeast with contemporary, slightly Beatles inspired, pop.  Tamba Trio: 3 Horas da Manhã (1973) Instrumental 1970's samba-jazz and bossa nova.  Luiz Gonzaga: Sangue de Nordestino (1973) Perhaps the most enjoyable and thorough album from the king of the forró genre, with xote and baião of the highest order. Secos & Molhados: Secos & Molhados (1973) Beautiful songs from one of the most unique bands in history. The interplay between João Ricardo's highly exspresful song writing and Ney Matogrosso's singular and instantly recognizable falsetto voice creates musical magic that conquered the hearts of critics and the Brazilian public alike. Marcos Valle: Previsão do tempo (1973) Contemporary bossa nova and pop elegantly mixed by one of the most respected and popular artists of the second bossa nova wave. Raul Seixas: Gita (1974) The most famous rock poet of Brazil continues to elaborate on his very personal style, this time taking a turn towards the solemn and magestic. Casa das Máquinas: Vou morar no ar (1974) One of the best examples of progressive rock in Brazil.  Jorge Mautner: Para iluminar a cidade (1974) Jorge Mautner is inspired on this odd, interesting and highly enjoyable album, where childish playfulness meets instinctive beauty and intricate intelectualism. Cartola: Cartola (1974) One of the most celebrated and elegant samba composers of Rio de Janeiro presents some of his most famous songs, several of which have been recorded and performed by countless Brazilian artists through the years. Chico Buarque: Sinal Fechado (1974) A classic album where Chico Buarque mostly performs songs by other artists, as he was forbidden to write his own music, by the conservative military regime who governed Brazil at the time. Nevertheless amusical gem by any standards. Gilberto Gil: Ao Vivo (1974) Gilberto Gil shows his most inspired and consistent side on this comparatively unknown, but highly enjoyable live album. Five excellent "bonus" tracks were added to the CD release of the album. Elis Regina e Tom Jobim: Elis e Tom (1974) A truly masterful recording where two of Brazil's most famous and celebrated artists - composer Tom Jobim and singer Elis Regina, both appearing at their absolute best. A highly sophisticad and elegant, yet very warm album, graced with an excellent production as the icing on the cake. Arnaldo Baptista: Loki? (1974) Former os Mutantes member Arlando Baptista suffered gravely from depression, drugs and emotional health problems during the 1970's. His personal struggles are reflected on this strange but beautiful rock album. Perfume Azul do Sol: Nascimento (1974) Largely unkown and forgotten, São Paulo based rock band Perfume Azul do Sol nevertheless left their mark with this very exciting and highly unorthodox album. Jorge Ben: A Tábua de Esmeralda (1974) By many considered as the peak of Jorge Ben's career, where his unique brand of samba reaches its full potential and every song is a gem. Definitively one of the essential albums of the MPB genre. Flaviola & o Bando do Sol: Solar (1974)  Contemporary, northeast Brazilian styled folk songs with a slight touch of psychedelia creates a unique, dreamy atmosphere on this beautiful album. Secos e Molhados: Secos e Molhados (1974) The second and last album of legendary Secos e Molhados continues in the veine as the group's first recording, from 1973. Novos Baianos: Linguagem do Alunte (1974)Though it doesn't quite reach the same heights as the masterpiece Acabou Chorare from 1972, the band's mix of samba and rock is still very enjoyable. Impacto Cinco: Lágrimas Azuis (1975) Lágrimas Azuis, the second album by the band Impacto Cinco from Natal, is one widely considered as one of the best Brazilian rock albums ever. Milton Nascimento: Minas (1975) A fundamental album from one of the great singers of MPB.  Lula Côrtes e Zé Ramalho: Paebirú (1975) Traditional music from Brazil's Nordeste region meets psychedelic sounds, creating a very interesting mix.  