Lô Borges Albums (8)
What The Critics Say
After a couple of years without recording any new material, Lô Borges suddenly bounced back with the surprisingly neat and vital Um Dia e Meio. Ever since the days of the now legendary Clube da Esquina in the early '70s, Borges has had a unique and very personal songwriting style. His music is simple and very easy for the listener to digest, yet it is very far from being banal or predictable. Many critics have found his '80s and '90s output a bit uneven, but there is no doubt that Um Dia e Meio is Borges' best album since A Via Láctea from 1979. The songs are mostly unpretentious but very sweet, sincere, and typically Borges-styled love tunes. The theme of the song lyrics is clearly different here in comparison with the much sadder and more confused lyrics that Borges wrote in the 70s. The lovely, dreamy, and soothing "Por Que Não" that Borges wrote together with the highly acclaimed pop poet Arnaldo Antunes is the track that has the strongest Clube da Esquina sound to it. "Açúcar Sugar" is more rock while the beautiful "Qualquer Lugar" and "Quem Sabe Isso Quer Dizer Amor" sum up the general atmosphere of this excellent album. ~ Philip Jandovský, All Music Guide
What The Critics Say
Lô Borges is a former member of the group known as Clube da Esquina, formed by important composers and interpreters from the state of Minas Gerais, which includes Milton Nascimento, Wagner Tiso, Toninho Horta, and others. His sound is very personal, strongly influenced by American folk in a synthesis with the important mineira tradition and world elements. He is fond of subtle acoustic grooves, in a search for modern expression within the Brazilian music tradition that distinguishes him from people who look for easy commercial success based in contemporary pop rhythms. The album grows considerably in the tracks with the addition of Uakti, an excellent instrumental group that excels in crafty, full-of-details performances at their self-made percussion instruments, especially in "Solto No Mundo." The 5/4 theme "Vai Vai Vai" deserves mention, also with Uakti. The album also has the Skank hit "Te Ver" in an interesting acoustic rendition, much better than Skank's. ~ Alvaro Neder, All Music Guide
What The Critics Say
Nuvem Cigana is the 1982 follow-up to Lô Borges' 1979 classic, Via Láctea, and although this album doesn't reach the same quality as Via Láctea or Borges' self-titled solo debut, it is still very nice and enjoyable. The sound and production are typical for the early '80s, but the songs still preserved some of the characteristic atmosphere that made Lô Borges famous as a performer. One of the best and more beautiful songs on the album is "A Força do Vento," written by Rogério Freitas. Another highlight is the opening track, "Todo Prazer," with an unmistakable and surprising touch of reggae. Two other fine tracks that are worth an extra mentioning are the re-recording of "Nuvem Cigana" (from the Clube da Esquina album) and "Viver, Viver." ~ Philip Jandovský, All Music Guide
What The Critics Say
Via Láctea is the follow-up to Lô Borges' self-titled solo debut from 1972. During the seven years that separated the albums Lô Borges and Via Láctea, Borges had matured enormously as an artist, and this would be his peak performance. Via Láctea is filled with perfect, melodious pop songs characterized by Lô Borges' beautiful and instantly recognizable melodic style and voice. Although the sound of Lô Borges' music is quite unique, it is clearly influenced by the English and American pop and rock scenes and also by the folk music of his home state, Minas Gerais. As often is the case with the music of Lô Borges, the album has a somewhat dreamy atmosphere that is accentuated by fine lyrics, often written by Márcio Borges. As usual on Lô Borges' albums, fellow Clube da Esquina members Beto Guedes and Milton Nascimento made some contributions. Lô Borges' sister, Solange Borges, also makes a rare appearance on the fine "Vento de Maio." The marvelous "Clube da Esquina No. 2," which was an instrumental track on the 1972 album Clube da Esquina, gained lyrics on this album's version which were written by Márcio Borges. Another fantastic track is the slightly Beatlesque "Equatorial," with its beautiful but unusual-sounding electric organ. Other memorable songs on this album are "Via Láctea," "Chuva Na Montanha," and "Ela." These songs have all become classics within Brazilian popular music, and overall Via Láctea is a great pop album by any standards. ~ Philip Jandovský, All Music Guide
What The Critics Say
Reminiscent of the Clube da Esquina album he made the same year with Brazilian superstar Milton Nascimento, Lô Borges' 1972 solo debut proves that his influence on Nascimento was quite strong. The recording is texturally lush and dreamy, at times urgent and bizarre, and filled with the fantastic and intricate guitar playing one would expect of Borges after hearing his dazzling work with Nascimento. His vocal arrangements are lavish, often similar to the vocal qualities of George Harrison's All Things Must Pass, and his instrumental arrangements are just plain confounding. Piano phrases mash in and out of control over the unorthodox yet clever progressions; polyphonic percussion interlocks with jazzed-out organ lines and thoughtful, melodic bass work. Occasionally, a string section will fall into place, fulfilling the album's decorative quota, and the whole construction becomes watertight. It is truly stunning to pick apart the timbre of individual instruments and realize how necessary and meticulous each part is in the overall presentation. Borges is one of those arrangers who can build up a music bed with miles of depth and construct a wall of sound, yet keep the overall concept in crisp focus. No layer of the instrumentation seems to ever become obscured by another, nor does any part seem unnecessary, and so much is going on rhythmically and melodically that it demands full attention. The remarkable quality of Brazil's musical culture to seamlessly integrate as many outside influences into one place is well represented here. Many western textures, such as soul, rock, jazz, and pop, are absorbed into the picture with fervor and grace rarely executed in the world of western music. "Não Foi Nada" illustrates this particularly well, but the melting-pot sentiment echoes through all of Borges' performances here. ~ Gregory McIntosh, All Music Guide
