Marcos Valle -

Marcos Valle is a Brazilian samba-pop singer/songwriter who released ten albums between 1963 and 1974 on Odeon, followed by three Eighties-era albums on Som Livre and Arca.

He emerged with Samba “Demais” and gained international traction in 1964 with “Samba de Verão,” a standard co-written with his brother, Paulo Sérgio Valle. Through O Compositor e o Cantor and Viola Enluarada, he worked closely with Eumir Deodato, Dori Caymmi, and arranger Geraldo Vespar.

Valle shifted toward electric pop on Marcos Valle (1970) and expanded into jazz-funk textures on Garra and the 1971–72 albums recorded with Azymuth. His mid-1970s work, including Previsão do Tempo and Vento Sul, explored Rhodes-driven fusion with O Terço and production partner Lyrio Panicali.

After film and television scoring in the late 1970s, he re-emerged in 1981 with the boogie-leaning Marcos Valle, which produced the hit “Estrelar.” He continued this electronic MPB direction on Tempo da Gente and later Eighties work with collaborators such as Lincoln Olivetti, Robson Jorge, and Vinicius Cantuária.

Background

Marcos Kostenbader Valle was born on September 14, 1943, in Rio de Janeiro, where his family resided near Copacabana beach. He played piano from age five and studied classical music into his teens.

Samba “Demais”

Marcos Valle released his debut album, Samba “demais”, in 1963 on Odeon.

Valle debuts with a warm, polished bossa nova set arranged by Eumir Deodato and recorded with Trio Tamba. The album features Valle on vocals and guitar, performing his own songs alongside select compositions by key contemporaries.

Valle co-wrote seven of the twelve tracks with his brother Paulo Sérgio Valle. The remaining five include songs by Antonio Carlos Jobim (“Vivo Sonhando,” “Ela É Carioca”), Johnny Alf (“Ilusão À Toa”), Durval Ferreira and Lula Freire (“Moça Flor”), Carlos Alberto Pingarilho (“Canção Pequenina”), and Roberto Menescal and Ronaldo Bôscoli (“A Morte de um Deus de Sal”).

“Vivo Sonhando” opens the album with understated sway and soft saxophone accompaniment. “Amor de Nada” and “Razão do Amor” blend tightly phrased guitar figures with brushed drums and dry alto harmonies. “Moça Flor” emphasizes a clipped piano vamp against vocal accents. Side B builds gradually from the plaintive “Sonho de Maria” through the airy swing of “Ela É Carioca” to the dramatic ballad close of “A Morte de um Deus de Sal.”

A1. “Vivo Sonhando” [Dreamer] — originated as a 1962 Jobim composition later popularized by Stan Getz and João Gilberto
A2. “Amor de Nada” [Useless Love] — expresses disillusionment with an indifferent partner
A3. “Moça Flor” [Flower Girl] — extols a beautiful young woman in metaphorical terms
A4. “Canção Pequenina” [Little Song] — minimal lyric of longing addressed in miniature form
A5. “Razão do Amor” [Reason for Love] — explores the emotional justification of affection
A6. “Tudo de Você” [Everything About You] — admires the subject’s every detail and gesture

B1. “Sonho de Maria” [Maria’s Dream] — romantic reverie delivered through a woman’s name
B2. “Ela É Carioca” [She’s a Girl from Rio] — Jobim’s ode to the quintessential Rio woman
B3. “Ilusão À Toa” [Idle Illusion] — Alf’s reflection on hope and resignation
B4. “Ainda Mais Lindo” [Even More Beautiful] — builds layered praise of a partner’s traits
B5. “E Vem o Sol” [And the Sun Comes] — expresses resilience after emotional hardship
B6. “A Morte de um Deus de Sal” [The Death of a Salt God] — allegory of lost innocence and mythic decay

Sessions occurred in 1963 at Odeon Studios in Rio de Janeiro with producer Milton Miranda and arranger Eumir Deodato. Valle is accompanied by Trio Tamba, who provide piano, bass, and percussion support.

The cover of Samba “Demais” shows a clean-cut Valle in a white shirt before a leafy backdrop, with his name and the album title in plain white block type.

“Sonho de Maria” was released as a single and quickly covered by Tamba Trio, Nara Leão, and Wilson Simonal.

O Compositor e o Cantor

Marcos Valle released his second album, O Compositor e o Cantor, in 1965 on Odeon.

Valle advances his blend of bossa nova and MPB with richer orchestrations by Eumir Deodato and support from top Rio jazz players. The album emphasizes his dual role as songwriter and singer, integrating vocals, guitar, and electric piano into compact, textural arrangements.

Valle co-wrote ten of the twelve tracks with his brother Paulo Sérgio Valle. “Seu Encanto” credits Carlos Alberto Pingarilho, and “Vem” pairs Marcos with lyricist Luiz Fernando Freire. “Dorme Profundo” is co-written by Valle and Pingarilho without Paulo.

