| | Os Dias Da Madredeus CD Madredeus Discography of CDs
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Os Dias da Madredeus, Madredeus' debut album on the Portuguese market, offered for the first time the group's appealing and remarkable compositions. The record exposed the sole musical mission of the Portuguese ensemble. Providing sole compositions, Madredeus settled their musical course in between the original Portuguese fado and influences ranging from Brazilian music to classical musical inflections. Leaded by the voice of Teresa Salgueiro and by the delicate and melodious creations of Pedro Ayres Magalhaes, Gabriel Gomes, and Rodrigo Leao, the ensemble started gaining their legion of followers precisely after the record originally hit the record stores in 1987. "A Vaca de Fogo," the record's third track, swiftly became the group's most recognizable theme due to its joyful rhythmic features and exclusive arrangements. Still, the whole of the work expressed through the album mostly reveals Madredeus' nostalgic musical endeavors, strengthened by way of their gloomy musical direction and enlightened by the sorrow and hurtful lyrics unveiled by Salgueiro's unique vocalizations. "Fado do Mindelo," "Maldito Dia Aziago," and "Amanha" are just three of the album's most noted tracks, again sustaining the unique character of Madredeus' conceptions, initiating a musical path that eventually conquered fans all over the world. ~ Mario Mesquita Borges
Photographers: Alvaro Rosendo; Luis Ramos.
Unknown Contributor Roles: Gabriel Gomes; Rodrigo Muñoz; Francisco Ribeiro.
Arranger: Pedro Ayres Magalhaes.
Madredeus includes: Teresa Salgueiro (vocals); Pedro Ayres Magalhaes (guitar).
Recording information: Old Church Of The Xabregas Convent (07/28/1987-07/30/1987).
Os Dias Da Madredeus Music Os Dias Da Madredeus Songs | 1. | As Montanhas - (TRUE instrumental) |
| 2. | Sombra, A |
| 3. | Vaca de Fogo, A |
| 4. | Os Passaros Quando Morrem Caem No Ceu - (TRUE instrumental) |
| 5. | Adeus... E Nem Voltei |
| 6. | Peninsula, A - (TRUE instrumental) |
| 7. | Cantiga Do Campo, A |
| 8. | Fado Do Mindelo |
| 9. | Marcha da Oriental, A - (TRUE instrumental) |
| 10. | Cidade, A |
| 11. | Maldito Dia Aziago |
| 12. | Andorinha, A - (TRUE instrumental) |
| 13. | O Brasil |
| 14. | O Meu Amor Vai Embora |
| 15. | Amanha |
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Os Dias Da Madredeus Review
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Excerpts from a review by Sean Piccoli, pop-music writer, Tribune Wire Services: "An intriguing collection of spoken-word pieces set to responsive percussion and loops..."As its title suggests, the album is concerned with flux and transition -- things continuously scattering and regrouping to ends unknown. The rhythms provide continuity as well as a flexible, sympathetic consort to the language. Matza speaks words that are chosen not just for what pictures they might evoke, but often their phonic similarities..."This is where the words themselves seem to be in cahoots, swapping code and winking at one another like traffic lights as they carry -- and alter -- thoughts along the linguistic chain. This is not a groundbreaking form of manipulation; verbal association is as old and familiar as child's play. But the Weeds do it with an attention to form that is both structured and, within the edifice, free-ranging. The words then go off the range altogether by slipping into the listener's brain and bouncing around in ways that encourage new, spontaneous word-gaming. "Playing along at home might yield utter nonsense or a vision of the listener's own making. But this leap from author to audience is where spoken-word has, to my mind, an advantage over music in its provocative power: Stripped to a bare soundtrack, or none at all, words without melodies and chords to suggest their meanings become more actively and creatively engaged by the listener. "For anyone who thinks we are all, as somebody once said, "creatures of art," spoken word as heard on In Between Stations proves that one person's finished portrait can be another's palette. "That, or I have become one of those people who sees hidden messages in the newspaper..."The Weeds is the brainchild of poet/spoken-word artist Adam Matza. The project is dedicated to the spoken word, the written word, experimental rhythm-based music and improvisational performance. Pioneers in the South Florida spoken-word scene, The Weeds take audiences on an emotional, intellectual and spiritual journey through the urban-jungle.From January of 1996 through the end of 1997 and again in 2003-4, The Weeds, featuring a revolving cast of talented musicians, ...
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