Most Helpful Customer Reviews
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8 of 8 people found the following review helpful:
4.0 out of 5 stars
Transitional but quite fascinating, September 25, 2000
By A Customer
This was a transitional album for Jorge, whose career was going through a relatively sluggish phase in 1967 in Brazil, even though his international profile was rising through Sergio Mendes' covers of "Mas Que Nada" and "Chove Chuva." Recorded on a low budget for a small label (Jorge Ben and Philips Records having temporarily parted ways), the mix is flat-sounding and rather tinny. Nevertheless, the songs show Jorge in rare 60s form, and several tracks even became classics. Caetano Veloso, always among the more vocal Jorge Ben supporters, counts this among his favorite albums. Considering the circumstances of its creation, it's actually a fairly compelling record. Within two years, an honorary association with the Tropicalistas (Caetano, Gilberto Gil, Gal Costa etc.) would give him a renewed career boost and result in Philips re-signing him, which would in turn result in his becoming one of the 70s' most consistent, distinctive and desperately-loved artists.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
One of Jorge Ben's best albums, January 1, 2002
This is one of my favorite JB albums, with some of his most creative, buoyant arrangements, and catchiest melodies. This was indeed a real break from his early '60s albums, which are pretty, but relatively static. The 1969 follow-up, "Jorge Ben," is also very creative and experimental, although subsequent albums returned to safer terrain. This disc is a real gem & is highly recommended.
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1 of 1 people found the following review helpful:
5.0 out of 5 stars
Jorge Ben - O Bidu/Silencio no Brooklin (1967, United Artists), April 16, 2008
As bad as I would like to say that this is my favorite Jorge Ben album, I cannot. Only because his 1969 self-titled album happens to be my favorite album by this man. Yet, this is my second favorite Jorge Ben album. This album has been out of print for decades and has been long sought-after by so many people, including myself. Jorge Ben had temporarily parted ways with his home recording company, Philips/Mercury after recording his fourth album "Big Ben". So, in 1967, he made his fifth album with a low-budget recording comapny called "Artistas Unidos" (United Artists) and made one of the best albums of his career; an album that Caetano Veloso and Gilberto Gil loved so much that it influenced the Tropicalia movement in the late 1960s.
Although there has been so many reissues of this album on vinyl and two reissues on CD (maybe three), this album has been out of print for so many years and is just as hard to find as many other Jorge Ben albums. "Silencio No Brooklin" is different from his four previous albums and gave us a hint as to what his next two albums would wind up being like. So, instead of this album sounding jazzy, it sounds like real tropical, island music with a heavy use of percussions, guitars, pianos, vibraphones and even a saxophone and an organ from time-to-time.
Because this album was recorded on a low budget, the sound isn't very clean and sounds very tube-like. Even this doesn't stop it from being a great album. I only hope for the day when this album gets reissued on CD and becomes available to the world again, especially since Jorge Ben is becoming more well-known to everyone all over the world. Again, this is one of Jorge Ben's greatest albums and the album cover happens to be one of his best as well!
ESSENTIAL TRACKS: "Amor de Carnaval", "Rosa, Mas Que Nada", "Cancao de uma Fan", "Menina Gata Augusta", "Toda Colorida", "Frases (Olha o Menino)" & "Quanto Mais te Vejo"
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