“Gente” opens with crisp acoustic strums under a clipped vocal rhythm. “Preciso Aprender a Ser Só” stretches into a moody slow-tempo ballad shaded by string arrangements. “Samba de Verão” unfolds with glistening guitar, ride cymbal pulses, and a short ascending phrase that builds into the chorus. “Dorme Profundo” and “Vem” shift the harmonic texture with electric organ and flute highlights. Valle ends the album on a restrained note with the melancholic “Não Pode Ser.”

A1. “Gente” [People] (2:20) — addresses humanity’s need for connection
A2. “Preciso Aprender a Ser Só” [I Need to Learn to Be Alone] (3:33) — narrates the struggle of post-breakup solitude
A3. “Seu Encanto” [Her Spell] (2:23) — co-written by Pingarilho; describes the entrancing effect of a woman
A4. “Passa Por Mim” [Passes By Me] (3:56) — reflects on moments and people that slip away
A5. “Samba de Verão” [Summer Samba] (2:29) — celebrates fleeting joy through rhythm and warmth
A6. “A Resposta” [The Answer] (3:11) — responds to lingering questions in a past relationship

B1. “Deus Brasileiro” [Brazilian God] (2:19) — invokes a cultural deity amid hopeful imagery
B2. “Dorme Profundo” [Sleep Deeply] (3:21) — co-written by Pingarilho; evokes tranquil dream states
B3. “Vem” [Come] (2:03) — co-written by Freire; a direct invitation to love
B4. “Mais Amor” [More Love] (3:22) — pleads for deeper emotional exchange
B5. “Perdão” [Forgiveness] (3:14) — addresses guilt and the desire for redemption
B6. “Não Pode Ser” [It Can’t Be] (2:31) — closes with finality on a broken relationship

Sessions occurred in 1965 at Odeon Studios in Rio de Janeiro with producer Milton Miranda and musical director Lyrio Panicali. Valle handles vocals, acoustic guitar, and some piano. Key players include Eumir Deodato (organ, piano, arrangements), Rubens Bassini (percussion), Wilson das Neves and Dom Um Romão (drums), and Paul Winter (alto saxophone, flute on A3, B3). Brass and reed contributions come from Jorginho (alto sax), Aurino Ferreira (baritone sax), Meirelles and Walter Rosa (tenor sax), and trombonist Edson Maciel.

Brazil-iance!

In 1966, Warner Bros. introduced Valle to the US market with Brazil-iance!, a compilation of English-retitled Valle instrumentals (billed as “Marcos Valle and His Music”).

The album repackages earlier material with new English titles and sequencing tailored for American lounge and bossa listeners. Arranger Eumir Deodato conducts a tightly rehearsed ensemble through polished instrumental versions of Valle’s signature melodies.

Most tracks derive from compositions previously co-written by Marcos and Paulo Sérgio Valle, though credits are absent from the sleeve. “The Face I Love” and “Dorme Profundo” are adapted from “Seu Encanto” and “Dorme Profundo,” respectively. “Crickets Sing for Anamaria” reworks “Os Grilos,” one of Valle’s most enduring melodies.

The set opens with “Crickets Sing for Anamaria,” its syncopated piano and brushed cymbal driving a lightly percussive rhythm. “Batuque” and “So Nice” proceed with clipped horn interjections and compact phrasing. “Passa Por Mim” reappears as a midtempo showcase for guitar phrasing and brushed rhythm. “Brazilian Duck” closes the album on a brisker, jazz-inflected note with horn swells and double-time breaks.

A1. “Crickets Sing for Anamaria” (2:15) — instrumental version of “Os Grilos”; evokes a playful, nocturnal atmosphere
A2. “If You Went Away” (2:35) — presumed adaptation of “Preciso Aprender a Ser Só”
A3. “Batuque” (2:15) — rhythmic workout for percussion and muted brass
A4. “The Face I Love” (2:08) — instrumental of “Seu Encanto”
A5. “So Nice” (1:55) — compact samba with lilting piano runs
A6. “Surfin’ in Rio” (2:17) — blends electric guitar riff with shuffle rhythm

B1. “Tanto Ande” (1:37) — slow-paced theme built on alternating chords
B2. “Dorme Profundo” (2:47) — lush woodwind and organ version of prior vocal
B3. “Brasileiro” (2:15) — brief rhythmic sketch anchored by claves
B4. “Little Patricia” (2:15) — soft lullaby built around acoustic guitar
B5. “Passa Por Mim” (2:35) — previously issued on O Compositor e o Cantor
B6. “Brazilian Duck” (2:53) — upbeat closer with horns and shifting rhythm

Sessions occurred in 1966 under producers Louis Oliveira and Ray Gilbert. Marcos Valle plays acoustic guitar and occasional piano (notably on “Little Patricia”), with Deodato arranging and conducting the ensemble.

The cover of Brazil‑iance! features Valle in a striped bluescale shirt, framed in a semi-arc panel beside large bold text.

