Clube da Esquina by Milton Nascimento & LĂŽ Borges
- Released in
- 1972
- Genre
- MPB
On a street corner in the Brazilian city of Belo Horizonte, Milton Nascimento, the Borges Brothers, and others local artist friends started a sort of informal âclub,â appropriately nicknamed the âClube da Esquinaâ (Corner Club,) where they would talk, create, and play music. This double album is the culmination of their musical efforts, recorded on a house they rented by the beach on a humble two-track studio.
The album is widely considered one of the greatest, if not the greatest Brazilian album of all time.
Due to its nature as a record created by friends, the album borrows from a wide range of influences, blending each of the members' unique tasteâfrom 20-year-old LĂŽ Borges' Beatlemania to the Samba and Jazz of Milton Nascimento, and even Beto Guedes' love for progressive rockâinto a beautiful, psychedelic, folk-infused pop trip.
Like many of its contemporaries, this album is also notable for using its lyrics to subtly criticize the regime, giving an air of revolution to this already progressive work.
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The title is a play on the âEntradas e Bandeirasâ (Entries and Flags,) a term
referring to the early expeditions into colonial Brazil that explored the
uncharted inland in search for gold and silver. They also played a large part
in the capturing and enslaving of the native populations.
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âGabriela Cravo e Canelaâ (Gabriela Clove and Cinnamon) is a famous novel by Brazilian writer Jorge Amado. This song makes reference to the themes and imagery of the book, as well as Jorge Amado's body of work in general and the culture of his home state of Bahia.
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(repeat)
This song is a cover of a bolero composed by Carmelo Larrea, and is sung in Spanish. See footnote1 for the source of this translation.
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(repeat)
Written for a theater play, âOs Convalescentesâ (The Convalescent,) which features a fictional Latin-american country struck by a military coup.
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A brief intro to the next track.
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Although the version on this album is an instrumental, lyrics would eventually
be written for this track, with most future performances and re-recordings
opting to use the version with lyrics instead. Refer to footnote2 for a translation of those future lyrics, if you're curious!
It is also worth nothing that there is a âCorner Club #1,â released on the 1970 Milton Nascimento album âMilton.â The version on this album, #2, is completely different from that earlier track.
(instrumental)
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âLiliaâ is the name of Milton Nascimento's adoptive mother.
(instrumental)
No relation to the Ozzy Osbourne classic. Perhaps a better translation is
âCrazy People Train.â
The title of this song refers to the train that used to ferry people to the
Barbacena Colonial Hospital, a psychiatric institution that became infamous
due to its inhuman treatment of its patients. This incident is referred to by
many as the âBrazilian Holocaust,â not only due to the obvious parallels
(the use of trains,) but also for the fact that many of the âpatientsâ of the
hospital did not suffer from any mental disorders, but were instead simply
alcoholics, beggars, unwanted children, political enemies, homosexuals, etc.
It was thankfully shut down in the 80s and now functions as a museum.
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