TEMPESTADE QUIETA:
AN IMAGINED BRAZILIAN QUIET STORM PIRATE RADIO TRANSMISSION
EXTENDED LINER NOTES
Tempestedade Quieta (literally Quiet Storm in Portuguese), is a recording of an imagined Quiet Storm pirate radio transmission that, in my mind, took place in Rio some time in the early 90s. Features 18 tracks from the OG vinyl, ranging from the obscure to the ungoogleable. It was released on August 10, 2021 in a hand-numbered edition of 100 copies. The tape has sold out. The following is a companion to the tape to provide more info and context.
Overview
Dressed sharply in his clean white suit and matching loafers, the phantom broadcaster climbs out onto his roof, as he does every Saturday night at this time, to secure his antenna in the location in which he's determined provides the best coverage. As he climbs back into his apartment through the window, he approaches his makeshift setup, pours himself a whisky, flips on the transmitter as the clock strikes midnight and leans into the mic. Once again, the Voz da Madrugada (voiced here by Planet Hemp's BNegão) is on the air.
Slow sexy tempos, slick production, liberal use of reverb, a penchant for sax solos, slight jazz influences, a heavy reliance on synths and an eschewing of social and political commentary in favor of romantic themes. These are the hallmarks of Quiet Storm, a style of mood music birthed on Howard University radio in Washington DC in 1976. While the Quiet Storm format never existed, per se, in Brazil, this selection of songs shows that it certainly could have. The songs featured here are forgotten b-sides to barely remembered singles, deep cuts off obscure albums generally skipped over by diggers and djs in favor of the more dancefloor-oriented tracks and, in many cases, privately pressed efforts that you may likely only ever hear on this tape (Two 7"s in particular seem to be the only known copies).
Slow sexy tempos, slick production, liberal use of reverb, a penchant for sax solos, slight jazz influences, a heavy reliance on synths and an eschewing of social and political commentary in favor of romantic themes. These are the hallmarks of Quiet Storm, a style of mood music birthed on Howard University radio in Washington DC in 1976. While the Quiet Storm format never existed, per se, in Brazil, this selection of songs shows that it certainly could have. The songs featured here are forgotten b-sides to barely remembered singles, deep cuts off obscure albums generally skipped over by diggers and djs in favor of the more dancefloor-oriented tracks and, in many cases, privately pressed efforts that you may likely only ever hear on this tape (Two 7"s in particular seem to be the only known copies).
The tracks
Peninha opens things up and sets the vibe of whats’s to come with that killer synth bass and those BIG reverb drenched snares on his version of Caetano’s, “Tá Combinado”, a b-side from 1987 arranged by the great Lincoln Olivetti.
“Despertar” off of Beto Chocolateê’s private press LP, “Moleque di Sapucaia” features an arrangement and keys from Renato Netto who, a few years after recording this, would be tapped by Prince to join his NPG touring group.
Most diggers would be familiar with Dom Mita from his highly sought after 1977 LP, “Mita” but, IMO, this lesser-known outing from 1993, while much slicker, is equally worth seeking out. “Vou Ficar Com Você” is the track featured.
On “Tua Volta”, the little known Yoli pulls you into her warm embrace with little more than her sultry voice, a piano, a warm synth bass and a beat off her TR-707. Class.
What can I tell you about Carlos Soutos’ ”Esquina de Amor” other than it was independently released, there is absolutely nothing about it to be found online and it’s fucking butter? Nothing.
Karla “Pensando Em Você”
Out of the handful of people I know who’ve even heard of Luiz Camilo, I’ve heard a couple dismiss him as merely a Tim Maia sound-alike. First, as if being blessed with a voice reminiscent of Maia’s could ever be considered a bad thing. Second, listen to “Passa de Mágica”, featuring a killer arrangement from Serginho Trombone, and tell me this doesn’t stand on it’s own two grown ass feet!
“Amor de Verão” from Mauricio Herdy is another one I can almost guarantee you will only hear here. Besides being stupid rare, wonderful musicianship and a unique, sophisticated arrangement also make this one noteworthy.
Cida Moreyra’s “Deixa-me Rapaz” on the small Lira Paulistana label from 1982 stretches things into a bit more jazzy territory and features some stellar sounds on the Prophet 5 and Oberheim OB-X from Luis Lopes as well as Don Beto sitting in on guitar. So unique. So nice.
Like Dom Mita, Ruban will be better known by the diggers out there for his earlier work as Rubinho alongside Mauro Assumpção or possibly for the rare boogie cut, “Vem Nessa”. But I feel his bit of Brazilian Quiet Storm perfection, “Vem Comigo”, has been overlooked. Until now.
Folks that know of Axell’s sole LP from 1990 probably do so for the early brazilian house track, “Olhos Animais” or maaaybe for the boogie-esque vibes on “Tentando Te Esquecer”. I dig them both but for bringing a Quiet Storm vibe from a synth pop background, it’s got to be “Olhar de Luar”.