In 1967, Odeon released the album Valle’s home country as Braziliance! A Música de Marcos Valle. This version features Portuguese titles, re-sequenced sides, and alternate cover art. The recordings are identical across both versions, apart from one substitution: the US edition closes with “Brazilian Duck,” while the Brazilian issue ends with “Se Você Soubesse.”

Viola Enluarada

Marcos Valle released his fourth album, Viola Enluarada, in October 1968 on Odeon.

The album presents Valle’s first broad embrace of the emerging MPB idiom, threading themes of introspection, urban life, and social observation into a more textural, ensemble-based sound. It marks his first recorded collaborations with lyricist Ronaldo Bastos and singer Milton Nascimento, who appears on two key tracks.

Valle composed all twelve tracks, mostly in partnership with his brother Paulo Sérgio Valle. He shares lyrical duties with poets Ruy Guerra and Ronaldo Bastos on two numbers, and splits lead vocals with Anamaria Valle and Milton Nascimento on select cuts. Instrumentally, the album features guitarists Dori Caymmi and Novelli, organist/pianist Antonio Adolfo, and orchestrators Eumir Deodato and Oscar Castro-Neves. Lyrio Panicali served as music director, with Milton Miranda producing.

Viola Enluarada shifts between intimate chamber-pop arrangements and sweeping cinematic orchestrations. “Próton Elétron Neutron” matches mellow organ passages with ethereal vocal interplay. “Maria da Favela” and “Tião Braço Forte” draw from northeastern folk idioms with dense, percussive layering. “Requiem” and “O Amor É Chama” lean on baroque textures and modal progressions. “Viola Enluarada,” the title track, blends anthemic orchestration with Nascimento’s plaintive tenor, signaling Valle’s expansion into sociopolitical themes.

A1. “Viola Enluarada” [Moonlit Guitar] (3:17)
A2. “Próton Elétron Neutron” [Proton Electron Neutron] (2:44)
A3. “Maria da Favela” [Maria of the Favela] (3:43)
A4. “Bloco do Eu Sòzinho” [Loner’s Parade] (3:02)
A5. “Homem do Meu Mundo” [Man of My World] (2:45)
A6. “Viagem” [Journey] (2:47)

B1. “Terra de Ninguém” [No Man’s Land] (2:33)
B2. “Tião Braço Forte” [Tião Strong Arm] (2:32)
B3. “O Amor É Chama” [Love Is Flame] (3:38)
B4. “Requiem” (3:09)
B5. “Pelas Ruas do Recife” [Through the Streets of Recife] (2:13)
B6. “Eu” [Me] (3:04)

The album was recorded at Odeon Studios in Rio de Janeiro with engineers Jorge Teixeira da Rocha and Zilmar de Araujo. Cover photography is by Galdino L. da Silva, and back cover notes are provided by Paulo Sérgio Valle. The cover features a grainy, monochrome close-up of Valle’s face partially silhouetted by a soft spotlight against a dark gray backdrop. The minimalist artwork contrasts with the LP’s intricate sonics.

In the US, Verve Records issued Samba ’68 (1968), a compilation of English-retitled Valle instrumentals. T

he Japanese CD reissue adds the Anamaria Valle feature “Ultimatum” as a bonus track.

Mustang côr de Sangue

Marcos Valle released his fifth album, Mustang côr de Sangue, in August 1969 on Odeon.

The album’s title references a red Mustang gifted to Valle by his record label, which prompted a looser, more playful tone overall. It emphasizes urban life, advertising culture, and musical Americana through stylized arrangements that mix brass, vocal harmonies, and electric instrumentation.

Valle again collaborated with Paulo Sérgio Valle on all twelve tracks, aside from three songs co-written with Arnoldo Medeiros, Novelli, Taiguara, or Milton Nascimento. The record features guitarist Geraldo Vespar, pianist Laércio de Freitas, and bassists Novelli and Mauricio Maestro, with arrangements by Orlando Silveira, Laércio, Deodato, and Valle himself. The Golden Boys lend vocals to “Dia de Vitória,” and Milton Nascimento reappears on the closing track, “Diálogo.”

Musically, the album blends samba-rock with soul, baroque-pop, and carnival fanfare. “Azimuth” foreshadows Valle’s future jazz-funk excursions with its staccato piano runs and shifting time signatures. “Frêvo Novo” and “Tigre da Esso Que Sucesso” draw from commercial jingles and radio slogans with ironic flair. “Das Três Às Seis” and “Mentira Carioca” veer into compact tropical-soul. “O Evangelho Segundo San Quentin” juxtaposes devotional melody with stark political allusion.

