Jump to content

Clube da Esquina (album)

From Wikipedia, the free encyclopedia
This article is about the album. For the music artists collective, see Clube da Esquina.

Clube da Esquina
Two poor boys sit on dirt outdoors. One is smiling, barefoot, with shaggy dark hair. The other with a serious look, wearing a dark sweater, shorts, and worn shoes. A barbed wire fence runs across the background.
Studio album by
Milton Nascimento and Lô Borges
ReleasedMarch 1972
RecordedNovember 1971
Studio
  • Piratininanga Beach (Niterói)
  • Odeon (Rio de Janeiro)
Genre
Length64:22
Language
  • Portuguese
  • Spanish (track 7)
LabelEMI-Odeon
Producer
  • Milton Miranda
  • Lindolfo Gaya
Milton Nascimento and Lô Borges chronology
Milton
(1970) 		Clube da Esquina
(1972) 		Milagre dos Peixes
(1973)
Lô Borges chronology
Clube da Esquina
(1972) 		Lô Borges
(1973)

Clube da Esquina (Brazilian Portuguese pronunciation: [ˈklubi dɐjsˈkinɐ], in English "Corner Club") is a collaborative double album by Brazilian musicians Milton Nascimento and Lô Borges, associated with the eponymous musical movement. It became Nascimento's fifth studio album and Lô's first, after which Lô pursued a solo career. Conceived at a time of political tension in dictatorial Brazil, the album faced resistance from Odeon Records over its double-album format. The cover, photographed by Carlos da Silva Assunção Filho, better known as Cafi, shows two boys, Cacau and Tonho, on a dirt road near Nova Friburgo, in the mountains of Rio de Janeiro, close to where Nascimento's adoptive parents lived.

The album blends MPB, baroque pop, and folk with elements of rock, psychedelia, jazz fusion, and classical music. The largely collaborative project finds Milton Nascimento and Lô Borges leading a fluid ensemble of musicians, experimenting with intricate harmonies, layered instrumentation, and unconventional structures. The album's lyrics explore themes of friendship, freedom, travel, and existential reflection, often using abstract imagery and poetic storytelling. While some songs evoke personal longing and introspection, others subtly reference Brazil's political climate under military rule.

After its release, Clube da Esquina was met with generally positive reviews from specialized critics, with the majority praising the quality of its songs, the cohesive union between the disparate styles of the two performers and their vocals. The album was nominated in the Discoteca Básica  [pt] podcast, being voted first in the 500 greatest albums of Brazilian music and nominated in the Brazilian Rolling Stone magazine, making it seventh in the 100 greatest albums of Brazilian music. Following its release, a sequel, Clube da Esquina 2, was released in 1978, expanding the original's collective spirit, incorporating a broader range of collaborations. While still guided by Milton Nascimento, the album saw reduced involvement from Lô Borges and included contributions from various artists such as Elis Regina, Chico Buarque, and Francis Hime.

Background

[edit]

When Lô Borges was just ten years old, his mother asked him to go and buy eggs and milk. Instead of using the elevator, since he lived in a building on the 17th floor, he went downstairs as he liked to slide down the banisters.[1] When he got to the street, Lô saw a young man in his twenties playing the guitar, Milton Nascimento and approached him, leading to a connection.[2] Nascimento visited Lô's house and taught him guitar and composition.[3] Three months later, while walking through the streets, Lô noticed a boy riding a scooter. Captivated by the scooter, he learned that the boy was Beto Guedes.[1]

The Clube da Esquina musical movement emerged from the strong friendship between Milton Nascimento, Lô Borges and their brothers with the same surname; Márcio Borges [pt] and Marilton Borges [pt], on the corner of Divinópolis and Paraisópolis streets, in the Belo Horizonte neighborhood of Santa Tereza, during the 1960s.[4][5] The meeting between Milton Nascimento and the Borges brothers took place in 1963 at the Levy Building, when Nascimento moved to the capital city Belo Horizonte to study and work.[6][7] He had left Três Pontas, his hometown, where he played in the band W's Boys with pianist Wagner Tiso; with Marilton, he performed at night in the group Evolusamba.[8] While composing and playing with his friends, Nascimento gained wider recognition after participating in the Brazilian Popular Music Festivals and having his song "Canção do sal" recorded by Elis Regina.[9]

Recording and production

[edit]
Marisa Monte
RuPaul
The musicians Milton Nascimento (left) and Lô Borges (right) came together to integrate and develop the album

Clube da Esquina was recorded in a beach house in Piratininga, in the district of Mar Azul, Niterói, where long creative sessions and rehearsals took place.[10] The group staying there for six months,[11] recordings were made there in November 1971,[12][13] while the final recordings took place later at Odeon Studios in Rio de Janeiro, which only had two channels.[14][15] Odeon Studios gave the Clube da Esquina collective several weeks to record, with long sessions spanning entire days and evenings,[16] marked by an intense collaboration between the musicians, with lots of improvisation and experimentation.[17] Márcio Borges and Fernando Brant worked on the lyrics, while musicians like Toninho Horta developed musical ideas.[10] The idea of a double album initially faced resistance from the label, but despite initial resistance from the label, the album was released with the backing of EMI-Odeon.[18][19] Three album auditions were held in different places: at Márcio's house, Brant's house and filmmaker Schubert Magalhães' house.[20]

The musicians alternated between roles, with Beto Guedes being the most active in the production of the album, playing 17 out of the 21 tracks, switching between bass and drums.[21] Nascimento had selected the choosing on who would write the lyrics of each song according to his personal criterion.[22] Orchestrations were handled primarily by Eumir Deodato and Wagner Tiso.[23] The album was recorded using analog techniques, with one channel dedicated to vocals and the other to instruments. This required a high level of precision, as any mistake meant restarting the recording from the beginning.[24]

Taking almost a year to be recorded and produced due to technical and production problems,[25] the release of the album faced challenges, as the military dictatorship in Brazil imposed various restrictions on cultural production, which led artists to exile[26] or direct confrontation with censorship.[27] Lô Borges says that "the dictatorship was one of the worst moments we lived, but we were able to keep focus on art, songs [and] the making of the album".[28] Márcio says that, after the composition of Clube da Esquina, Nascimento and Lô began to compose more and more, to the point where they seemed, in the his words, "a kind of hybrid, homogeneous, autochthonous entity, made up of two heads, four hands and two guitars".[29] After the experience of Clube da Esquina, Lô Borges pursued a solo career.[30]

Composition

[edit]

Clube da Esquina consists of 21 tracks that address themes such as friendship,[31] liberty[32] and youth,[33] with strong presence of poetic elements.[34] The track "Dos Cruces" is performed in Spanish, while the other tracks in the album are performed in Portuguese.[35] Music critics have noticed it's unique fusion of musical styles, being characterized as a MPB,[36] baroque pop[37] and folk[38] recording. It has also been described for having rock,[39] psychedelia,[40] bossa nova,[25] jazz fusion,[41] classical music[42] and African-American music[43] influences.