João Bosco: Caça à Raposa (1975) João Bosco is well known for his very personal way of interpreting samba and MPB and this album is definitely one of his best moments. Gilberto Gil: Refazenda (1975) Lovely music on one of Gilberto Gil's most conistent studio albums, showing him at his most creative and spirited self. Rita Lee & Tutti Frutti: Fruto Proibido (1975) One of the biggest classics of Brazilian rock history, very straight forward and international and also at the same time very intimate and Brazilian. Alcione: A Voz do Samba (1975) Solid samba album by a popular female singer from Bahia. João Donato: Lugar Comum (1975) Again, João Donato offers a true musical through his special mix of samba, jazz and contemporary pop. Laid back, free flowing and elegant music, with an excellent production to top it all off.  Di Melo: Di Melo (1975) A landmark album in the samba-soul genre. Charming, funky, melodious, rhythmic and danceable music - completed with some real high class lyrics. Highly essential. Caetano Veloso: Jóia (1975) A very delicate, quite and beautiful masterpiece by Caetano Veloso. The magic materialize in the space inbetween the simplistic production, warm and elegant melodies and sheer poetry in the lyrics. Tim Maia: Racional (1975) One of the most higly regarded moments of Brazilian soul. Though clearly under the influence of the Universo em Desencanto sect, Tim Maia never sounded more vibrant, crisp and soulful in his singing and his music was never more passionate and funky. Walter Franco: Revolver (1975) Walter Franco creates nuances and rhythms in each song by repeating melodic and lyrical lines over and over again. Very peculiar, very interesting and very enjoyable album on the borderlines between MPB and rock. Raul Seixas: Novo Aeon (1975) Classic Raul Seixas album, with highlights like Tente Outra Vez, Tu és o MDC da minha vida and Novo Aeon - all among Raul Seixas most popular songs. Jorge Mautner: Mil e uma noites de Bagdá (1976) The excentric Jorge Mautner here draws inspiration from, among other things, Afro-Brazilian music and rhythms from Bahia on an album that exhales hapiness and joy of living. Arnaud Rodrigues: Som do Paulinho (1976) Another excentric musician, Arnaud Rodrigues, in his own distinctive way mixes samba, rock, pop and other musical styles in a free flowing, musical mosaic. Fafá de Belém: Tamba-Tajá (1976) Young and beautiful singer Fafá de Belém, from the state of Pará, never sounded better and more interesting than on this, her vivid debut album. Songs from very different genres, like carimbó, forró, samba-de-roda and chic pop, all preformed in a very classy manner by Fafá de Belém and with an excellent production to back her up. Marku Ribas: Marku (1976) This, the second album of Marku Ribas, is just as strong as his first album and he continues in the same way, uniting and building on the sounds and styles of Tim Maia and Jorge Ben. Djavan: A Voz e o Violão (1976) With samba as his baseline, Djavan creates fluid, beautiful melodies while clearly demonstrating his rare musical talent that would make him one of the biggest stars of Brazilian music for decades. The best songs here, like the hit Flor de Liz are pure genious. Tom Zé: Estudando o Samba (1976) Tom Zé, at the most lucid and inovative moment of his career, deconstructs, cuts up and dissicates samba and then puts it all together again, creating an exctiging, beautiful and ephemeral creation, which has forever carved Tom Zé's name into Brazilian musical history. Cartola: Cartola (1976) Classic recording of hugely popular samba comoser Cartola, in his own voice presenting some of his compositions. Ney Matogrosso: Bandido (1976) Way over the top, exhuberant, pivotal and full of energy, Ney Matogrosso, with his inimitable falsetto voice, shows why he is considered as one of the most talented artists in Brazilian music and one of the true originals within MPB.  Jorge Ben: África Brasil (1976) Jorge Ben abandons his classic, acoustic sound and translates his trademarked samba-rock beat into a chewing and crunching, barbed wire guitar sound. The result is an absolute stunner of an album.  