Contemporary music –in Brazil, France and elsewhere- has been greatly influenced by social media, video sharing and music streaming, all trademarks of the 2000s and beyond. Specifically for Brazilian music, this globalizing phenomena has had positive, as well as deleterious consequences: increased foreign songs topping the charts on one side, but also Brazilian mainstream music massively available to the rest of the world. The proof: songs like Mc Fioti’s “Bum Bum TamTam” with more than 1 billion! views on YouTube, and Michel Teló’s “Ai Se Eu Te Pego” with over 800 million views…
No one can deny that Brazil is a country with a powerful musical history. Going through all its music repertoire while preparing this series of articles, I can’t help but admire even more its distinct and perennial beauty. Are things changing though? Is Brazilian music going through a phase of decadence? This is an ongoing debate in the country nowadays… Many music critics are definite: today’s consumer society –they believe- leads to “consumable music”; moreover, they blame the universal predominance of sertanejo as responsible for the lack of musical diversification nowadays. “We always had good music and bad music in Brazil -says one critic- but there was a balance. At this time, at least 90% of what record companies release is totally disposable”. Some go even further and state that pagoda, sertanejo and electronic forró are “a tsunami of musical trash unprecedented in the history of Brazilian music”. Other critics are more optimistic. Véronique Mortaigne, writing an article in The Guardian, states that: “Brazil is surfing a musical new wave that is now reaching Europe”, making emphasis on the quality of certain musicians’ work “not afraid to mix the old and the new, irritating a few purists along the way”.
The debate could go on forever. What is certain is that there are still many bright examples of fine Brazilian music. Check out my list with some of the most remarkable songs of the 2000-2010s, go ahead and “Brazilify” your playlist!
Of the many re-recordings the song has had, I like this one, by the Belo Horizonte band Pato Fu.
89) Gabriel o Pensador – “Até Quando?” (2001)
Known for his intellectual and controversial lyrics, rapper Gabriel o Pensador(“Gabriel the Thinker”) stepped into the limelight with his provocative composition “Tô Feliz (Matei o Presidente)” [I’m Happy (I killed the President)]. He has had a highly successful career since then, topping often the charts with his gold or platinum-certified albums.
Até Quando? (“Until when?”) was released in the album Seja Você Mesmo (mas não Seja sempre o Mesmo)(“Be Yourself (but not always the same”). Its compelling lyrics address the issue of conformism. It was highly praised by most critics and received an award at Brazil’s MTV Video Music Awards.
90) Cássia Eller & Nando Reis – “Relicário” (2001)
Cássia Eller is one of the most successful pop singers/composers in Brazil. Owner of a distinctive contralto voice, she was rated as the 18th greatest vocalist by Rolling Stone Brasil.
This beautiful song was composed by Nando Reis and was included in the live album Acústico MTV, where she sings it together with Reis; it is Cássia’s final album before her death on December 29, 2001 at 39 years old.
91) Tribalistas – “Velha Infancia ” (2002)
Tribalistas is a Brazilian musical supergroup consisting of Arnaldo Antunes(ex-Titãs), Marisa Monteand Carlinhos Brown (Timbalada). Their debut collaboration resulted in the popular album Tribalistas, which attained considerable popularity in Brazil and Europe. The curious thing with this popular group is that, despite their great success, they have rarely performed together, deciding to go on a world tour just now in 2018.
Among their most popular songs are “Já Sei Namorar” (included on the video game FIFA Football 2004), “Passe em Casa“, “É Você” and “Velha Infância“, played on the Brazilian soap opera Mulheres Apaixonadas.
92) Paulinho da Viola & Marisa Monte – “Carinhoso” (2003)
Alfredo da Rocha Vianna Jr. was not yet Pixinguinha when he began to be called a prodigy, enchanting with his unusual musicality and facility for instruments and improvisations. Considered till nowadays a musical genius, Pixinguinha is regarded as one of the greatest Brazilian composers of popular music, particularly within the genre choro. “Carinhoso“, was recorded in 1928 and has remained as one of the most famous melodies of Brazilian popular music. Incredibly enough, he received heavy negative criticism at that time, with complaints that it was “too Americanized.”
From Marisa Monte to Elizeth Cardoso, from Paulinho da Viola to Francisco Alves, from Elis Regina to Marcelo Camelo, dozens of artists made their impassioned interpretations of “Carinhoso”; one of my favorites is this one, by Marisa Monte and Paulinho da Viola.