The group drew influences from various musical styles and genres, one of the main ones being the Beatles and Chopin.[44][45] Clube da Esquina incorporated Brazilian rhythms, jazz, and MPB into their music, drawing inspiration from the Beatles' use of diverse influences.[46] The album incorporated guitars and keyboards into its music, reflecting the influence of rock and psychedelic music.[40] Robert Dimery likened the recording as the Brazilian equivalent to the Beatles' Sgt. Pepper's Lonely Hearts Club Band[47] and Andy Beta of Pitchfork likened it to Western classics such as Bob Dylan's Blonde on Blonde and the Rolling Stones' Exile on Main St.[48]

Songs

[edit]

Tracks 1–11

[edit]
"O Trem Azul"
A sample of the third track, "O Trem Azul", featuring Lô Borges' vocals, reflecting the psychedelic qualities found in the song. This audio sample spans from the start of the second chorus to the guitar solo.
Problems playing this file? See media help.

The opening track, "Tudo Que Você Podia Ser", presents a narrative of resignation in the face of military oppression, performed by Nascimento, which opens with a nylon-string guitar performed by Lô.[49] The lyrics depict a young individual who, instead of resisting authoritarian rule, chooses to conform and abandon their aspirations. The song's themes reflect the broader sociopolitical climate of Brazil under dictatorship, where censorship and repression stifled dissent.[28] "Cais", performed by Nascimento, explores themes of solitude, the lyrics suggesting a metaphorical harbor as a place of emotional refuge, contrasting the desire for freedom with an inherent sense of isolation.[50] The song also features influences from composers such as Heitor Villa-Lobos and jazz musicians such as John Coltrane and Bill Evans.[51] "O Trem Azul", performed by Lô, is a love song that uses the image of a train to evoke the idea of departure. The song begins with a simple guitar accompanying letters that evoke reflection and inner search, dealing with questions of identity and the relationship of the individual with the world and nature.[52] The track conveys a liberating sensation with almost psychedelic images, described as a "jazzy, pop rock hit with a feel-good air".[53] Novabrasil's Lívia Nolla noticed that the mention of a "blue train" ("trem azul" in Portuguese) can be interpreted in various ways, serving as a symbol that invites multiple readings. It may represent a personal and introspective journey or, alternatively, a reference to everyday life, with the word "trem" ('train') used as slang in Minas Gerais for any object.[54] The song has been likened with the Beatles' "Lucy in the Sky with Diamonds".[55]

The sixth track "Cravo e Canela" is honored to Brazilian actress Dina Sfat (pictured), a person who had connections with Nascimento.

"Saídas e Bandeiras Nº 1", performed by Nascimento and Beto Guedes, deals with the idea of displacement and search, both physical and symbolic. The letter suggests a desire to leave, explore new territories and find something valuable, evident in lines like: "Subir novas montanhas, diamantes procurar" ('Climb new mountains, search for diamonds').[56] "Nuvem Cigana", performed by Nascimento, explores the theme of a road as a space of possibilities. The lyrics use images of the sun and the wind to evoke movement, unpredictability, and freedom. The song follows a recurring motif in Clube da Esquina, where the road serves as a metaphor for life in motion and the transformations it brings.[57] The opening of the song presents Beto Guedes playing a twelve-string electric guitar.[58] The verse "pó, poeira, ventania" refers to the wind, described as "dust, powder [and] gusts of wind", reinforcing the idea of uncertainty, echoing Riobaldo's statement in the 1956 novel The Devil to Pay in the Backlands that "living is very dangerous".[57] "Cravo e Canela", performed by both singers, is a song honored to Brazilian actress Dina Sfat, who had connections with Nascimento.[59] Its samba-influenced arrangement differs from its earlier instrumental version on Paulo Moura's 1971 track "Fibra". The song was originally written for the 1970 film Of Gods and the Undead, though it was ultimately not included in the soundtrack.[60] It has been described as a "samba in three", shifting the sphere of congada from Minas Gerais to the rhythmic universe of samba from Rio de Janeiro.[61]

The longest track "Dos Cruces" is a 1952 Spanish bolero written by Basque composer Carmelo Larrea, recorded by Nascimento in his own interpretation.[62] The song explores the theme of lost and forgotten love, with a melody that expresses pain and nostalgia.[63] Milton Nascimento discovered the song while visiting Venezuela for the Buena Onda festival in 1971. There, he befriended three locals who introduced him to different parts of Caracas, including its poorer neighborhoods, and one of them played him "Dos Cruces".[59] "Um Girassol Da Cor De Seu Cabelo", performed by Lô, addresses themes such as love, movement and permanence. The music presents a dilemma between leaving or staying, contrasting the feeling of love, which tends to root, with the road, that symbolizes movement and change.[57] The lyrics were inspired by Márcio Borges' first wife, Duca Leal. According to Márcio, the song was written at the beginning of their relationship during a trip to the countryside of Minas Gerais. Despite its romantic nature, the lyrics have an existential and melancholic tone, blending themes of death and hallucination, evident in lines like: "Se eu morrer, não chore, não / É só a Lua" ('If I die don't you cry, no / It's just the Moon').[64]

"San Vicente", performed by Nascimento, evokes Latin America of the time, with references to the Andes Mountains in flames, haunted by possibilities and fears. The lyrics bring images of the sweetness of chocolate and a taste of glass and cut, as well as mentioning revolution and oppression.[65] The song was made for the play Os Convalescentes by playwright José Vicente de Paula, which metaphorically spoke about Brazil.[63] "San Vicente" served as a metaphor for Brazil's sociopolitical state at the time, using poetic abstraction to express the anxieties of a generation caught between resistance and exile.[66] "Estrelas", performed by Lô, is the shortest track, serving as an introduction to the next track "Clube da Esquina Nº 2".[67] Followed by "Clube da Esquina Nº 2", performed by Nascimento, is a song that described as an expression of love and friendship between Nascimento and Lô, and both with music.[68][69] The song began as an instrumental partnership between Nascimento and Lô, initially without lyrics and included in the album. The composition remained without lyrics for many years until, later on, the lyricist Márcio Borges wrote the words that completed the song.[59][70]

Tracks 12–21

[edit]
The experience in meeting former president Juscelino Kubitschek (pictured) inspired the composition of the song "Paisagem Da Janela".