A1. “Mustang Côr de Sangue” [Blood-Colored Mustang] (3:26)
A2. “Samba de Verão 2” [Summer Samba 2] (2:16)
A3. “Catarina e o Vento” [Catarina and the Wind] (4:13)
A4. “Frêvo Novo” [New Frêvo] (1:55)
A5. “Azimuth” (2:38)
A6. “Dia de Vitória” [Victory Day] (3:17)

B1. “Os Dentes Brancos do Mundo” [The World’s White Teeth] (2:44)
B2. “Mentira Carioca” [Carioca Lie] (2:00)
B3. “Das Três Às Seis” [From Three to Six] (2:23)
B4. “Tigre da Esso Que Sucesso” [Esso’s Tiger—What a Hit] (2:36)
B5. “O Evangelho Segundo San Quentin” [The Gospel According to San Quentin] (2:52)
B6. “Diálogo” [Dialogue] (2:21)

The album was recorded in mono and stereo editions at Odeon Studios with engineering by Jorge and Nivaldo. Artwork features Marcos and his brother Paulo seated before a row of cars, captured in saturated Kodachrome.

The Japanese CD reissue includes the additional track “Beijo Sideral.”

Marcos Valle (1970)

Marcos Valle released his self-titled sixth album in July 1970 on Odeon.

This self-titled set finds Valle moving into jazz-funk and psychedelic terrain, favoring longer compositions and layered instrumentation. It features his most abstract and exploratory work to date, signaling the start of his fusion-oriented phase in the early 1970s.

Valle wrote all nine pieces, mostly with Paulo Sérgio Valle. Two tracks credit additional lyricists, including Novelli. The core band includes pianist Wagner Tiso, bassist Luiz Alves, drummer Robertinho Silva, and guitarists Tavito and Nelson Ângelo. Angela Valle contributes backing vocals to two numbers. Valle plays piano, acoustic guitar, and sings lead throughout. The orchestrations are split between Orlando Silveira and Leonardo Bruno.

The music incorporates electric piano textures, modal jazz voicings, and shifting rhythmic pulses. “Freio Aerodinâmico” opens with a stop-start electric riff over syncopated drums. “Esperando o Messias” builds from slow gospel inflection to full ensemble crescendo. The suite “Suíte Imaginária” unfolds over four movements, blending chamber, funk, and Brazilian themes. A reworking of “Os Grilos” recasts the bossa classic in a compact, electric arrangement.

A1. “Quarentão Simpático” [Friendly Forty-Something] (2:22)
A2. “Ele e Ela” [He and She] (2:24)
A3. “Dez Leis” [Ten Laws] (4:18)
A4. “Pigmalião” [Pygmalion] (2:56)
A5. “Que Eu Canse e Descanse” [So That I Tire and Rest] (3:18)

B1. “Esperando o Messias” [Waiting for the Messiah] (2:50)
B2. “Freio Aerodinâmico” [Aerodynamic Brake] (2:43)
B3. “Os Grilos” [Crickets Sing for Anamaria] (2:33)
B4. “Suíte Imaginária” [Imaginary Suite] (8:58)
a. “Canção” [Song]
b. “Corrente” [Current]
c. “Toada” [Tune]
d. “Dança” [Dance]

Leonardo Bruno and Orlando Silveira arranged the orchestral passages, with Milton Miranda and Lyrio Panicali producing. Recorded at Odeon Studios in Rio, the album’s cover depicts Valle in a red-carpeted hotel room, shirtless and seated under a red lamp in a single bed with a bedside bottle and strewn newspapers—framing the album’s satirical tone with a stylized image of leisure and detachment.

The 2011 CD reissue adds two instrumental versions and the rare track “Berenice.”

Garra

Marcos Valle released his seventh album, Garra, in September 1971 on Odeon.

The album bridges Valle’s sophisticated MPB songwriting with subtle doses of Brazilian soul, samba-funk, and cinematic flourishes. Its lyrical tone varies between politically conscious commentary and lighthearted celebration, often veiled in double meaning. Garra marked the final release in his classic Odeon run before a temporary move to the US.

Valle wrote all twelve songs with lyricist Paulo Sérgio Valle, apart from two co-writes with Osmar Milito and Mariozinho Rocha. Geraldo Vespar arranged most tracks, with César Mariano and Orlando Silveira contributing orchestration. Valle sings and plays piano across the album, backed by an ensemble of veteran Brazilian session players.

The title track features sweeping strings and emphatic vocal phrasing over a clipped rhythm and soaring chorus. “Black Is Beautiful” uses samba-funk momentum and alternating call-and-response vocals. “Jesus Meu Rei” opens the album with brisk, percussive samba-jazz, while “Wanda Vidal” explores cinematic balladry. Other standouts include the breezy “Paz e Futebol” and the anthemic “Minha Voz Virá do Sol da América.”

A1. “Jesus Meu Rei” [Jesus My King] (3:09)
A2. “Com Mais de 30” [Over 30] (2:39)
A3. “Garra” [Claw / Grit] (2:57)
A4. “Black Is Beautiful” (4:15)
A5. “Ao Amigo Tom” [To My Friend Tom] (1:56)
A6. “Paz e Futebol” [Peace and Soccer] (2:31)

B1. “Que Bandeira” [What a Flag] (2:57)
B2. “Wanda Vidal” (2:04)
B3. “Minha Voz Virá do Sol da América” [My Voice Will Come from the Sun of America] (4:20)
B4. “Vinte e Seis Anos de Vida Normal” [Twenty-Six Years of a Normal Life] (2:22)
B5. “O Cafona” [The Tacky One] (3:20)

Sessions were overseen by producer Milton Miranda with assistant Mariozinho Rocha and music direction by Lindolfo Gaya. The album was recorded at Odeon Studios and mastered by Reny R. Lippi. Geraldo Vespar arranged the majority of tracks, with César Mariano orchestrating “Paz e Futebol” and Orlando Silveira handling side B’s final two tracks.