Hyldon: Na rua, na chuva, na fazenda (1976) Lovely Brazilian soul, with pronounced streaks of MPB, complete with a luxurious production and a languishing string orchestra. Hyldon reaches perfection on tracks like Na rua, na chuva, na fazenda, Na sombra de uma árvore and Meu Patuá. Sérgio Sampaio: Tem que acontecer (1976) Sérgio Sampaio moves closer to samba on this musically and lyrically very strong album. ) Gilberto Gil: Refavela (1977) Drawing heavily from the Afro-Brazilian music tradition, Gilberto Gil produces one of his most moving and inpspirational recordings, with timeless tracks as Refavela, Do Norte da Saudade and Sandra. Banda Black Rio: Maria Fumaça (1977) The most popular band in the samba-jazz-soul fusion genre, Banda Black Rio was rediscovered in the 1990's, when their music graced dance floors all around the world. Excellent music like this, performed by very skillful musicians, will never lose its attraction. Dércio Marques: Terra, vento e caminho (1977) Drawing heavily (though not exclusively) from the singer songwriter tradition of the folk music from the state of Minas Gerais, Dércio Marques creates a picturesque and colorful album, with a quite personal and intimate atmosphere to it. Caetano Veloso: Bicho (1977) Backed sometimes by a soft Afro-Brazilian groove and sometimes only by his own acoustic guitar, Caetano Veloso reaches perfection from start to finish here, as he produces one of the most unique and beautiful albums of Brazilian popular music.  João Gilberto: Amoroso (1977) João Gilberto enjoys the backing of a lush string orchestra, as he, with his usual elecance and warm perfectionism, performs bossa nova of the highest available order. Renato Andrade: A Fantástica Viola de Renato Andrade (1977) A much talked about album by one of the masters of classic, scholarly sertanejo guitar music. Lia de Itamaracá: A Rainha da Ciranda (1977) Lia de Itamaracá, a singer from the state of Pernambuco, performs ciranda and coco, to traditional music styles from her home state.  Zé Ramalho: Zé Ramalho (1978) On this, his eponymous debut album, Zé Ramalho manages to merge folk music from the Brazilian north east, contemporary rock and pop and excellent, poetical lyrics. A sizzling classic. Caetano Veloso: Muito – dentro da estrela azulada (1978) Another classic masterpiece by Caetano Veloso, featuring songs like Terra, Sampa and Tempo de Estio. The low tech production , typical for Caetano during this time, renders the album a very intimate, down to earth atmosphere. Chico Buarque: Chico Buarque (1978) One of Chico Buarques strongest albums, where he finally managed to record some of his older songs, which had been banned by the regime censors earlier during the decade, as the magnificent and dramatic Cálice, which he presents together with Milton Nascimento.  Ângela Rô Rô: Ângela Rô Rô (1979) MPB with streaks of blues and soul, presented by an excellent singer.  Lô Borges: A Via Láctea (1979) A Via Láctea comes with a much more direct approach than Lô Borges first solo album, 7 years earlier. The characteristic dreamyness and unmistakebly Brazilian feel is still there. Caetano Veloso: Cinema Transcendental (1979) One of the most well-renowned albums from Caetano Veloso, drawing much inspiration from the music of Northeastern Brazil. Musical poetry a poethic music. Caetano Veloso: Outras Palavras (1981)A typical Caetano Veloso album, colorful, warm and full of nuances. Sérgio Sampaio: Sinceramente (1982) Sérgio Sampaio returns with another very strong, but at the time of its release largely ignored album, which brings a mix of samba, MPB and powerful lyrics. Dércio Marques: Fulejo (1983) Again, folk music and sertanejo from the state of Minas Gerais is the bace of this album, from singer-songwriter Dércio Marques. Camisa de Vênus: Batalhões de Estranhos (1984) A very exciting album from the rudest new wave punk band in Brazil. Blunt, fierce and with a great sense for catchy pop and rock melodies. Dado: Atrás da Luz (1984) Finely tuned and sensitive pop, somewhat reselmblant of the much more famous singer Lô Borges (but without the references to folk music from Minas Gerais). In his best moments, Dado produces 1980's pop of the very highest quality. Fellini: O Adeus de Fellini (1985) The debut album of perhaps the best new wave