Clube Da Esquina

1	Tudo Que Você Podia Ser / Lô Borges 2:53
2	Cais / Lô Borges 2:42
3	O Trem Azul (The Blue Train) / Lô Borges 4:02
4	Saídas E Bandeiras No. 1 / Lô Borges 0:43
5	Nuvem Cigana (Gipsy Cloud) / Lô Borges 2:56
6	Cravo É Canela / Lô Borges 2:28
7	Dos Cruces / Lô Borges 5:18
8	Um Girassol Da Cor de Seu Cabelo / Lô Borges 4:09
9	San Vicente / Lô Borges 2:44
10	Estrelas / Lô Borges 0:27
11	Clube da Esquina, No. 2 / Lô Borges 3:36
12	Paisagem Da Janela / Lô Borges 2:55
13	Me Deixa Em Paz / Lô Borges 3:01
14	Os Povos / Lô Borges 4:27
15	Saídas E Bandeiras No. 2 / Lô Borges 1:27
16	Um Gosto de Sol / Lô Borges 4:17
17	Pelo Amor de Deus / Lô Borges 2:02
18	Lilia / Lô Borges 2:30
19	Trem de Doido / Lô Borges 3:56
20	Nada Será Como Antes / Lô Borges 3:20
21	Ao Que Vai Nascer / Lô Borges 3:20

Barnes & Noble

Milton Nascimento is the most well-known Brazilian performer around the world, but, ironically, his music is completely different from what is stereotypically thought of as Brazilian music. The singer-songwriter rarely plays sambas and seldom dips into bossa nova. What Nascimento is known for first and foremost is his high, soaring voice. Over the years, he has put that singular instrument at the service of some of the world's most beautiful songs, from the subtle canon of Brazilian pop to jazz standards. For this classic 1972 album, Nascimento went into the studio with a loosely knit group of compatriots from his home state of Minas Gerais, including Lô Borges, Wagner Tiso, Toninho Horta, and the composers Márcio Borges, Ronaldo Bastos, and Fernando Brant. They called themselves the Clube de Esquina, or the "Corner Club." The result of their collaboration was a double LP that stands as a milestone in Brazilian music, seamlessly melding influences from all over and showing what Brazilian popular music could -- and would -- achieve in subsequent years. Everything from Beatleesque pop to Chilean folk music can be found in the album's 21 tunes, which include the evergreens "Cravo e Canela" and "Cais." The occasional dose of trippy electric guitar stamps this album as under the sway of the era's hippie hegemony, but many of its songs are still in currency today, such as the exquisite "San Vicente" and "O Trem Azul." Clube da Esquina shows that there is more to Brazil than jiggling samba dancers; the country has also produced some of the planet's most gorgeous, inventive, and delicate music. Marty Lipp

All Music Guide

A classic double LP recorded in 1972 by Milton Nascimento and Lô Borges, the album had orchestrations from Eumir Deodato and Wagner Tiso under the conduction of the renowned clarinetist/composer/orchestrator Paulo Moura. The title Clube da Esquina is related to the gang of mineiros (people from the Minas Gerais state) that populate this release, either singing compositions or vocal/instrumental performances, like Nascimento and Borges themselves: Wagner Tiso, Beto Guedes, Milton Guedes, Tavito, Toninho Horta, Márcio Borges, Ronaldo Bastos, and Fernando Brant, among others. The album covers a great number of Clube da Esquina hits, like "Tudo Que Você Podia Ser," "Cais," "O Trem Azul," "Caravo E Canela," "Um Girassol da Cor do Seu Cabelo," "San Vicente," "Clube da Esquina No. 2," and so many others, with the competent backing of some of the best musicians in Brazil, including bassist Luiz Alves and percussionist Robertinho Silva. A must-have. Alvaro Neder