The cover depicts Marcos Valle’s head superimposed onto the body of a winged creature with outstretched green feathers, centered above a ribbon-like banner with his name, all rendered in soft, muted tones with a psychedelic outline glow.

Vento Sul

Marcos Valle released his seventh album, Vento Sul, in July 1972 on Odeon.

The album marks a stylistic shift as Valle merges MPB with psychedelic textures, looser forms, and amplified instrumentation. He enlists O Terço — a Brazilian progressive rock band — as his studio backing group, yielding a mixture of jazz-folk interludes and post-Tropicália experimentation.

Valle composed nine of the eleven tracks with Paulo Sérgio Valle, with input from guitarist Cláudio Guimarães and flautist Paulo Guimarães. He sings and plays piano and organ throughout, joined by O Terço members Sérgio Hinds (guitar), Vinícius Cantuária (drums), and César de Mercês (bass), with orchestral contributions arranged by Ian Guest and Hugo Bellard.

The album cycles through modal piano cadences, flute motifs, and multipart vocal phrasings. “Revolução Orgânica” opens with phasing Rhodes and clipped chorus parts. “Vôo Cego” pivots on intricate acoustic figures, while “Mi Hermoza” centers on 12-string arpeggios. “Deixa o Mundo e o Sol Entrar” closes with time shifts and sudden ensemble swells.

Several tracks pivot between broken cadences and ambient intervals, with Valle suspending vocal lines over rhythm guitar and Rhodes beds (“Revolução Orgânica,” “Democústico”), or tightening into spiraled, half-swung forms with crisp kit work and ensemble phrasing (“Vôo Cego,” “Não Tem Nada”). “Vento Sul” pairs flanged Rhodes with brushed flute. “Mi Hermoza” builds from clipped acoustic cells. “Deixa o Mundo e o Sol Entrar” shifts from subdued verse to full-band crescendo with tempo jumps and sudden orchestral peaks. Throughout, Valle balances inertia and propulsion without settling into fixed repetition.

A1. “Revolução Orgânica” [Organic Revolution] (3:00)
A2. “Malena” (2:06)
A3. “Pista 02” [Track 02] (1:57)
A4. “Vôo Cego” [Blind Flight] (3:28)
A5. “Bodas de Sangue” [Blood Wedding] (3:23)
A6. “Democústico” [Democoustic] (2:24)

B1. “Vento Sul” [Southern Wind] (2:55)
B2. “Rosto Barbado” [Bearded Face] (2:56)
B3. “Mi Hermoza” (4:12)
B4. “Paisagem de Mariana” [Mariana Landscape] (2:36)
B5. “Deixa o Mundo e o Sol Entrar” [Let the World and Sun Come In] (3:31)

Vento Sul was recorded at Odeon Studios in Rio de Janeiro under producer Milton Miranda and assistant Renato Corrêa. The core group features Valle on keys, with members of O Terço supporting on guitar, bass, drums, and vocals. Flute passages are played by Paulo Guimarães. Orchestral arrangements appear on tracks 5 and 11 by Ian Guest and Hugo Bellard.

The cover, designed by Juarez Machado, features a surreal illustration of Marcos Valle chest-deep in a starry ocean inside a room, holding a pink guitar, with a comic strip above showing a man entering the same dreamlike scene.

O Fabuloso Fittipaldi (OST, w/ Paulo Sérgio Valle)

In October 1973, Philips issued O Fabuloso Fittipaldi, a soundtrack album by Marcos and Paulo Sérgio Valle for a documentary film about Brazilian racing driver Emerson Fittipaldi.

The album functions as the original soundtrack to the documentary O Fabuloso Fittipaldi, a biographical film about Brazilian Formula One racer Emerson Fittipaldi. The music blends cinematic themes, electric jazz-funk, and incidental dialogue fragments. This marked Valle’s collaboration with the then-new Conjunto Azimuth, later known as Azymuth.

Valle composed all music with contributions from lyricist Paulo Sérgio Valle and bassist Novelli. José Roberto Bertrami arranged most tracks and played Hammond organ and ARP synthesizer. Marcos plays piano throughout with backing from Azimuth members: Alex Malheiros (Rickenbacker bass), Ivan Conti (drums), and Luiz Claudio Ramos (guitar). Mauricio Einhorn plays harmonica, and Helena contributes vocals on “Tema de Maria Helena.”

