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Written in Folk Roots issue 162, 1996

VAI DE RODA
Polas Ondas
Alba ALB 9601 CD (1996)

The last album from north Portuguese band Vai de Roda, Terreiro Das Bruxas, shot itself in the foot review-wise by arriving with a massive tome of blurb which sensitised the pretentiousness-perceivers. Listening to it again, it wasn’t bad or even noticeably pompous-sounding, it just couldn’t live up to its praise kit (nothing could).
      So this time it’s out with the disc, slap it on, and don’t read until afterwards. And indeed Polas Ondas, the third album, featuring a substantially changed line-up, is in another league.
      It comes in a handsome and ingenious all-cardboard pack which opens out into a cross-shape; the theme is four symbolic lands, and each arm of the cross has notes for that land’s tracks. OK, so much for the concept, take it or leave it, but this is an interesting and often magnificent album.
      The traditional material comes largely from northern Portugal, but also from the linked tradition of Galicia on the other side of the River Minho, and from Madeira. It’s played on a wide range of acoustic instruments from Portugal and elsewhere, plus keyboards, and there are fine vocals from band members and guests - leader Tentúgal’s singing on the Cape Verde-sounding Beira Alta tune Nana Para “Ingalhar” Meninas is particularly notable, and any album featuring Uxía, who guests here to sing, beautifully, A Roupa Do Marinheiro, accompanied by gaita de foles, Portuguese guitarra, low whistle, violin and organ, is worth listening to.
      The whole thing is very carefully constructed. Perhaps one or two of the instrumental tracks, well-played though they be, run close to twee, or at least to an early-music stiffness (and I’ve always been able to do without synthesised harpsichord); on listening to its 67 minutes all the way through there’s perhaps a feeling of need for occasional abrasiveness or wildness to point up the beauty, for chaos in the order - but it’s loaded with good stuff, and individual tracks, particularly the songs, are standouts.


© 1996 Andrew Cronshaw
 

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