R&B Classic Soul White&Black
Club Charme 20 anos #07 by ZR

This collection was produced over 20 years, from 1997 to 2018.
By a local producer in southern Brazil Alex Ramos TJ.

A style that was supposed to be transitory if it depended on record labels in the country has gained considerable proportions from admirers such as DJ's, dance groups, parties and radio programs ...
It all started at the 1970s soul and funk balls, which were performed in Brazil by DJs like Big Boy, Ademir Lemos and Mister Funk Santos. The songs played at the charm balls owe a lot to the so-called Philadelphia soul, a strand of soul music known for its arrangements and melody.

At the end of 1976, soul music was showing signs of wear and tear, either by pulverizing the repertoire or by the non-renewal of its audience. Another detail that would hasten the death of soul was the birth of another movement among young whites - “O som das Cocotas”, in which there was also the “Black Rio” movement in which it was composed of 60% of young blacks.
The first “thud” suffered by the Soul movement was, without a doubt, the discovery and identification of the “pop-rock” sound by white people in the northern zone. The second and definitive blow suffered by the agonizing Soul music was given by the revolution brought by disco music in 1977. As it was a worldwide movement, disco music changed the behavior, fashion and culture of young people in the North Zone of Rio and a good part from Brazil.

The term charme was created by Dj Corello, in Rio de Janeiro, in March 1980. DJ Corello started at the time experimenting with other forms of black music. It introduces the musicality of charm and people start to like it. He had not given a name to this experience, but noted that those who danced had a very different body movement. At a ball at Mackenzie, in the Méier neighborhood, Corello invites: “The time for the charminho has arrived, trance your body very slowly”. This “charminho” story was on people's minds and they started to say: “now I'm going to go to charminho, I'm going to hear a charm, I'm going to Corello who will be charming”.

In 1980, the disc weakened as a “collective dance” movement, making room for the “oriented pop” of multinational record companies installed in Brazil, leaving, as it were, a musical vacuum in the sound teams of the suburb of Rio. Corello took advantage of this Musical “hiatus” and experimented with music and styles not perceived by other DJ's at the time.
At that same time, funk dances began to play electronic music genres such as miami bass and frestyle, these styles would give rise to funk carioca and funk melody styles.
The charm also counted on the direct collaboration of DJ's who embraced the cause and started to break with the old structure of the sound teams, according to which, the “owner” of the team determined the musical line to be followed without question.

The first DJ to join the charm after Corello Dj, was DJ Marcão from Rádio Tropical do Rio de Janeiro, DJ and announcer Áurea, DJ Marlboro (in early career), Fernandinho DJ, Orlando DJ.
In the late 1980s and early 90s, the first national artists appeared who started producing music in Brazil or adapting old songs for this musical genre. Among these singers, the following stand out: Alexandre Lucas (as vocalist of “Banda Fanzine” or in his solo career), Edmon, Abdula, Marta Vasconcelos, the Fat Family, Sampa Crew, Marina Lima, Fernanda Abreu, D'Black and Shirley Carvalho, among others.

And so, they started to classify the songs and call them according to the occasion of their respective releases, giving them the name "flash back" to the songs produced until the mid 1980s and "midbacks" produced between the end of the 1980s. and throughout the 1990s. This distinctive name of the songs in the Movimento Charme is also partly due to the existence of several strands within this style, such as New Jack Swing, Smooth jazz, Slow Jams Urban and R&B Contemporâneo, which were, depending of its time, most commonly produced and executed.
The charm dances started to attract a large number of people, with this it even stimulated the arrival of international artists especially to perform at these dances, such as Sybil, Curtis Hairston, Glen Jones and Omar Chandler.
The charm movement was then recognized and this fact provided the opportunity to create the Espaço Rio Charme in 1993.
This name “CHARME”, started to cover all R&B songs that had a defined melodic construction (first verse, second verse, bridge and choir), in the dances where songs of this nature are performed, in which its “CHARMEIROS” regulars excel. for the elegant style of their clothes, and originally cherish the colors and references to the afro character in the hairstyles and accessories, not to mention the varied range of their steps and dances, developed in the hall, to the music played by the DJ, they like to enjoy the music and are excellent dancers, dress elegantly in a conservative style called “social”, the focus main thing is to have fun, dance, hear a good sound, becoming a Lifestyle.

R&B