The track "Paisagem Da Janela", performed by Lô, is a composition by Fernando Brant that emerged from a particular experience during a trip by the Clube da Esquina members to Diamantina, where they met former Brazilian president Juscelino Kubitschek. The lyrics are a reflection of this experience, evoking the idea of travel and movement, with a look on the road, the movement and the feeling of belonging.[71] During their stay in a colonial hotel, Brant, inspired by the view from his window overlooking a church and the town's cemetery, wrote the lyrics overnight to a melody that Lô had composed.[72] The song is described as the most "rock and roll" song Lô composed for the album.[73] "Me Deixa em Paz", performed by Nascimento and Alaíde Costa, the song captures the sorrow of unreciprocated love, with verses like "Se você não me queria / Não devia me procurar" ('If you didn't want me / You shouldn't have looked for me'). The phrase "evitar a dor" ('avoiding the pain') signals a shift in texture, introducing a jazzier rhythm and a guitar solo by Nelson Angelo.[74]

"Os Povos", performed by Nascimento, evokes the image of the cemetery and a dead city.[75] Nascimento says that, in the same 1971 Venezuelan flight, he composed the songs "Os Povos" and "Um Gosto De Sol". Both songs are a tribute to his Venezuelan friends.[59] The song is described as "a profound song that works perfectly in a storytelling rhythm".[73] "Saídas e Bandeiras Nº 2" is the same song as "Saídas e Bandeiras Nº 1" from a musical perspective. The difference lies in the lyrics, with the second part complementing the first. Despite their similarity in interpretation, "Saídas e Bandeiras Nº 2" ends with an instrumental section that carries the song's rhythmic and harmonic flow.[76] "Um Gosto De Sol", performed by Nascimento, explores the theme of the passage of time and the distance between the present and the past, expressing the feeling that life is fleeing and that memories are gone.[77] The song presents an unusual structure that intersperses moments of intimacy with orchestral expansions.[78] Alongside "Os Povos", the song is also a tribute to his Venezuelan Friends.[59]

"Pelo Amor De Deus", performed by Nascimento, is described by Jonathon Grasse as "an experimental Brazilian ode to psychedelia", with a samba beat immersed in "a contentious sci-fi landscape of electric effects, crisp military snare drum rolls, and a polyrhythmic cowbell".[79] The lyrics describe a character who visualizes various scenes, as in photos, in an almanac, during a supper or through a window. These scenes lead the character to exclaim the phrase "pelo amor de Deus" ('for the love of God'). The repetition of this exclamation at the end of the third stanza gains greater semantic and emotional emphasis with each repetition, with changes in melody and accompaniment.[80] The song contains a layering of musical instruments mixed with the effect of Nascimento's voice[73] and is the only song that uses an electric Rhodes piano.[79] The instrumental track "Lilia", performed by Nascimento, is an art rock composition written by Milton Nascimento and dedicated to his mother.[17][81] The arrangement blends diverse elements, from the percussion immersed in reverb to the asymmetrical groove shaped by Rubinho's hi-hat accents. Nascimento's wordless vocals emerge as a raw, melancholic cry, while Wagner Tiso's organ introduces a transition where Tavito's electric guitar joins in a looping pattern. Influenced by British art rock groups such as Pink Floyd, Yes, and Genesis, the song reflects the band's shared admiration for complex textures and unconventional structures.[82]

"Trem De Doido", performed by Lô, is a rock track with electric qualities. The lyrics describe the subject's search for their place on the train, where they are no longer afraid of the roaming rats. The "train" is interpreted as a symbol of progress, change, and unstoppable force. It also represents a way to escape oppression and find one's own path. Conversely, the "rats" symbolize cowardice, filth, and oppression. They are seen as a threat to the subject's space in the song, invading their valuable object, the "house".[83] The refrain, with backing vocals from Nascimento, Lô, and Guedes, contrasts with the arpeggio-driven accompaniment and Wagner's organ, while the hard rock texture includes a guitar solo inspired by former Led Zeppelin member Jimmy Page. The song has been likened by Grasse with the qualities of most tracks in the Beatles' White Album.[84] "Nada Será Como Antes" features an accelerated martial march rhythm, emphasizing an optimistic tone. The lyrics portray a poet-traveler embarking on a journey, looking toward the future with hope and a belief that tomorrow will bring change, despite current struggles.[77] The song was originally released in the context of the military dictatorship in Brazil, and journalist Artur Xexéo observes its political character, reflecting on the difficult moment of repression and farewells, as referred to in the verse "Qualquer dia a gente se vê" ('We'll meet again any of these days').[85] The album closes with "Ao Que Vai Nascer", blending modal and tonal systems, with the first half featuring arpeggios on the guitar that create a "mysterious atmosphere". The lyrics, with a strong political charge, reflect on Brazil's future and were altered due to censorship. Originally mentioning the government Emílio Garrastazu Médici's slogan, the altered version criticizes the idealized "country of the future".[86]

Title, release and cover

[edit]

Clube da Esquina was released in March 1972[87] as a double album on two LPs through EMI-Odeon.[88] The double LP was quickly reprinted twice in 1972 and later reissued by EMI-Odeon in 1976, 1985, 1988 and 1989.[89] The album's debut show took place in a place considered "weird" by Márcio Borges and Ronaldo Bastos.[90] The show was suspended due to participants' emotional problems, but was later relaunched with better promotion.[91] The title Clube da Esquina (lit. 'corner club') alludes to the meeting place for a friendship between musicians located on the corner of Divinópolis and Paraisópolis streets, in the Santa Tereza neighborhood of Belo Horizonte, Minas Gerais.[4] The origin of the name came from a dialogue when a friend with better financial means mentioned going to a party at a club, to which someone responded: "No, our club is right here, it's the Clube da Esquina". This club was where Milton Nascimento, Lô Borges, the Borges brothers and other artists from Minas Gerais met to share ideas, play music, for conversations and celebrations, particularly on weekend nights, with Lô Borges frequently playing the guitar there.[92][93][55]

The album cover represents Antônio Carlos Rosa de Oliveira (a.k.a. Cacau) and José Antônio Rimes (a.k.a. Tonho) as children on a dirt road near Nova Friburgo,[94] close to where Milton Nascimento's adoptive parents lived.[95][96] Taken from inside a car,[97] for the photographer who conceived it, Carlos da Silva Assunção Filho, better known as Cafi, from Recife, the album cover represented "the rurality of Clube da Esquina".[98] Ronaldo Bastos says that "[the] photo was the following: We were in a little car, on a road like that, and there were two boys standing there. I stopped the car and said, I don't know if it was me or Cafi who said: 'Photograph this'. And he did, from the window, from inside the beetle; we took the picture and drove off. It was another photo of those photos we made—which then turned [into] a cover".[99]

It was believed that the boys on the album cover were Milton Nascimento and Lô Borges as children.[94][100] In 2012, the two found out about the photo through the Brazilian newspaper Estado de Minas.[101][102] The article was about the 40th anniversary of the album and found them to recreate the cover with Cacau and Tonho, now adults.[103] Since then, they have been asking for R$500,000 in court for hedonic damages and misuse of the image.[104] At first instance, in September 2023, the Rio de Janeiro Court of Justice ruled in favor of Nascimento and Lô, the singers who had become defendants in the lawsuit filed by Cacau and Tonho over the album cover.[105]

Initial reception

[edit]

Just read a little of the trends obeyed by American and English popular music [and] you can see that there is a big mistake in all this. And the worst that begins to appear here are the imitations of the imitation of these "movements", which are nothing more than fads to increase sales.