Tracks include the racing theme “Fittipaldi Show,” the soul-tinged “Vitória,” and the lyrical ballad “Tema de Maria Helena,” which appears twice in different forms. Instrumentals dominate the set, with layered keyboard arrangements, clipped funk rhythms, and shifting time signatures on tracks like “Acidente” and “Virabrequim.”

A1. “Fittipaldi Show” (4:20)
A2. “Tema de Maria Helena” (4:48)
A3. “Vitória” [Victory] (3:35)
A4. “Rindt” (3:19)

B1. “Acidente” [Accident] (6:01)
B2. “Vinheta I” [Jingle I] (0:53)
B3. “Vinheta II” [Jingle II] (3:01)
B4. “Azimuth (Mil Milhas)” [Azimuth (Thousand Miles)] (0:32)
B5. “Tema de Maria Helena” (reprise) (3:12)
B6. “Virabrequim” [Crankshaft] (3:41)

The album was recorded in Rio and issued by Philips. No formal liner notes accompany the original pressing, but the soundtrack was produced and arranged by Valle and Bertrami with full performance credits to Conjunto Azimuth. The recordings mix studio instrumentals with excerpts of film dialogue and ambient effects.

The cover shows an illustration of Emerson Fittipaldi in racing gear amid action shots and racing iconography, with the title stylized in bold script above a photographic banner.

Previsão do Tempo

Marcos Valle released his eighth solo album, Previsão do Tempo, in December 1973 on Odeon.

Valle integrates laidback samba rhythms with electric instrumentation and vocal layering in a mellow, funk-inflected MPB style that anticipates his mid-70s work. The album marks the start of a new phase with Azymuth members as backing band and greater use of electric piano, clavinet, and layered harmonies. Tracks range from warm, rolling pop-samba (“Flamengo Até Morrer”) to jazz-infused miniatures (“Não Tem Nada Não”) and choral soft-psych interludes.

Previsão traverses samba, funk, soul and jazz with confidence: beneath Valle’s smooth vocal delivery the rhythm section and electric keyboards drive syncopated basslines and shimmering Rhodes tones. On “Mentira” he layers clavinet comping and tight horn punches over a beat reminiscent of early Stevie Wonder, while the title track floats on an ambient organ pad and minimal percussion, evoking a sense of suspended breath and coded resistance to Brazil’s “anos de chumbo” era. Elsewhere, “Flamengo Até Morrer” uses the buoyancy of pop‑samba to mask a critique of football‑mania as social distraction, and “Não Tem Nada Não” adapts a samba‑rock template with slick electric bass, hand‑claps and whisper‑to‑spoken vocals to reflect relationship dissolution.

Valle wrote or co-wrote all twelve tracks: nine with Paulo Sérgio, one solo (“Previsão do Tempo”), and two (“Não Tem Nada Não” and its reprise) with Eumir Deodato and João Donato.

A1. “Flamengo Até Morrer” [Flamengo Until Death] (3:28)
A2. “Nem Paletó, Nem Gravata” [Neither Jacket Nor Tie] (3:00)
A3. “Tira a Mão” [Take Your Hand Away] (2:48)
A4. “Mentira” [Lie] (3:40)
A5. “Previsão do Tempo” [Weather Forecast] (3:39)
A6. “Mais do Que Valsa” [More Than Waltz] (2:50)

B1. “Os Ossos do Barão” [The Baron’s Bones] (2:20)
B2. “Não Tem Nada Não” [It’s Nothing, Really] (3:14)
B3. “Não Tem Nada Não (2)” [It’s Nothing, Really (2)] (1:26)
B4. “Samba Fatal” [Fatal Samba] (3:07)
B5. “Tiu-Ba-La-Quiéba” [Tiu-Ba-La-Quiéba] (3:24)
B6. “De Repente, Moça Flor” [Suddenly, Flower Girl] (3:06)

Valle is backed by keyboardist Zé Roberto (clavinet, organ, electric piano), arranger/conductors Maestro Zé Roberto, Maestro Waltel Branco, and Valle himself, plus rhythm support from drummer Toninho, technicians Dacy and Nivaldo Duarte, and producer Milton Miranda. Paulo Sérgio Valle contributes lyrics and assistant production.

The cover shows Valle submerged in a swimming pool, his head framed in cyan light as air bubbles rise around his beard, giving the image a blurred, sunlit underwater effect.

Marcos Valle (1974)

Marcos Valle released his self-titled ninth solo album in December 1974 on Odeon.

The album refines Valle’s MPB-soul synthesis with dense, syncopated arrangements and polished studio layering that frame his shortest, most vignette-like set of songs. Each track contrasts clipped percussion with reverberant orchestral swells, while interweaving samba pulses, Rhodes textures, and layered vocal harmonies.

Valle shifts between acoustic intimacy and electric complexity, incorporating modular synths (“Brasil X México”), jazz-inflected horns, and serpentine funk rhythms (“Cobaia,” “Tango”). The tonal shifts mirror lyrical themes of romantic unease and societal constraint, culminating in moments of cinematic tension, as on the martial “Charlie Bravo.”