band of Brazil. Very "artsy", very São Paulo and sometimes goofy and ironic, but always with a melancolic and universally human undertown. Paralamas do Sucesso: O Passo do Lui (1985) One of the most popular Brazilian bands of the 1980's, here with a string of finely crafter pop tunes, such asÓculos and Meu Erro. Legião Urbana: Legião Urbana (1985) The excellent debut album of one of the most famed and wellrenowned bands in Brazilian rock history. The deeb, firm voice of singer Renato Russo and the band's unique sound and thoughtful lyrics rendered them an immediate success, both among critics and the Brazilian public in large. Ira: Vivendo e não aprendendo (1986) The best album by this new wave inspired pop- and rock band from São Paulo, with excellent songs like the reflective Vivendo e não aprendendo, the punky Pobre Paulista and the string accompanied Flores em você. Titãs: Cabeça Dinossauro (1986) A landmark album from the versatile rock and pop bohemians of Titãs. An irreverant and unpredictable mix of agressive rock, art pop and Brazilian new wave - all packaged with the unmistakable style and panash of Titãs. Legião Urbana: Dois (1986) The second album by the rock giants from Brasília, brings both lyrically and musically pulsating songs likeÍndios, Andrea Doria and Tempo Perdido, confirming the band's status as one of Brazil's finest. Fellini: Fellini só vive duas vezes (1986) Fellini follows up their excellent debut album with an even stronger release, this time with more emphasis on the band's melancholic side, without losing their trade mark São Paulo street smartness. Just on the band's debute, the production is  Camisa de Vênus: Duplo Sentido (1987) Another agressive, pulsating and politically incorrect new wave punk and rock album from Camisa de Vênus, full of black humour and well crafted pop melodies. Fellini: 3 Lugares Diferentes (1987) Another charming and creative new wave album by Fellini, full of both decadent melancholy and smart irony. It includes the unconventional (even by Fellini's standards) but brilliant track Rio- Bahia + Lavore Stanca. Cazuza: Ideologia (1988) The most famous album by hugely popular 1980's rock poet Cazuza. An album which marked the decade in Brazilian music.  Picassos Falsos: Supercarioca (1988) 1980's pop and rock, mixed with elements from traditional Brazilian music (mainly samba), from one of the most interesting (though shortlived) band of the decade. Caetano Veloso: Estrangeiro (1989) A rather dark and sad masterpiece from Caetano Veloso, with characteristic production by Brazilian-American musician Arto Lindsay. Vzyadoq Moe: O Ápice (1989) One of the strangest, darkest and most brilliant albums of Brazilian rock history. Very agressive, very low fi and full of naked anxiety, it sounds just as unique, fresh and relevant today as when it was released. A timeless classic of the most bizarre kind. Fellini: Amor Louco (1989) Yet another excellent album by this unique and exciting new wave band from São Paulo. This time, the sound is more direct and produced, and includes more elements of samba. Baden Powell: Os Afro-Sambas (1990) This is Baden Powell's "solo version" of his own 1960's classic with the same name, written and recorded together with poet Vinícius de Morães. The song selection is slightly different from the original version and the music is actually even more sensitive, rhythmic and beautiful this time around. Back to back a fantastic album. Daniela Mercury: O Canto da Cidade (1992) Danceable, happy and full of posive energy, the album immediately propelled Daniela Mercury to the status of "queen" of axé music - and it is definitely one of the most high quality releases of the genre. Lenine, Marcos Suzano: Olho de Peixe (1993) With various kinds of folk music styles and moods from Northeastern Brazil, the album was very well received among critics. Titãs: Titanomaquia (1993) Excellent, straight forward and energetic rock with well crafted melodies and smart lyrics. Sepultura: Chaos A D (1993) Internationally recognized within its genre, metal rock. Itamar Assumpção: Bicho de Sete Cabeças Vol 1-3 (1994) Thre volumes of very creative, beautiful and sometimes unorthodox music, by one of the least know geniouses of Brazilian music. Marisa Monte: Verde, Anil, Amarelo, Cor de Rosa e Carvão (1994) One of the top MPB releases of the decade, this beautiful and well produced album with its timeless and elegant sound, confirmed Marisa Monte as one of the most popular artists in Brazil and one of the greatest female singers ever, in Brazilian popular music.  