— Walter Silva in his 1972 Folha de S.Paulo review[106]

Initial reviews for Clube da Esquina were evaluated negatively by Brazilian musical presses, with local and specialized music critics considering it "poor and disposable",[90] but was commercially successful outside Brazil.[107] The album was also successful among students and drop-outs in general.[108] The album sold well, and members of the group became commercially viable as a recording artist.[107] In Rio de Janeiro, Clube da Esquina debuted at number nine on 15 April 1972,[109] peaking at number eight on 22 April 1972[110] and spent five weeks at the IBOPE charts.[111]

Fernando Spencer from Diário de Pernambuco described it as an "excelent album who come to confirm the composer's strength", saying that it is "one of the biggest releases in 1972".[13] In Julio Hungria's Jornal do Brasil review, he expressed less enthusiasm, describing the album as "sensational [...] from beginning to end", but noting that "the sound[s] could get better".[112] According to Márcio Borges, he explains: "Naturally, the reviews were horrible. They wanted to compare [Nascimento] with Caetano and Chico Buarque, they didn't understand any of the inter-racial, international, interplanetary ecumenism proposed by [Nascimento]'s timeless dissonances. They despised Chopin's findings and the Beatlemaniac zeal of Lô".[113] Toninho Horta described the album as "nectar, an oasis", with each song having something different, highlighting the importance of each participant's musical background.[43]

Legacy and reappraisal

[edit]
Professional ratings
Review scores
SourceRating
AllMusic[114]
Pitchfork9.5/10[48]
Rolling Stone[115]
The Times[42]

Despite its initial minor success, Clube da Esquina, with the help of word of mouth and changing critical perceptions, underwent a national reassessment over time.[116] Its unconventional style was initially met with skepticism, as critics found its approach difficult to categorize. However, as audiences and reviewers became more familiar with its sound, the album was met with mostly positive acclaim.[117]

Alvaro Neder gave the album a score of five stars on AllMusic, hailing the album as "a must-have", praising its rich orchestrations by Eumir Deodato and Wagner Tiso under the direction of Paulo Moura. He noticed the album's deep connection to the Minas Gerais musical collective, featuring artists like Milton Nascimento, Lô Borges, and Toninho Horta, and noted that it "covers a great number of Clube da Esquina hits", including "Tudo Que Você Podia Ser", "Cais", and "O Trem Azul", all supported by "some of the best musicians in Brazil".[114] Andy Beta, in his review for Pitchfork, gave the album an 9.5 out of 10, describing Clube da Esquina as "one of the most ambitious albums in Brazilian music history", highlighting its "uplifting and mystifying" qualities.[48]

Will Hodgkinson, reviewing for The Times, gave the album a score of four out of five stars and noted that while the singer's "heavenly voice" had been affected by age, his presence alone justified revisiting the classic album. He described the album as "a message of hope" during Brazil's military dictatorship, blending "deep, haunting melodies" with elements of classical music, folk, bossa nova, and Western rock. Highlights included "Tudo Que Você Podia Ser" and "Nada Será Como Antes", with Hodgkinson comparing the melodies to "Pet Sounds-era Beach Boys, but with greater rhythmic complexity".[42] Antônio do Amaral Rocha from the Brazilian edition of Rolling Stone praised the album for its "creations outside the traditional molds" and for addressing "themes that were not very common", particularly its connection to South American reality.[118]

The album was voted the seventh best Brazilian album of all time in a list published in October 2007 by the Brazilian Rolling Stone magazine.[119] Clube da Esquina was included in the reference book 1001 Albums You Must Hear Before You Die, published in 2010, as one of the few non-English-language albums.[47] In September 2012, it was voted the second best Brazilian album by the audience of Eldorado FM radio, the Estadão.com portal and Caderno C2+Música (the latter two belonging to the O Estado de S. Paulo newspaper).[120] In April 2022, Spin ranked the album 19th in its list of the 50 best albums of 1972.[121] In May 2022, the album was voted the Greatest Brazilian Album of All Time by the Discoteca Básica  [pt] podcast, which was listened to 162 experts.[122][123][124] In 2024, the album was ranked ninth by the Paste magazine on its list of the 300 greatest albums of all time.[125]

In 1978, EMI-Odeon released Clube da Esquina 2, serving as a continuation for the album and the musical movement.[24][126] The album maintained the collective approach, stylistic variety, and experimental aspects of its predecessor, spanning two LPs with 23 tracks.[127] It included a wider range of national artists collaborating to the album, such as Elis Regina, Chico Buarque, and Francis Hime.[128] The album also connects to its predecessor through song continuations or the recurrence of similar musical elements.[129] Nascimento mentioned in an interview in 2013 that his 1994 album Angelus could be considered a "Clube da Esquina 3".[130] In 2017, rapper Djonga used the album cover as a reference for the cover of his debut album, Heresia, but instead of the children, we see the rapper himself on the cover.[131]

Track listing

[edit]

All songs performed by Milton Nascimento or Lô Borges.[132]

Side one
No.TitleWriter(s)Lead vocalsLength
1."Tudo Que Você Podia Ser"Lô Borges, Márcio BorgesMilton Nascimento2:57
2."Cais"Nascimento, Ronaldo BastosNascimento2:45
3."O Trem Azul"L. Borges, BastosL. Borges4:05
4."Saídas e Bandeiras Nº 1"Fernando Brant, NascimentoBeto Guedes, Nascimento0:45
5."Nuvem Cigana"L. Borges, BastosNascimento2:59
6."Cravo e Canela"Nascimento, BastosNascimento, L. Borges2:31
Side two
No.TitleWriter(s)Lead vocalsLength
7."Dos Cruces"Carmelo LarreaNascimento5:22
8."Um Girassol Da Cor De Seu Cabelo"L. Borges, M. BorgesL. Borges4:12
9."San Vicente"Brant, NascimentoNascimento2:46
10."Estrelas"L. Borges, M. BorgesL. Borges0:28
11."Clube da Esquina Nº 2"L. Borges, M. Borges, NascimentoNascimento3:38
Side three
No.TitleWriter(s)Lead vocalsLength
12."Paisagem Da Janela"Brant, L. BorgesL. Borges2:58
13."Me Deixa Em Paz"Ayrton Amorim, Monsueto MenezesNascimento, Alaíde Costa3:05
14."Os Povos"M. Borges, NascimentoNascimento4:30
15."Saídas e Bandeiras Nº 2"Brant, NascimentoGuedes, Nascimento1:30
16."Um Gosto De Sol"Bastos, NascimentoNascimento4:20
Side four
No.TitleWriter(s)Lead vocalsLength
17."Pelo Amor De Deus"Brant, NascimentoNascimento2:06
18."Lilia"NascimentoNascimento2:33
19."Trem De Doido"M. Borges, L. BorgesL. Borges3:58
20."Nada Será Como Antes"Nascimento, BastosGuedes, Nascimento3:23
21."Ao Que Vai Nascer"Brant, NascimentoNascimento3:20

