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Banda Do Casaco - Também Eu CD (album) cover


Banda Do Casaco


Prog Folk

3.89 | 8 ratings

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4 stars For a long time I ignored what came after "No Jardim da Celeste", which is their least interesting album (despite having some quality songs). After purchasing their box set and giving "Também Eu" (Me Too) a listen, I confirmed that my suspicions were very wrong.

Looking at the booklet, it's evidently their most instrumental album. This is due to the fact that António Pinho, one of the two frontmen and main lyricist, left the band to produce other artists. So this album ended up being Nuno Rodrigues' baby, with his real one (probably not coincidentally) on the cover.

Since it was recorded in the early 80's, an intensively creative time for Portuguese Pop Rock, there was a big change in the band's style. I'd say it's a kind of New Wave-ish Folk and I assure you it's of great taste. Also unlike their other albums, in this one you can only hear the velvety voice of Né Ladeiras, who didn't get nearly as much spotlight on their previous album.

The opener, "Salve Maravilha" starts with a soothing instrumental, featuring Tó Pinheiro da Silva the usual flutist, long-time member Celso de Carvalho on cello and Peter Harris (who replaced Larry Fast in the last minute) plays synthesizer. We're suddenly introduced to the lively rhythmic section: Jerry Marotta behind the kit again and Zé Nabo on bass guitar (you might know him from José Cid's space odyssey). Né Ladeiras joins the band and brings the most catchy tune of the album, nicely complemented by synth arpeggios and great classical guitar solos played by Nuno Rodrigues, I presume. The song ends in an atmospheric manner, led by 12-string acoustic guitar.

"Sedução" is an instrumental track (except for a few vocal harmonies), dominated by cello and backed by acoustic guitar. It becomes quite rhythmic in the second half.

"Sétimo Dia" is a lovely ballad that begins with a fretless bass solo (played by Celso) and 12-string guitar. Né harmonically sings "phonetic illustrations" (something that was done before in "Acalanto") of the names of the members' children. The bass guitar melodiously accompanies the vocals.

Afer that there's "Crença", which features a sublime interplay between flute and vocals (mostly wordless) with a vigorous rhythmic section.

Next we have "Alcateia", a song divided in three parts. The first one opens with a saxophone trio arrangement, which is played by Jerry and repeated a few times during the song, and pastoral acoustic guitars, accompanied by bass and keyboard improvisations. The second and main part follows with a 12-string guitar and soothing synth pads soon followed by a fast bass line and marching rhythm. Né delivers another soft Pop moment with a funky chorus. The last part is a spacey outro with an unpleasantly adrupt ending.

"Esvoaço em Lorilai" is a short acoustic ballad containing more "phonetic illustrations" and fretless bass.

The album ends with "Assim", a return to its beginning but this time with vocals.

I think this is their most cohesive album instrumentally, in great part due to a really good production, and I'd put it after "Hoje Há Conquilhas..." and their debut in order of preference.

4 jackets.

Meltdowner | 4/5 |


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