Nação Zumbi: Da Lama ao Caos (1994) The landmark debute album by Nação Zumbi, marked the start of manguebeat music. Agressive electric guitars interplay with the heavy beat of traditional maractu and the sharp, machine-gun fast vocals by the charismatic band leader Chico Science, presenting lyrics about social issues and inequalities. Definitely an essential album. Paulinho da Viola: Bêbado Samba (1996) Tasteful and elegant samba from one of the masters of the genre. Nação Zumbi: Afrociberdelia (1996) More powerful mangue-beat music from the most prolific and famous band of the genre. Helena Meirelles: Flor de Guarabira (1996) Traditional guitar music in the sertanejo genre, from the interior/countryside of the São Paulo state. O Rappa: Rappa Mundi: (1996) One of the most popular bands of Brazil during the 1990's, with a very characteristic sound. Carlinhos Brown: Alfagamabetizado (1996) With his artistical roots in the axé music of Bahia and the band Timbalada, this is Carlinhos Brown's first album as a solo artists. Bahian percussion music is his speciality and is at the core of his music, but he flamboyantly mixes it with a number of other, both national and international, music genres. The result, at least on this album, is sprawling, impressive and exciting. An amazing album. Caetano Veloso: Livro (1997) Sopisticated and poetical as alway, Caetano draws inspiration from the traditional percussion music of his home state Bahia on this excellent album.  Suba: São Paulo Confessions (1998) One of the first - and best - examples of traditional Brazilian music styles, such as samba and bossa nova, mixed with modern electronic music. Several high profile guest artists, such as Céu, Arnaldo Antunes and Cibelle contribute. Racionais MCs: Sobrevivendo no Inferno (1998) A prime example of Brazilian rap music from perhaps the most respected hip hop group in the country. The lyrics bluntly, and often heart-rendingly, describe life in the slums of São Paulo. Batatinha: Diplomacia (1998) Very beautiful music from perhaps the greatest masters of Bahian samba. The fact that this was one of the very few times Batatinha even got the opportunity to record his music speaks volumes of the working situations of many talented, but poor, black Brazilian musicians. Recorded with the warmth and dignity of an old man, this is one of the most sincere and intimate samba albums ever. Caetano Veloso: Prenda Minha (1999) An excellent live album by Caetano Veloso, where one of the highlights is his very popular Luz de Tieta - a delightful and danceable tune, drawing heavily from the percussion based popular music of Bahia. Throughout the show, Caetano is backed by a strong percussion section and the rich sound of large bnd of selected musicians. Flu: E a alegria continua (1999) Quirky, happy, unconventional and higly original electronic music.  Mundo Livre S/A: Por Pouco (2000) A somewhat straggling, but very nice album by one of the most famous representatives of the manguebeat music scene. Moacir Santos, Zé Nogueira, Mário Adnet: Ouro Negro (2001) Led by Zé Nogueira and Mário Adnet, a small army of very skilled musicians rerecord some of the best songs of the jazz and samba master Moacir Santos, creating a luxurious, sophisticated and simply enchanting atmosphere on this album. Arnaldo Antunes: Paradeiro (2001) In close collaboration with Carlinhos Brown, the quirky art rock poet Arnaldo Antunes, manage to reach a whole new level in his artistic production. The mix between the Afro-Brazilian percussion of Carlinhos Brown, and the smart, but warm, São Paulo styled pop and rock of Arnaldo Antunes works perfectly - and the lyrics of Arnaldo Antunes never held a higher quality than on this quite exquisite album. Los Hermanos: Bloco do Eu Sozinho (2001) Los Hermanos undoubtedly was one of the most original and also one of the most popular bands of Brazilian rock and pop during the last two decades - and this is definitely among the band's strongest albums. Excellent music, from start to finish.  