Personnel

[edit]

The process of creating Clube da Esquina attributes the following credits:[133]

  • Milton Nascimento – lead vocals (tracks 1, 2, 4–7, 9, 11, 13–18, 20,21), acoustic guitar (tracks 2, 4, 7, 11, 13–15, 17, 21), piano (tracks 2, 5, 16), backing vocals (tracks 10, 12, 19),
  • Lô Borges – lead vocals (tracks 3, 6, 8, 10, 12, 19), acoustic guitar (tracks 1, 10), rhythm guitar (tracks 3, 19), electric guitar (tracks 9, 11), backing vocals (tracks 3, 8, 19), additional vocals (tracks 17, 20), percussion (tracks 4, 13, 15), surdo (track 6), piano (tracks 8, 12)
  • Wagner Tiso – orchestral arrangements, organ (tracks 1–3, 7, 8, 11, 13, 14, 17–19, 21), piano (tracks 6, 7, 9, 13, 14, 20, 21), electric piano (track 17), backing vocals (track 10)
  • Eumir Deodato – orchestral arrangements
  • Beto Guedes – lead vocals (track 4, 15), bass (tracks 1, 3, 4, 8, 9, 12, 15, 21), backing vocals (tracks 3, 8, 10, 12, 19), twelve-string guitar (track 5), percussion (tracks 6, 7, 13, 18), electric guitar (tracks 7, 17, 19, 20), carillon bells (track 9)
  • Rubinho – congas (track 1), drums (tracks 4, 5, 7–9, 12, 15, 17–19, 21), percussion (track 13)
  • Robertinho Silva – drums (track 1, 3, 6, 11, 13, 14, 20), percussion (track 2, 6, 7, 9, 17, 18, 21), backing vocals (track 10)
  • Tavito – twelve-string guitar (track 1), electric guitar (tracks 6, 8, 12, 18, 20), acoustic guitar (tracks 7, 9), backing vocals (track 9), percussion (track 14),
  • Toninho Horta – electric guitar (tracks 1, 3, 21), percussion (tracks 2, 4, 15, 17, 18), bass (tracks 5, 7, 19, 20), acoustic guitar (track 6), backing vocals (tracks 3, 8, 10)
  • Luiz Alves – caxixi (track 1), acoustic bass (tracks 2, 5, 7), bass (tracks 6, 11, 13, 14, 17, 18, 21), percussion (tracks 6, 7, 9, 21)
  • Nelson Angelo – electric guitar (tracks 4, 8, 11, 12, 15), percussion (tracks 7, 9, 18), surdo (track 13), piano (track 15)
  • Paulinho Braga – percussion (track 9)
  • Luiz Gonzaga Jr. – backing vocals (track 10)
  • Alaide Costa – lead vocals (track 13)

Studio production

[edit]
  • Paulo Moura – conducting
  • Jorge Teixeira, Nivaldo Duarte and Zilmar de Araújo – recording engineering
  • Cafi – photography and layout
  • Lindolfo Gaya – musical direction
  • Juvena Pereira – photography
  • Milton Miranda – production direction
  • Milton Nascimento – music supervision

Charts

[edit]

Accolades

[edit]
Publication Country Accolade Year Rank
Rolling Stone Brasil Brazil 100 Greatest Brazilian Music Records 2007 7[119]
Eldorado FM radio Brazil The 30 Best Brazilian Albums 2012 2[120]
Spin United States The 50 Best Albums of 1972 2022 12[121]
Discoteca Básica Brazil 500 Greatest Brazilian Music Records 2022 1[134]
Paste United States The 300 Greatest Albums of All Time 2024 9[125]

