| | Incriveis Maiores Sucessos CD - Import Incriveis Discography of CDs
Incriveis Maiores Sucessos Songs | 1. | O Milionario (The Millionaire) |
| 2. | Molambo |
| 3. | O Vagabundo |
| 4. | Perdi Voce (Missing You) |
| 5. | Sem Vergonheira |
| 6. | Czardas |
| 7. | Israel |
| 8. | Era Um Garoto que Como Eu Amava Os Beatles E Os Rolling Stones |
| 9. | Minha Oracao (My Prayer) |
| 10. | Vendedor de Bananas |
| 11. | O Homem Do Braco de Ouro (Delilah Jones) |
| 12. | Quando Vejo O Sol |
| 13. | Vendi Os Bois |
| 14. | Eu Te Amo, Meu Brasil |
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Maiores Sucessos Review
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As any quick perusal of old Top 40 rock & roll station playlists will attest, singles were where the shakin' action was, as rock & roll albums were scarce as hen's teeth back in those pre-Beatle days. But when the record companies decided to issue one, it was usually an artifact of high rockin' value and some major influence. Naysayers to the contrary, this debut album by the Northwest's first great rock & roll combo is just such an artifact. The Wailers dispensed crude, greasy, largely instrumental rock & roll music for those who came to shake it up and shake it down, and it's all on fine, rhythmic, open display here. This album is amazing in its own simplistic, nuthin'-special way, its crudity almost palpable. There's only one vocal aboard, Kent Morrill's "Dirty Robber," later covered and torched by the Sonics. Everything else is built on the riff-sturdy bones of their biggest hit, "Tall Cool One." With two guitars, piano, sax, and ...
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The subtitle of Inner Cry Blues is "Dedication Album, Volume 1." Of the six cuts, here four are dedicated to jazz legends: "G Train" for Duke Ellington, "A for Pops" for Louis Armstrong, the two-part suite "Sonny's Back" for Sonny Rollins, and, of course, "Blue Rondo" for longtime friend and collaborator the late Jackie McLean. This is one of those Moncur dates that walks the tightrope. It walks the inside line of post-bop and modal jazz a lot. In fact, it never strays far from them. But the sense of space, color, and texture in his compositions pushes their boundaries a bit. All of these tunes range on the long side; the shortest, "A for Pops," is over eight-and-a-half minutes. The two-part suite for Rollins is 8:49, and the others are at or over the ten-minute mark. This is a plus. Since this is a young band, Moncur's rule of conduction is apparent everywhere here. He allows solo space, plenty of it in fact, but as with his best music it is seamless, without messy edges and quick-change corners. It's all about flow here, and yes, it does swing, everywhere, subtly, with introspection, elegance and grace. "G Train," with its three horns and vibes front line, offers a breezy if somewhat elaborate lithe melody for the rest of the players to get behind. The role of Vesely's bass is unusual, it's right in front of the mix on this session, and here it leads the band in a relaxed mid-tempo groove that unfolds in all sorts of interesting harmonic ways. Moncur's own solo, right in the blues pocket, is full of short, choppy lines, whereas Adams, on the vibes, struts out elongated, complex lines that never lose their rhythmic focus.
The title track is a soul blues that has as much to do with New Orleans funeral music as it does with Southern soul in general. The entire cut feels like a coda, but develops from there without losing that feel. The stops and starts are all pronounced, even exaggerated, and the arco work by Vesely just unfolds so slowly and beautifully. It is a rich tune that keeps bits and pieces of ragged but right blowing directly in the mix: check the tone on Marcus' tenor and Jekabson's trumpet. They could bust out at any moment, but they keep playing these phrases repetitively and each soloist stays right in the blues with his fills throughout. "Hilda" begins as a strolling, old-school swing tune, with a catchy, almost nursery rhyme phraseology in the lyric. Gupta's kit work, pops in and out of the box on the rhythm, breaking it, double- and triple-timing it with a restrained hand, adding to the dancing, swing feel of the cut.
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