93) Zeca Pagodinho – “Deixa A Vida Me Levar” (2004)
Zeca Pagodinhois a singer and songwriter considered a great name of the genre samba and pagode. He has recorded more than 20 albums and has become immensely popular, not only due to his irreverence and jocosity, bur mostly due to his rare talent, praised by critics and consecrated artists.
This song gives name to his 2004 album Deixa A Vida Me Levar (“Let life take me”), it was extremely successful, becoming double-platinum certified.
The berimbau is a single-string percussion instrument. Originally from Africa, it was eventually incorporated into the practice of the Afro-Brazilian martial art capoeira. The instrument became worldwide known for being the subject matter of this song, which belongs to Baden Powell and Vinicius de Moraes.
95) Vanessa Da Mata & Ben Harper – “Boa Sorte/Good Luck ” (2007)
Award-winning, chart-topping singer, composer, and novelist, Vanessa da Mata got her start writing songs for artists such as Maria Bethania and Daniela Mercury. Despite the strength of her voice, it took her several years until she finally decided to record her own material, releasing her self-titled debut in 2002. It was her next album, Essa Boneca Tem Manuel, however, that really pushed her into the limelight, aided by the strength of the single “Ai Ai Ai“. Three years later her third album, Sim, was released. Sim spawned the hit single “Boa Sorte/Good Luck“, a duet with Ben Harper, which peaked at number one in both Brazil and Portugal and was the most played song in Brazilian radio stations in 2008.
96) Criolo – “Subirusdoistiozin” (2011)
Criolo is a rapper and soul singer. With a career starting in 1989, he originally got a reputation as one of São Paulo most important rappers. After the release of his second album, “Nó na Orelha” (Knot in the ear), he saw his popularity grow beyond São Paulo to all Brazil and abroad, leading to a successful worldwide tour. He has been characterized as “ the most interesting and unruly representative of the Brazilian new wave”.
“Nó na Orelha” mixes rap, afrobeat, hip hop, reggae, samba and brega. It received positive reviews and was considered the best national album of 2011 by the magazine Rolling Stone. From this album, “Subirusdoistiozin” (Two-Old-Guys-Died) is the most popular track; it describes the general waywardness of favela street culture.
97) Marisa Monte – “Ainda Bem” (2011)
Multi-awarded singer, composer, instrumentalist, and producer, Marisa Monte is considered one of Brazil’s greatest singers; in fact, Rolling Stone Brasil listed Monte as the second greatest singer of all time after Elis Regina. She also has two records (MM and Verde, Anil, Amarelo, Cor-de-Rosa e Carvão) among the 100 best albums of Brazilian music.
Ainda Bem (“Just as well”) belongs to her highly praised eighth record O Que Você Quer Saber de Verdade (“What do you really want to know”), was considered by Billboard Brasil the best album of 2011. Originally, “Ainda Bem” was composed by Marisa for Italian singer Mina, who included it in her 2011 album Piccolino.
98) Dominguinhos & Arthur Maia – “Lamento Sertanejo ” (2014)
An emblematic representative of the forro music genre, Dominguinhos has had success as a musician, both solo and as a sideman for consecrated artists like Luís Gonzaga, Caetano Veloso, Gilberto Gil, Gal Costa, and Maria Bethânia. But also as a composer, he has produced hits recorded for some of the most important Brazilian artists; he has also written cinema soundtracks and has won four Prêmio Sharp Awards.
This is one of his biggest hits, composed in 1941. Initially instrumental, it was later re-recorded by Gilberto Gil, who wrote its lyrics. The song has received countless recordings and has been included in the soundtrack of several films and soap operas. The original version is beautiful; this version though, by Dominguinhos himself together with the great Brazilian bassist Arthur Maia, it’s just beguiling.
99) Adriana Calcanhotto – “Felicidade” (2015)
Adriana Calcanhotto is an MPB (Brazil popular music) singer and composer revealed in 1990, who has had great success in Brazil and helped bring MPB back to the hit parade after the 1980s’ Brazilian rock period.
Felicidade (“Happiness”) was written in 1947 by the great samba-canção composer Lupicínio Rodrigues; it was re-presented to Brazil by Caetano Veloso in 1974 who made it widely popular. Calcanhotto included it in her fourth live album Loucura (“Madness”), which is a tribute to Lupicínio Rodrigues.
Tiago Iorc is one of Brazil’s new talents. Singer-songwriter and record producer, with his debut album Let Yourself In, he gained notoriety after several of Tiago’s songs were featured on major Brazilian primetime soap operas, TV ads and films. Let Yourself In was also released in Japan with great success and in South Korea, where the public granted Tiago a Best Foreign Artist Award.