References

[edit]
  1. ^ a b "Lô Borges: 'Me sinto como um pavio aceso'". Revista UBC 60 (in Brazilian Portuguese). Retrieved 23 November 2024.
  2. ^ Ferreira, Ricardo (23 October 2022). "Nos 80 anos de Milton Nascimento, bairro onde surgiu o Clube da Esquina segue efervescente". O Globo (in Brazilian Portuguese). Archived from the original on 14 December 2024. Retrieved 23 November 2024.
  3. ^ Canton, Ciro Augusto Pereira (2010). ""NUVEM NO CÉU E RAIZ" Romantismo Revolucionário e Mineiridade em Milton Nascimento e no Clube da Esquina (1970 - 1983)" (PDF). Federal University of São João del-Rei: 29. Archived (PDF) from the original on 22 April 2024. Retrieved 23 November 2024.
  4. ^ a b Tedesco, Cybelle Angélique Ribeiro (15 December 2000). "De Minas, Mundo: a imagem poetico musical do clube da esquina". CAR Tedesco (in Portuguese). Campinas, São Paulo: State University of Campinas: 149–150. doi:10.47749/t/unicamp.2000.205486. Retrieved 23 November 2024.
  5. ^ Clube da Esquina. Enciclopédia Itaú Cultural de Arte e Cultura Brasileira. 21 February 2021. ISBN 978-85-7979-060-7. Retrieved 2 February 2025.
  6. ^ Mello 2020, p. 11.
  7. ^ F.Content (1 May 2022). "Clube da Esquina: conheça a trajetória do grupo mineiro". NovaBrasil. Retrieved 23 November 2024.
  8. ^ Essinger, Silvio. "Clube da Esquina". CliqueMusic (in Brazilian Portuguese). Archived from the original on 15 October 2009.
  9. ^ Mello 2020, p. 80.
  10. ^ a b Mello 2020, p. 84.
  11. ^ McGowan, Chris; Pessanha, Ricardo (1998). The Brazilian sound: samba, bossa nova, and the popular music of Brazil. Philadelphia: Temple University Press. p. 108. ISBN 978-1-56639-544-1.
  12. ^ Rodrigues, Bruno (2 April 2024). "Documentário sobre o Clube da Esquina traz Milton, Beto Guedes e irmãos Borges às telas de cinema - Esquerda Online Esquerda Online". Esquerda Online (in Brazilian Portuguese). Archived from the original on 14 December 2024. Retrieved 24 November 2024.
  13. ^ a b Spencer, Fernando (16 March 1972). "Milton Nascimento: evocações "No clube da Esquina"". Diário de Pernambuco. No. 62 (1st ed.). p. 16. Retrieved 15 February 2025.
  14. ^ Grasse 2020, p. 10.
  15. ^ Antunes, Pedro (9 June 2024). "Playlist: 14 músicas para entender a música de Minas Gerais, por quem ajudou a criá-la". Estadão (in Brazilian Portuguese). Retrieved 24 November 2024.
  16. ^ Grasse 2020, pp. 85–86.
  17. ^ a b Martins, Bruno Viveiros (11 October 2019). ""Clube da esquina" (1972), Milton Nascimento e Lô Borges". A música de (in Brazilian Portuguese). Archived from the original on 14 December 2024. Retrieved 24 November 2024.
  18. ^ Mello 2020, p. 89.
  19. ^ Márcio 1996, pp. 256–267.
  20. ^ Márcio 1996, pp. 268–270.
  21. ^ Mello 2020, pp. 90–91.
  22. ^ Márcio 1996, pp. 308–309.
  23. ^ Mello 2020, pp. 88–89.
  24. ^ a b Mello 2020, p. 91.
  25. ^ a b "Um pouco de história sobre o Clube da Esquina - Bar do Museu Clube da Esquina". Bar do Museu Clube da Esquina (in Brazilian Portuguese). 4 May 2023. Archived from the original on 9 November 2024. Retrieved 2 February 2025.
  26. ^ Márcio 1996, p. 230.
  27. ^ Mello 2020, p. 16.
  28. ^ a b Moreno, Sayonara (22 June 2024). "Clube da Esquina é escolhido nono melhor álbum de todos os tempos". Agência Brasil (in Brazilian Portuguese). Archived from the original on 14 December 2024. Retrieved 2 February 2025.
  29. ^ Márcio 1996, pp. 222.
  30. ^ Mello 2020, p. 92.
  31. ^ Mello 2020, p. 14.
  32. ^ "Roteiros Turísticos - Revivendo o Clube da Esquina". Bar do Museu Clube da Esquina (in Brazilian Portuguese). 3 August 2021. Archived from the original on 14 December 2024. Retrieved 2 February 2025.
  33. ^ "5 fatos sobre o documentário do disco "Clube da Esquina"". Noize. 1 April 2024. Retrieved 2 February 2025.
  34. ^ Márcio 1996, p. 317.
  35. ^ "Milton Nascimento, Lô Borges – Clube Da Esquina – Classic Music Review". altrockchick. 11 April 2021. Archived from the original on 13 December 2024. Retrieved 5 February 2025.
  36. ^ Martins, Sérgio (27 November 2024). "Por que o Clube da Esquina é um dos discos mais importantes da MPB". Billboard Brasil (in Brazilian Portuguese). Archived from the original on 3 December 2024. Retrieved 2 February 2025.
  37. ^ Salgado, Rodrigo (4 June 2024). "Clube da Esquina é eleito um dos melhores álbuns de todos os tempos em ranking norte-americano". G1 (in Brazilian Portuguese). Retrieved 2 February 2025.
  38. ^ "Clube da Esquina, o movimento musical revolucionário do Brasil". Radio AcheiUSA (in Brazilian Portuguese). 11 January 2024. Archived from the original on 22 February 2024. Retrieved 2 February 2025.
  39. ^ Lima, Carlos Eduardo (27 June 2014). "Você Precisa Conhecer Clube da Esquina". Monkeybuzz (in Brazilian Portuguese). Archived from the original on 28 October 2021. Retrieved 2 February 2025.
  40. ^ a b Diniz, Sheyla Castro (12 December 2018). "Clube da Esquina versus Tropicalismo: conflitos simbólicos na MPB". ArtCultura (in Portuguese). 20 (37): 137. doi:10.14393/artc-v20-n37-2018-47245. ISSN 2178-3845. Retrieved 23 November 2024.
  41. ^ Prelorentzou, Renato (8 June 2018). "A história do Clube da Esquina". Estadão (in Brazilian Portuguese). Archived from the original on 14 December 2024. Retrieved 4 February 2025.
  42. ^ a b c Hodgkinson, Will (18 June 2019). "Review: Milton Nascimento at the Barbican". The Times. ISSN 0140-0460. Retrieved 6 February 2025.
  43. ^ a b Grasse 2020, p. 106.
  44. ^ "A história de vida de Flávio Venturini: "Os Beatles me levaram para música"". Museu da Pessoa (in Portuguese). Retrieved 24 November 2024.
  45. ^ Brêda, Lucas (25 October 2022). "Como 'Clube da Esquina' transformou a música de Milton Nascimento". Folha de S.Paulo (in Brazilian Portuguese). Retrieved 24 November 2024.
  46. ^ Souza, Victor (15 July 2019). "Clube da Esquina, os meninos de Minas Gerais, uma joia rara da MPB". Bar do Museu Clube da Esquina. Retrieved 23 November 2024.
  47. ^ a b Dimery, Robert (2010). 1001 Albums: You Must Hear Before You Die. Preface by Michael Lydon. Octopus. p. 266. ISBN 978-1-84403-714-8. ISBN 978-1-84403-714-8. Archived from the original on 22 February 2017. Retrieved 7 July 2016.