He wrote all but three tracks with Paulo Sérgio Valle; “Charlie Bravo” and “Brasil X México” are solo compositions, and “Novêlo de Lã” is co-written with Walter Mariani.

A1. “No Rumo do Sol” [Heading Toward the Sun] (2:30)
A2. “Meu Herói” [My Hero] (2:34)
A3. “Só Se Morre Uma Vez” [You Only Die Once] (2:30)
A4. “Casamento, Filhos e Convenções” [Marriage, Children and Conventions] (2:19)
A5. “Remédio P’ro Coração” [Medicine for the Heart] (2:29)
A6. “Brasil X México” [Brazil vs. Mexico] (1:38)

B1. “Tango” [Tango] (3:01)
B2. “Nossa Vida Começa na Gente” [Our Life Begins Within] (2:55)
B3. “Novêlo de Lã” [Ball of Wool] (2:02)
B4. “Cobaia” [Guinea Pig] (3:09)
B5. “Charlie Bravo” [Charlie Bravo] (4:45)

Backing comes from multi-instrumentalist Tavito (electric guitar, backing vocals, arrangements), keyboardist Zé Roberto (clavinet, organ, synth, electric piano), bassist Luizão, drummers Robertinho and Nelsinho, and orchestral players under arrangers Dori Caymmi, Eduardo Souto Neto, Laércio de Freitas, and Zé Roberto. Marcos sings lead and plays piano, synth, and guitar. Produced by Milton Miranda, with support from Tavito and music director Maestro Gaya.

The cover depicts a surrealist seascape where a beach-side keyboard extends toward a horizon with an embedded eye in the sky. Slanted text spelling “Marcos Valle” completes the dreamlike effect.

Vontade de Rever Você

Marcos Valle released his tenth album, Vontade de Rever Você, in April 1981 on Som Livre.

After a period based in Los Angeles, Valle returned to Brazil and aligned with the funk/boogie sensibility of the era. He brought in American collaborators such as Leon Ware and Chicago frontman Peter Cetera for an exploration of samba‑boogie hybrids.

Valle co-wrote all eight tracks with his brother Paulo Sérgio Valle. Ware co-wrote the first three tracks and “Não Pode Ser Qualquer Mulher.” Cetera contributed to each side opener with Brazilian-born Chicago associate (and erstwhile eighth member) Laudir de Oliveira.

“A Paraíba Não É Chicago” opens the album with bright Rhodes piano, syncopated brass stabs, and loping electric bass. “Bicho No Cio” and “Velhos Surfistas Querendo Voar” follow at a steady pace, layering crisp guitar and clipped percussion under Valle’s lead. “Campina Grande” pulls back to a sparse acoustic arrangement with light flute accents. Side B opens with the Cetera–de Oliveira collaboration “Sei Lá,” built on an upfront bassline and layered horn fills. “Pecados de Amor” and “Garimpando” move at a measured pace with soft keyboard shading. “Não Pode Ser Qualquer Mulher” blends mid-tempo funk with cool-toned synth and congas.

A1. “A Paraíba Não É Chicago” [Paraíba Is Not Chicago] (4:35) — originated as a collaboration between Valle, Ware, Cetera, and percussionist Laudir de Oliveira
A2. “Bicho No Cio” [Animal in Heat] (4:35) — lyrics center on animalistic desire and primal instinct
A3. “Velhos Surfistas Querendo Voar” [Old Surfers Wanting to Fly] (4:35) — imagines aging surfers yearning to fly again, evoking faded youth
A4. “Campina Grande” (3:22) — tribute to the northeastern city in Paraíba state

B1. “Sei Lá” [Who Knows] (4:35) — co-written by Cetera and de Oliveira; lyrics reflect uncertainty in love
B2. “Pecados de Amor” [Sins of Love] (3:40) — contemplates the small sins that haunt romantic relationships
B3. “Garimpando” [Prospecting] (3:55) — describes prospecting for emotional truth
B4. “Não Pode Ser Qualquer Mulher” [It Can’t Be Just Any Woman] (4:12) — conveys the narrator’s demand for something rare and extraordinary in a partner

Sessions occurred in 1981 in Rio de Janeiro with additional musicians from Los Angeles, including Peter Cetera (bass) and José Roberto Bertrami (electric piano).

The cover of Vontade de Rever Você features a chest-bare Marcos Valle with folded arms and a slight smile, set against a black background and framed by his name in large stylised outlined block letters and the album title in a light sans-serif typeface. (The title font closely resembles Helvetica.)

Som Livre promoted Vontade de Rever Você with “Estrelar” (b/w “Fogo do Sol”), issued separately that same year.

Marcos Valle (1983)

Marcos Valle released his self-titled eleventh solo album in May 1983 on Som Livre.

The album marked his return to full-scale studio work after a mid-1970s relocation period, aligning him with Brazil’s rising boogie-funk sound and reintroducing him as a front-line writer, arranger, and keyboardist in the new MPB landscape.