Cássia Eller: Acústico MTV (2001) Cássia Eller was one of the most promising artists of Brazilian rock and it seemed she had just found the perfect style and format for her hoarse, ironlikevoice to reach its full potential, when she died prematurely and unexpectedly from a heart problem. Her version of Cazuza's Malandragem found on this acousitc live album, is insurpassable.  Djavan: Milagreiro (2001) One of the strongest and most tastefully produced albums by one of the most popular artists of the MPB genre, with elements of samba, bossa nova, forró, soul, jazz and even some Spanish tones. Nando Reis: Infernal (2001) Nando Reis left Titãs, one of Brazil's most respected and popular rock bands, for a solo career, which turned out to be very succesful. This album contains excellent, modern pop songs like O Segundo Sol, Cegos do Castelo and Resposta.  Rita Lee: Aqui, ali, em qualquer lugar (2001) One of the most influential profiles of Brazilian rock during the 1960's (with os Mutantes) and during the 1970's (as a solo artist) and then a popular pop star during the 1980's, Rita Lee returns with a very tasteful and vivid album of bossa nova renditions of classic Beatles songs. Época de Ouro: Café Brasil Vol. 2 (2002) Época de Ouro, a group of choro musicians in their 60's, 70's and 80's, along with a long list of distinguished guest artists, creates one of the best presentations of traditional choro, that has ever been recorder. Kid Abelha: Acústico MTV (2002) Kid Abelha was one of the best selling pop bands of the 1980's in Brazil. Listening to this acoustic live show for MTV, it is easy to understand why. With blonde singer Paula Toller at the helm, they sure know how to create pleasent, free flowing pop music. Nação Zumbi: Nação Zumbi (2002) Though most people assumed that the tragic death of their band leader and singer Chico Science would be the end of Nação Zumbi, the band bounced back and continued to produce puslating and exciting manguebeat music. This excellently produced album is a perfect example - maracatu and heavy rock in a productive symbiosis. Ed Motta: Dwitza (2002) Soul, MPB and modern jazz in a very tasteful mix.  Tribalistas: Tribalistas (2002) Arnaldo Antunes, Carlinhos Brown and Marisa Monte joined forces and formed the "temporary group" Tribalistas in 2002. Modern MPB at its finest, the album was an instant success, both among critics and the general public. The production by Alê Siqueira gives the album an extra spark of crisp freshness.  Fernanda Porto: Fernanda Porto (2002) Fernanda Porto exploded onto the scene with this album, which turned out to be one of the finest examples of bossa nova mixed with drum'n'bass and modern electronic pop. Adding the excellent lyrics, it is definitely one of the strongest albums of the decade. Stela Campos: Fim de Semana (2002) Stela Campos, a singer-songwriter from the alternative rock scene of São Paulo, added elements of electronic music to create a very special mix and atmosphere on this excellent, though somewhat gloomy, album. Mugomango: Elétrico Brasil 2002 (2002) Artur Joly, or Mugomango as he chose to call himself on this album, presents some excellent electronica, with upbeat tracks suitable for the dancefloor, as well as slower tracks. DJ Dolores: Contraditório? (2002) One of several very strong electronic albums released in Brazil in 2002, this one by DJ Dolores mixes traditional music and sounds from Northeastern Brazil with electronica in a very exciting and quite unexpected manner. Instituto: National Collective (2002) The loosely linked group of producers and songwriters, under the label "Instituto" brought together a long list of the crème de la crème of Brazilian hip hop, electronica and manguebeat artists, to produce this sensational and groundbreaking album, which defies all genre