  48. ^ a b c Beta, Andy. "Milton Nascimento / Lô Borges: Clube Da Esquina Album Review". Pitchfork. Archived from the original on 3 September 2018. Retrieved 2 September 2018.
  49. ^ Grasse 2020, p. 29.
  50. ^ "A história das músicas Cais e O Sal da Terra, de Ronaldo Bastos". Novabrasil (in Brazilian Portuguese). 21 January 2023. Retrieved 3 February 2025.
  51. ^ Grasse 2020, p. 34.
  52. ^ Mello 2020, p. 69.
  53. ^ Grasse 2020, p. 39.
  54. ^ Nolla, Lívia (10 January 2024). "Histórias das músicas de Lô Borges". Novabrasil (in Brazilian Portuguese). Archived from the original on 29 May 2024. Retrieved 4 February 2025.
  55. ^ a b Mello 2020, p. 62.
  56. ^ Souza, Victor (15 April 2019). "Milton Nascimento fala do Bar do Museu Clube da Esquina e da Amazonia". Bar do Museu Clube da Esquina (in Brazilian Portuguese). Archived from the original on 2 December 2024. Retrieved 4 February 2025.
  57. ^ a b c Mello 2020, p. 70.
  58. ^ Grasse 2020, p. 46.
  59. ^ a b c d e Lichote, Leonardo (17 May 2019). "Milton Nascimento comenta dez canções do repertório da turnê 'Clube da Esquina'". O Globo (in Brazilian Portuguese). Archived from the original on 18 December 2019. Retrieved 4 February 2025.
  60. ^ Grasse 2020, p. 47.
  61. ^ "Álbum síntese da música, Clube da Esquina foi concebido há 50 anos". CartaCapital (in Brazilian Portuguese). 17 July 2021. Retrieved 4 February 2025.
  62. ^ Mello 2020, p. 61.
  63. ^ a b Grasse 2020, p. 64.
  64. ^ Pacheco, Mateus De Andrade (4 December 2014). Milton Nascimento : num canto do mundo, o conto do Brasil (Doctorate thesis). Universidade de Brasília. p. 172. doi:10.26512/2014.12.t.18746 (inactive 5 February 2025).{{cite thesis}}: CS1 maint: DOI inactive as of February 2025 (link)
  65. ^ Mello 2020, pp. 70–71.
  66. ^ Aguiar, Leandro (2 September 2015). "San Vicente e a América Latina de Milton e Brant". Revista Piauí (in Brazilian Portuguese). Archived from the original on 31 October 2022. Retrieved 4 February 2025.
  67. ^ Gavin, Charles (2015). Lô Borges e Milton Nascimento, Clube da Esquina: Entrevistas a Charles Gavin, Som do Vinil. Som Do Vinil Ser. Rio de Janeiro: Ímã Editorial. pp. 39–40. ISBN 978-85-64528-68-0.
  68. ^ Mello 2020, p. 71.
  69. ^ Lichote, Leonardo (15 December 2007). "Após 35 anos, Clube ainda existe". O Globo (in Brazilian Portuguese). No. 21. p. 12. Retrieved 15 February 2025.
  70. ^ Casaletti, Danilo (6 February 2024). "Conheça a história da música 'Clube da Esquina 2′, que marcou a passagem de tempo em 'Renascer'". Estadão (in Brazilian Portuguese). Archived from the original on 7 December 2024. Retrieved 6 February 2025.
  71. ^ Mello 2020, p. 73.
  72. ^ Márcio 1996, p. 258.
  73. ^ a b c "O disco Clube da Esquina". Bar do Museu Clube da Esquina (in Brazilian Portuguese). 12 April 2018. Retrieved 5 February 2025.
  74. ^ Grasse 2020, p. 83.
  75. ^ Julião, Rafael Barbosa (22 December 2020). "Encontros, imagens e cruzamentos no álbum Clube da Esquina (1972)". Revista Criação & Crítica (in Portuguese) (28): 50–74. doi:10.11606/issn.1984-1124.i28p50-74. ISSN 1984-1124.
  76. ^ Nunes 2005, p. 83.
  77. ^ a b Mello 2020, p. 72.
  78. ^ Grasse 2020, pp. 95–96.
  79. ^ a b Grasse 2020, p. 99.
  80. ^ Cardoso, Renato Frossard (21 May 2021). Estudo de Marcas Expressivas da Voz em Três (3) Canções do Disco Clube da Esquina (1972): "Cais", "Pelo Amor de Deus" e "Os Povos" (Master of Music thesis) (in Brazilian Portuguese). Brazil: Federal University of Minas Gerais. pp. 51–52. Retrieved 5 February 2025.
  81. ^ "Milton Nascimento: a origem do apelido 'Bituca' e Clube da Esquina". Novabrasil (in Brazilian Portuguese). 26 October 2023. Archived from the original on 30 December 2024. Retrieved 5 February 2025.
  82. ^ Grasse 2020, pp. 100–101.
  83. ^ Rocha, Hudson Lima Bezerra (29 August 2023). Atravessando a noite do Brasil: as canções do Clube da Esquina no contexto da ditadura militar (Doctorate thesis) (in Brazilian Portuguese). Universidade Federal do Rio Grande do Norte. pp. 105–107.
  84. ^ Grasse 2020, pp. 101–102.
  85. ^ Xexéo, Artur (17 May 2020). "Uma canção na quarentena". O Globo (in Brazilian Portuguese). Archived from the original on 14 August 2020. Retrieved 5 February 2025.
  86. ^ Nunes 2005, pp. 73–75.
  87. ^ Mauro, Ferreira (20 February 2022). "'Clube da Esquina', álbum que mostrou admirável mundo novo à MPB, conserva a chama da juventude aos 50 anos". G1 (in Brazilian Portuguese). Archived from the original on 23 November 2022. Retrieved 5 February 2025.
  88. ^ "O que há para ver: Discos". Jornal do Brasil. No. 285. 10 March 1972. p. 58. Retrieved 5 February 2025.
  89. ^ Grasse 2020, p. 119.
  90. ^ a b Márcio 1996, p. 270.
  91. ^ Márcio 1996, pp. 272–273.
  92. ^ "Clube da Esquina: 50 anos do disco que mudou a música brasileira". G1 (in Brazilian Portuguese). 21 February 2022. Archived from the original on 30 November 2024. Retrieved 23 November 2024.
  93. ^ Peixoto, Eliza (12 January 2021). "Esquina do Clube da Esquina é repaginada". Santa Tereza Tem (in Brazilian Portuguese). Retrieved 23 November 2024.
  94. ^ a b Machado, Fernanda (8 May 2015). "História por trás do disco 'Clube da Esquina', descoberta pelo EM, repercute na internet". Portal Uai Entretenimento (in Brazilian Portuguese). Archived from the original on 14 December 2024. Retrieved 23 November 2024.
  95. ^ Santana, Valéria Nancí de Macêdo (7 October 2019). "OS FATORES PROJETUAIS DECRIAÇÃO DA CAPA DO DISCO CLUBE DA ESQUINA (1972)". A Infl uência da Comunicação. Atena Editora. pp. 208–216. doi:10.22533/at.ed.84319071018. ISBN 978-85-7247-684-3. Archived from the original on 16 October 2021. Retrieved 23 November 2024.
  96. ^ Santos, Thales Rodrigues dos (2022). Histórias do design em Minas Gerais II (in Brazilian Portuguese). Editora da Universidade do Estado de Minas Gerais. doi:10.36704/9786586832228. ISBN 978-65-86832-22-8. Archived from the original on 26 December 2024. Retrieved 23 November 2024.
  97. ^ Mello 2020, pp. 22–23.
  98. ^ Diniz, Sheyla Castro (2017). "Clube da Esquina: mineiridade, romantismo e resistência cultural nos anos 1960". Per Musi (in Portuguese) (37). doi:10.35699/2317-6377.2017.5165. ISSN 2317-6377. Retrieved 23 November 2024.