Valle fronts the project on Rhodes, Yamaha electric piano, organ, synthesizers, and vocal arrangements. He works extensively with arranger–keyboardist Lincoln Olivetti and guitarist–synthesist Robson Jorge, whose partnership anchors Rio’s early-1980s funk cadence. Sessions involve drummer Picolé, bassist Fernando de Souza, percussionists Ariovaldo and Peninha, saxophonists Leo Gandelman, Oberdan, and Zé Carlos, trombonist Serginho Trombone, trumpeters Bidinho and Márcio Montarroyos, and a large string section conducted by Eduardo Lages.

The set combines tight rhythmic patterns with layered electric keyboards. “Estrelar” opens with clipped horn figures and interlocking Fender Rhodes lines. “Fogo do Sol” centers on acoustic counterlines from Claudio Stevenson, while “Samba de Verão” reworks Valle’s 1964 standard with Korg and Moog textures. “Para os Filhos de Abraão” and “Naturalmente” build on Linn Drum punctuation and stratified synth voicings, and “Viola Enluarada” closes the album with barrel-organ tones and Mauricio Einhorn’s harmonica.

Marcos wrote “Naturalmente” and collaborated with Paulo Sérgio on eight tracks. Leon Ware joined them on “Estrelar,” “Dia D,” and “Mais Que Amor.” Laudir de Oliveira co-wrote “Para os Filhos de Abraão” and (with third-writer Ivor Lancellotti) “Tapetes, Guardanapos, Cetins.”

A1. “Estrelar” [Stellar] (5:12)
A2. “Fogo do Sol” [Fire of the Sun] (3:42)
A3. “Samba de Verão” [Summer Samba] (3:56)
A4. “Para os Filhos de Abraão” [For the Sons of Abraham] (4:12)
A5. “Naturalmente” [Naturally] (4:02)

B1. “Tapa no Real” [A Hit in Reality] (4:09)
B2. “Tapetes, Guardanapos, Cetins” [Carpets, Napkins, Satins] (3:35)
B3. “Dia D” [D-Day] (3:35)
B4. “Mais Que Amor” [More Than Love] (4:27)
B5. “Viola Enluarada” [Moonlit Guitar] (4:35)

The album was recorded and mixed at Estúdios da SIGLA and produced by Paulo Sérgio Valle, with arrangements and conducting split between Lincoln Olivetti and Eduardo Lages. André Paul Mills and Antonio “Mug” Canazio handled key engineering duties, and the visual presentation was shaped by Cosme de Oliveira and Tuninho de Paula, with photography by João Bosco.

Tempo da Gente

Marcos Valle released his twelfth album, Tempo da Gente, in 1986 on Arca.

Marcos Valle released Tempo da Gente in 1986 on Arca. The album continues his early-1980s alignment with synthesized MPB, soft-funk pacing, and compact rhythmic frameworks, now with a leaner ensemble and renewed focus on songwriting partnerships formed since his 1981 comeback.

Valle handles electric piano, synthesizers, and arrangements, supported by a studio contingent recorded and mixed at PolyGram Studios and Estúdio Transamérica. The album features guest keyboardist–arranger Eumir Deodato on “Pior Que É,” which adds expanded harmonic voicings to the album’s otherwise tight electronic patterns.

“O Tempo da Gente” opens with steady mid-tempo phrasing and stacked keyboard lines. “Sem Você Não Dá” uses clipped rhythm guitar and compressed synth pads, while “Próton, Elétron, Neutron” moves in brisk, sequenced pulses. Side B shifts between the reflective pace of “Vôo no Tempo” and the harmonic expansions of “Pior Que É,” closing with the succinct, beat-driven “No Início.”

Valle co-wrote eight tracks with Paulo Sérgio. He partnered on select tracks with Ary Carvalho (“O Tempo da Gente”), Erasmo Carlos (“Sem Você Não Dá”), Vinicius Cantuária (“Tá Tudo Bem”), and Eumir Deodato (“Pior Que É”). “Na Rede” is his sole composition.

A1. “O Tempo da Gente” [Our Time] (4:05)
A2. “Sem Você Não Dá” [Can’t Be Without You] (3:46)
A3. “Um Tempo Musical” [A Musical Time] (3:42)
A4. “Ah! Você Mulher” [Ah! You Woman] (3:50)
A5. “Próton, Elétron, Neutron” [Proton, Electron, Neutron] (3:49)

B1. “Tá Tudo Bem” [Everything’s Fine] (3:57)
B2. “Vôo no Tempo” [Flight in Time] (4:14)
B3. “Pior Que É” [Worse Than It Is] (4:14)
B4. “Na Rede” [In the Hammock] (3:02)
B5. “No Início” [At the Beginning] (3:41)

Recording and mixing took place at PolyGram Studios in Rio de Janeiro and at Estúdio Transamérica, where Eduardo Lages oversaw production. Engineering was handled by João, Julinho, Luiz Cláudio, Márcio, Charles, Marquinhos, and Armando. Mariano Martins directed the artwork, and Orlando Abrunhosa provided the photography.

Discography: