In 1976, Milton was wildly popular in Brazil, but had yet to reach out to American audiences. The same year Geraes came out, he enlisted the help of Wayne Shorter and Herbie Hancock to do an album of some of his best songs to date simply called Milton. Also in his band were Brazilian powerhouses Airto Moreira on percussion and Roberto Silva on drums. Milton would often record a song of his a few times, sometimes with different lyrics, but utilizing the same music. He did this many times over in english, and would often record his earlier songs with the original Portuguese lyrics interspersed with his English ones.

Here are two songs from Milton (1976)

Cravo e Canela
http://s42.yousendit.com/d.aspx?id=1DZM7LPVNEA921FSUVF1D1IWF0
(this is one of his all-time classics from the first Clube da Esquina album, originally released in 71)

Sadas e Bandeiras
http://s42.yousendit.com/d.aspx?id=0JXWFIB55E11M3QJQNCMR4KRLA


Another US release came in 1979 with Journey to Dawn. Again, on this album he took many of his classic Brazilian songs and reinterpreted them with English lyrics. Sometimes this worked well, other times it didn't. Here is my all-time favorite track from this album, O Cio da Terra, a beatiful and haunting song about the fruits of the Earth that he co-wrote with Chico Buarque. This is the perfect example of what I was talking about in my post about BUILDING a song in terms of each verse bringing something new (even though it is basically the same chord structure again and again). Here you can see the Portuguese and English verses trading back and forth. In this case, the English verses didn't in any way compromise the intention of the song.

O Cio da Terra
http://s42.yousendit.com/d.aspx?id=3JXK5P9QA0W7X2UOW6XOAUH6BT