I really debated whether or not to include Jossana Glessa’s “Falar de Amor” on this. She’s talking about love alright but it’s her love of G-O-D that’s got her hot and bothered. In the end, I couldn’t let the fact that this is a gospel record keep it from coming to the party. Besides, most you don’t speak Portuguese and you’d never even know if I didn’t tell you. I just hope none of you bring a Brazilian home with you one night and pop this tape on to set the mood only to have them trip out when this song drops. Jokes aside, the production on this track is hella dope! Hella.
Oswaldo Américo’s “Pecado de Amor” is the third and final 7” featured on this tape from the “ain’t NOBODY else got this” trilogy. After consulting the internets along with the usual weasels and record nerds that usually know about such things, the response was universal: this record may as well not exist. Except it does and it’s sick and it features motherfucking Ed Lincoln on synths!
Lincoln Olivetti makes his second appearance here with another obscure yet impeccably arranged and produced b-side, this time for Wanderléa’s “Happy End”. Folks sleep on this. Time to wake up.
Finally, Bruno Maia brings us home with the supremely lovely “Malce”, a track that makes me feel all kinds of feels. Some heads will know this relatively rare record from 1990 but I bet they skipped this track in search of that foonk. Not today, you don’t!
“Despertar” off of Beto Chocolateê’s private press LP, “Moleque di Sapucaia” features an arrangement and keys from Renato Netto who, a few years after recording this, would be tapped by Prince to join his NPG touring group.
Most diggers would be familiar with Dom Mita from his highly sought after 1977 LP, “Mita” but, IMO, this lesser-known outing from 1993, while much slicker, is equally worth seeking out. “Vou Ficar Com Você” is the track featured.
On “Tua Volta”, the little known Yoli pulls you into her warm embrace with little more than her sultry voice, a piano, a warm synth bass and a beat off her TR-707. Class.
What can I tell you about Carlos Soutos’ ”Esquina de Amor” other than it was independently released, there is absolutely nothing about it to be found online and it’s fucking butter? Nothing.
Karla “Pensando Em Você”
Out of the handful of people I know who’ve even heard of Luiz Camilo, I’ve heard a couple dismiss him as merely a Tim Maia sound-alike. First, as if being blessed with a voice reminiscent of Maia’s could ever be considered a bad thing. Second, listen to “Passa de Mágica”, featuring a killer arrangement from Serginho Trombone, and tell me this doesn’t stand on it’s own two grown ass feet!
“Amor de Verão” from Mauricio Herdy is another one I can almost guarantee you will only hear here. Besides being stupid rare, wonderful musicianship and a unique, sophisticated arrangement also make this one noteworthy.
Cida Moreyra’s “Deixa-me Rapaz” on the small Lira Paulistana label from 1982 stretches things into a bit more jazzy territory and features some stellar sounds on the Prophet 5 and Oberheim OB-X from Luis Lopes as well as Don Beto sitting in on guitar. So unique. So nice.
Like Dom Mita, Ruban will be better known by the diggers out there for his earlier work as Rubinho alongside Mauro Assumpção or possibly for the rare boogie cut, “Vem Nessa”. But I feel his bit of Brazilian Quiet Storm perfection, “Vem Comigo”, has been overlooked. Until now.
Folks that know of Axell’s sole LP from 1990 probably do so for the early brazilian house track, “Olhos Animais” or maaaybe for the boogie-esque vibes on “Tentando Te Esquecer”. I dig them both but for bringing a Quiet Storm vibe from a synth pop background, it’s got to be “Olhar de Luar”.
I really debated whether or not to include Jossana Glessa’s “Falar de Amor” on this. She’s talking about love alright but it’s her love of G-O-D that’s got her hot and bothered. In the end, I couldn’t let the fact that this is a gospel record keep it from coming to the party. Besides, most you don’t speak Portuguese and you’d never even know if I didn’t tell you. I just hope none of you bring a Brazilian home with you one night and pop this tape on to set the mood only to have them trip out when this song drops. Jokes aside, the production on this track is hella dope! Hella.
Oswaldo Américo’s “Pecado de Amor” is the third and final 7” featured on this tape from the “ain’t NOBODY else got this” trilogy. After consulting the internets along with the usual weasels and record nerds that usually know about such things, the response was universal: this record may as well not exist. Except it does and it’s sick and it features motherfucking Ed Lincoln on synths!
Lincoln Olivetti makes his second appearance here with another obscure yet impeccably arranged and produced b-side, this time for Wanderléa’s “Happy End”. Folks sleep on this. Time to wake up.
Finally, Bruno Maia brings us home with the supremely lovely “Malce”, a track that makes me feel all kinds of feels. Some heads will know this relatively rare record from 1990 but I bet they skipped this track in search of that foonk. Not today, you don’t!