  99. ^ Ribeiro, Ronaldo Bastos. "Ronaldo Bastos". Museu Clube da Esquina. Archived from the original on 28 August 2011. Retrieved 23 November 2024.
  100. ^ "Invento em mim o sonhador". Estado de Minas (in Brazilian Portuguese). 14 March 2022. Archived from the original on 12 August 2022. Retrieved 4 February 2025.
  101. ^ Gomes, Karol (14 February 2020). "Milton Nascimento é processado por 'meninos da capa' do 'Clube da Esquina'". Hypeness (in Brazilian Portuguese). Archived from the original on 15 September 2023. Retrieved 28 May 2022.
  102. ^ Brêda, Lucas (13 February 2020). "Meninos da capa de 'Clube da Esquina' processam Milton, Lô e EMI por imagem". Folha de S.Paulo (in Brazilian Portuguese). Archived from the original on 26 December 2024. Retrieved 28 May 2022.
  103. ^ Brant, Ana Clara (19 March 2012). "Cacau e Tonho, os garotos da capa do disco Clube da Esquina, relembram a infância na roça". Estado de Minas (in Brazilian Portuguese). Archived from the original on 14 December 2024. Retrieved 29 December 2024.
  104. ^ Cople, Júlia (6 September 2023). "Justiça do Rio extingue processo de meninos da capa de 'Clube da Esquina' contra Milton Nascimento e Lô Borges". O Globo (in Brazilian Portuguese). Archived from the original on 14 December 2024. Retrieved 23 November 2024.
  105. ^ Ferreira, Mauro (6 September 2023). "Justiça é feita ao isentar Milton Nascimento e Lô Borges de culpa por usar foto na capa de álbum". G1. Archived from the original on 7 September 2023. Retrieved 7 September 2023.
  106. ^ Silva, Walter (2002). Vou te contar: histórias de música popular brasileira. São Paulo: Códex. p. 48. ISBN 978-85-88953-05-5.
  107. ^ a b Grasse 2020, p. 107.
  108. ^ Márcio 1996, p. 310.
  109. ^ "Bolsa de discos". Jornal do Brasil (in Brazilian Portuguese). No. 6 (2nd ed.). IBOPE. 15 April 1972. p. 37. Retrieved 15 February 2025.
  110. ^ a b "Bolsa de discos". Jornal do Brasil (in Brazilian Portuguese). No. 12 (1st ed.). IBOPE. 22 April 1972. p. 39. Retrieved 16 February 2025.
  111. ^ Rest of the weeks cited:
    • "Bolsa de discos". Jornal do Brasil (in Brazilian Portuguese). No. 18 (1st ed.). IBOPE. 29 April 1972. p. 42. Retrieved 16 February 2025.
    • "Bolsa de discos". Jornal do Brasil (in Brazilian Portuguese). No. 24 (1st ed.). IBOPE. 6 May 1972. p. 40. Retrieved 16 February 2025.
    • "Bolsa de discos". Jornal do Brasil (in Brazilian Portuguese). No. 78 (1st ed.). IBOPE. 8 July 1972. p. 57. Retrieved 13 February 2025.
  112. ^ Hungria, Julio (27 April 1972). "Primeira crítica: Clube da Esquina". Jornal do Brasil. No. 16 (2nd ed.). p. 13. Retrieved 13 February 2025.
  113. ^ Márcio 1996, p. 231.
  114. ^ a b Neder, Alvaro. "Clube da Esquina by Milton Nascimento, Lô Borges". AllMusic. Archived from the original on 9 December 2024. Retrieved 23 November 2024.
  115. ^ Brackett, Nathan; Hoard, Christian (2004). Eliscu, Jenny; Pearlman, Nina (eds.). The new Rolling Stone album guide. New York: Simon & Schuster. p. 569.
  116. ^ Mello 2020, pp. 59–60.
  117. ^ Márcio 1996, p. 347.
  118. ^ Rocha, Antônio do Amaral (October 2007). "Clube da Esquina - Milton Nascimento & Lô Borges (1972, Odeon)". Rolling Stone Brasil. Archived from the original on 18 February 2017. Retrieved 15 February 2025.
  119. ^ a b Os 100 maiores discos da Música Brasileira (13th ed.). Rolling Stone Brasil. October 2007. p. 109.
  120. ^ a b Bomfim, Emanuel (7 September 2012). "'Ventura' é eleito o melhor disco brasileiro de todos os tempos". Combate Rock. Grupo Estado. Archived from the original on 29 January 2016. Retrieved 28 January 2016.
  121. ^ a b Leorne, Ana (22 April 2022). "The 50 Best Albums of 1972". Spin. Archived from the original on 23 April 2022. Retrieved 2 July 2022.
  122. ^ Rodrigues, Leonardo (12 May 2022). "'Clube da Esquina' é eleito o melhor disco brasileiro; você concorda?". UOL (in Brazilian Portuguese). Archived from the original on 14 December 2024. Retrieved 28 May 2022.
  123. ^ Paiva, Vitor (23 May 2022). "Milton Nascimento: 'Clube da Esquina' é eleito melhor disco brasileiro de todos os tempos". Hypeness (in Brazilian Portuguese). Archived from the original on 5 July 2022. Retrieved 28 May 2022.
  124. ^ Ernani, Felipe (10 May 2022). ""Clube da Esquina" é eleito o melhor disco brasileiro de todos os tempos". Tenho Mais Discos Que Amigos! (in Brazilian Portuguese). Archived from the original on 14 December 2024. Retrieved 28 May 2022.
  125. ^ a b Paste Staff (3 June 2024). "The 300 Greatest Albums of All Time". Paste. Archived from the original on 3 June 2024. Retrieved 23 November 2024.
  126. ^ Grasse 2020, p. 11.
  127. ^ Clube da Esquina 2. Enciclopédia Itaú Cultural de Arte e Cultura Brasileira. 21 February 2021. ISBN 978-85-7979-060-7. Archived from the original on 23 December 2024. Retrieved 5 February 2025.
  128. ^ "Milton Nascimento e o Clube da Esquina 2: Um símbolo da música brasileira". Rolling Stone Brasil (in Brazilian Portuguese). 7 February 2023. Retrieved 6 February 2025.
  129. ^ Nunes 2005, pp. 54–55.
  130. ^ Grasse 2020, p. 69.
  131. ^ "Rapper mineiro Djonga se apresenta em Manaus neste sábado (23)". G1 AM (in Brazilian Portuguese). 22 June 2018. Retrieved 24 November 2024.
  132. ^ Mello 2020, p. 100.
  133. ^ Nascimento, Milton; Borges, Lô (1982). Clube da Esquina (LP). Odeon  · EMI. MOAB 6005/6.
  134. ^ Pires, Fernando; et al. (2022). Alexandre, Ricardo; Marsiglia, Luciano (eds.). Os 500 Maiores Álbuns Brasileiros de Todos os Tempos (in Brazilian Portuguese). Porto Alegre, Rio Grande do Sul: Jambô Editora. ISBN 978-65-88634-33-2.

Bibliography

[edit]
Books
  • Borges, Márcio (1996). Os sonhos não envelhecem: histórias do Clube da Esquina (in Brazilian Portuguese) (5 ed.). São Paulo: Geração Editorial. ISBN 978-85-86028-44-1.
  • Mello, Paulo Thiago de (2020). Milton Nascimento e Lô Borges : Clube da Esquina. O Livro do Disco (in Brazilian Portuguese). Editora Cobogó (published 21 April 2020). ISBN 978-65-5691-002-4.
  • Grasse, Jonathon (2020). Milton Nascimento and Lô Borges's The Corner Club. 33 1/3 Brazil. New York, NY: Bloomsbury Academic. ISBN 978-1-5013-4684-2.
Documents
[edit]
Retrieved from "http://en.wiki.x.io/w/index.php?title=Clube_da_Esquina_(album)&oldid=1276113236"