classification. Otto: Sem Gravidade (2003) An excellent, colorful album by one of the leading artists of the manguebeat genre. The styles and moods on the album are quite varied, but bound together by an excellent production and a special, inspiring atmosphere. Otto had been considered a promising artist for almost a decade and this is the album where he finally reached his full potential. Cérebro Eletrônico: Onda Híbrida Ressonante (2003) A very original and genre defying album by São Paulo based band Cérebro Eletrônico. The music has elements of rock, electronica, art pop and MPB. A real gem. Los Hermanos: Ventura (2003) Another very impressive rock and pop album by Los Hermanos, who further develop their unique sound. Fresh sounding rock and pop is quite rare anywhere in the world these days - but this is definite proof that rock is not dead. Marcelinho da Lua: Tranquilo (2003) A fine album from one of the most popular electronica artists of Brazil. Celso Fonseca: Natural (2003) An inspired, elegant and soulful album of modern bossa nova. One of the most surprising and best albums of the decade. Kátia B: Só deixo meu coração na mão de quem pode (2003) Excellent mix of samba, guitar pop and electronic music.  Seu Jorge: Cru (2004) One of the most popular artists in Brazil during the decade and famous for adding elements of rock and pop into his samba (echoing Jorge Ben), Seu Jorge brings out a surpisingly sophisticated side on this album, adding a whole new dimension to his repertoire. This splendid album also crearly demonstrates that he in fact posesses one the most beautiful voices of his generation. Black Alien: Babylon by Gus (2004) A fantastic rap album, which sounds very Brazilian and very Rio de Janeiro in every possible way. As the album title suggests (regering to Bob Marley) there are also elements of reggae in the music. Itamar Assumpção, Naná Vasconcelos: Isso vai dar repercussão (2004) World renowned percussionist Naná Vasconcelos and Bohemian genious Itamar Assumpção joined forces to record this stunning album, that was sadly cut short (only containing 7 tracks) because of Itamar Assumpcão's premature passing on, after falling victime to cancer. Mombojó: Nada de Novo (2004) A group of teenagers and youngsters from Pernambuco took up the mantle of manguebeat giants Nação Zumbi, while also drawing inspiration from pop and rock of Los Hermanos, to create something completely new, fresh, and most importantly, very enjoyable. The debth, complexity and attention to detaile on this first-class album is especially suprising, considering the young age of the band members. Céu: Céu (2004) Mixing MPB with electronica in the most tasteful and elegant way, lavishely talented singer Céu burst on to the scene with this fantastic album. Rappin’ Hood: Sujeito Homem 2 (2005)  Nicely produced hip hop mixed with samba and featuring famous guest artists as Zélia Duncan, Caetano Veloso and Gilberto Gil. Bonsucesso Samba Clube: Tem arte na barbearia (2005) Another representative of the mangue-beat music scene, mixing traditional music styles from Pernambuco and the Brazilian Northeast (like maracatu, coco and samba-de-roda), with modern rock and pop.  Cordel do Fogo Encantado: Transfiguração (2006) A band with a unique, intense and very interesting style of mixing traditional Northeast Brazilian folk music with crunching guitars and with lyrics and vocals drawing much inspiration from the ancient folk poetry tradition called "Literatura de Cordel", typical of Northeastern Brazil.  Marisa Monte: Universo ao meu Redor (2006) Marisa Monte once again proves what a fantastic singer she is and this time produces one of the most beautiful samba recordings ever.  Vanessa da Mata: Sim (2007) Apointed by the music industry as one of the big stars of MPB, Vanessa da Mata definitely justifies her fame on this excellent album. The production is flawless, as Vanessa da Mata floats between modern MPB, soulfull reggae and a lush disco sound.  