01		Amante Mía			Terence Trent D'Arby			03:38
02		Si Me Faltaras Tú			Kool & the Gang			02:04
03		Me Gustaria			Linda Ronstadt			02:34
04		El Pacto			The Moody Blues			04:02
05		No Me Resulta Facil Quererte			The Righteous Brothers			04:21
06		Amor Que Nace, Amor Que			Helen Watts, alto Adalbert Kraus, tenor Wolfgang Schöne, bass			04:34
07		Despues De Tí			10 CC			03:50
08		Es Natural			Blacknuss Featuring Jennifer Brown & Titiyo			02:52
09		Estoy Solo			Cameo			03:12
10		No Siempre Te Quiero			Jocelyn Brown			03:23
11		Nunca Estuviste Segura De Mí			Color Me Badd			03:41
12		Tu Cuerpo			Arleen Augér, soprano Philippe Huttenlocher, bass			03:35
13		Una Cierta Melancolia			Glen Goldsmith			05:59
14		Rosita Se Llamaba			The Real Thing			04:14
15		Inmigrantes			Karl Keaton			03:54

To write about Baden Powell and his vast and ingenious work
is to tell something of the history of the acoustic guitar.
Such has been the effect of one's creation. Baden Powell
inherited the guitar from his father Lino de Aquino, and
with it came an immense love of the instrument. He
apprenticed with some of the most respected players in
Brazil, first Meira, then Dilermando Reis and Garoto. Over a
42-year career this artist's blessed fingers have created
hundreds of compositions which have gained broad
international acclaim.

To complement his sparkling musicianship, Baden Powell's
life as a composer started in 1955 with "Samba Triste,"
written together with Billy Blanco. An ever-more fruitful
collaboration commenced in 1962 with the bossa nova poet
Vinicius de Moraes. Together they turned in a superb series
of compositions - Samba em Preludio, O Astronauta,
Consolação, Samba da Bênção, Tem Do, and Lambada. Samba da
Bênção's success was such that it was included in Claude
Lelouche's classic film "A Man and a Woman." He and Vinicius
went on to create still more standards, the now-famed
Afro-sambas like Tristeza, Canto de Xangô, Canto de Ossanha,
and Canto de Iemanjá. Powell took part in the important song
festivals of the 1960s and '70s with his Valsa de Amor Que
Não Vem, composed with Vinicius, and in 1966 he won fourth
place with Cidade Vazia, written with Lula Freire and sung
by then newcomer Milton Nascimento. The 1960s also marked
Baden Powell's emergence as a world-class artist with a huge
following. He moved to Paris, France, and stayed for 21
years, touring Europe and releasing over 50 albums in the
process. Throughout the years this brilliant artist has been
translating the sounds of his people with a perfection
reminiscent of other great Brazilian artists like
Pixinguinha and Heitor Villa-Lobos.

Translated and adapted by Gerald Seligman