Cérebro Eletrônico: Pareço Moderno (2008) After their first album, from 2004, which defied all attempts at genre classification, Cérebro moved more firmly towards alternative rock/pop on this album, though still maintaining their creative and unconventioanl approach to music. Pareco Moderno contains some true first-class pop music, the title track being one of the best examples. Marcelo Lavrador: Constelações (2008) Moodfull, instrumental music, inspired by the constellations, with acoustic guitar play at the center of focus. Curumin: Japan Pop Show (2008) Excellent album with 32 year old Curumin from São Paulo, mixing soul, electronic music and modern pop with traditional Brazilian rhythms - mainly samba. Perhaps something like a Jorge Ben for the 21st century. Marcelo D2: A Arte do Barulho (2009) Marcelo D2 became one of Brazil's most popular artists by mixing samba with modern pop and rap. This is probably his most successful effort. Maurício Marques: Milongaço (2009) Traditional guitar based folk music from southern Brazil, performed with sofistication, passion and beauty by young guitarist Maurício Marques. Céu: Vagarosa (2009) Classy as ever, Céu continues to her blend of MPB and electronica on this excellent album. Djavan: Ária (2010) For the first time in his career, Djavan records an album with versions of other musicians work, as opposed to his own. Accompanied by a largely accoustic backing, the result is among the most elegant, intimate, joyful and beautiful of Djavan's long career.  Jabu Morales: Jabu (2010) A very personal and exciting mix of MPB, samba and soul, from Jabu Morales. Surpringly mature and strong debut album. Vitor Ramil: Délibab (2010) A singer from Rio Grande do Sul, the southernmost state of Brazil, Vitor Ramil very clearly draws his inspiration on this album from his home state. And the neighouring countries of Argentina and Uruguay. One of the best, modern examples of music from this region. Yamandú Costa, Valter Silva: Yamandú Valter (2010) Sophisticated music from two very skillfull guitarists.  Rodrigo Maranhão: Passageiro (2010) Without doubt one of the best examples of MPB from this decade, with elements both from samba and music from the Nordeste region. Simple, but classy production. André Carvalho: Tempo do Tanto (2010) Another excellent 2010 production from a little known artist, Tempo do Tanto brings together decidedly Afro-Brazilian harmonies with contemporary, organic popular music and some elements of jazz. The sound is rich, but at the same time simple and timeless. André Carvalho's voice hits a gente, soft-spoken, yet very crisp tone, which contributes to the extremely Brazilian feel of this album. Otto: Certa Manhã Eu Acordei de Sonhos Inquietos (2010) Another versatile and exciting album by Otto. Always taking off from the rich music tradition of his home state of Pernambuco, he leaps into the realmes of many different contemporary music styles, always managing to land on his feet. The production and arrangements are full of details and nuances on this top class album. MC Ralph: Os Afro-raps (2011) Interesting, ambitious and very well produced album, where hip-hop meats traditional Afro-Brazilian themes and music. Tracks like Santa Bárbara, Pacha Mama and Okê Arô makes this one of the strongest ever Brazilian hip-hop releases. Céu: Caravana Sereia Bloom (2012) The third album from Céu is just as cool, stylish and enjoyable as her previous ones, confirming her status as one of the most talented and exciting singers of Brazil today. On this album Céu mixes contemporary pop sound with influences mainly from northern and northeastern Brazil, all rapped in a gleaming and mouth-wateringly appetizing first class production. Gaby Amarantos: Treme (2012) Gaby Amarantos' music maintains the contageous spontaneity and simplicity that characterizes tecnobrega, but also ads a natural and unforced "coolness" to the sound, which has resulted in her unprecedented crossover appeal. Modern dance music from the Amazon region. Cérebro Eletrônico: Vamos pro quarto (2013) The fourth album of São Paulo based band Cérebro Eletrônico is a little gem of modern psychedelic pop. A little quirky in it's tone, but also with a constant sting of melancholy somewhere in there too. Electrifying and beautiful in its own peculiar way.