In 2017, he partnered with the incomparable Milton Nascimento (who declared being Tiago’s fan) and recorded some songs for the purpose of a national tour. This exquisite song (“Nothing more beautiful”) is the result of this partnership.
Brazil’s music transition into the 70s was marked by the consolidation of MPB (Música Popular Brasileira, Brazilian Popular Music) which now incorporates into its repertoire different rhythms, not only from Brazil’s different regions (such as the northeastern baião), but also from foreign countries (like Jamaican reggae). Standout artists of the 70s MPB are, among others, Caetano Veloso, Gilberto Gil, Chico Buarque, Gal Costa, Simone, Elis Regina, Rita Lee and Maria Bethânia.
The Jovem Guarda had already made its appearance in the 60s and was still very popular in the beginning of the 70s. Nevertheless, Brazil was under military dictatorship at that time, and the cultural elites accused these artists of being “alienated” from the country’s social and political problems; as a result, the movement soon lost its strength.
Without the presence of the nonchalant Jovem Guarda, a different genre of popular romantic music emerged, which would gain the pejorative epithet “cafona“, then replaced by “brega” (both words meaning “tacky”). Once the name got accepted by its fans, brega music became a trend and won a wide audience. Many artists belong to this genre, although its fame was consolidated by Waldick Soriano. Since the end of the Jovem Guarda, Roberto Carlos also approached a more romantic, brega style; nevertheless, he managed to establish his position as the country’s most popular singer.
The decade of the 70s, together with the 60s, gave some of the most beautiful and timeless songs of Brazil’s cultural legacy. I really had a hard time to choose just a few among the many great songs of this period. This is the list I finally put together:
32) Maria Creuza, Toquinho and Vinicius de Moraes – “Eu sei que vou te amar” (1970)
This incredibly beautiful song (English: “I know I will love you“) was composed by Antônio Carlos Jobim and Vinícius de Moraes. Although initially recorded by Maysa, it would become a classic when performed live in Buenos Aires by Vinícius de Moraes, together with two iconic artists of Brazil’s music stage of the 70s: Vinicius’s favourite vocalist Maria Creuzaand his long-time partner, singer and guitarist Toquinho. He would later include it on his 1970 album En ‘la Fusa’ con Maria Creuza y Toquinho (also known as “Grabado en Buenos Aires con Maria Creuza y Toquinho”). The amazing melody by Tom Jobim, and Vinicius’ impassioned lyrics on the immortality of love would establish “Eu sei que vou te amar” as one of Brazil’s quintessential songs. Indeed, it was voted the best Brazilian song of all times in a survey organized by Revista Bula.
33) Wilson Simonal – “País Tropical” (1970)
“Tropical Country” was composed by Jorge Ben Jor, but it became a hit when singer Wilson Simonal released it on his 1970 Album, Simonal.
Over the years, the song would be increasingly credited to its author, overshadowing the success of the first version by Simonal. It has also been adapted by many composers and singers like Sergio Mendes, Ivete Sangalo, or even Shakira, but also by Jorge Ben Jor himelf, on his album Tropical in 1976.
34) Paulinho da Viola – “Foi um Rio que Passou em Minha Vida” (1970)
“It was a river that passed in my life” is the song that gives the name to the second album of carioca sambista (samba composer) Paulinho da Viola.
35) Vinicius de Moraes and Toquinho – “Tarde em Itapoã ” (1970)
This is another fruit of Toquinho’s long partnership with Vinicius de Moraes, which would last until Vinicius death in 1980. Composer and performer with 50 years of sucessful career, Toquinho has to date 84 records released, over 450 compositions and about 8,500 shows in Brazil and abroad.
This song (“Afternoon in Itapoã”) immortalizes Itapuã as a serene, romantic and exuberant place, located 20 km from the center of Salvador de Bahia. Unfortunately, spending an afternoon in Itapuã is no longer the quiet program Vinícius and Toquinho described: the neighborhood became Salvador’s noisiest and one of the most polluted.
36) Chico Buarque – “Construção” (1971)
Brazil in the early 1970s was a land of paradoxes: under military government, the so-called “Brazilian Miracle” promised record economic growth; as a result, construction was booming. Workers though, would spend endless hours at the constructions and earned very little.
This was also a period when censorship hampered artistic freedom of expression. Fearing persecution, Chico Buarque spent a brief period of exile in Italy; but longing his beloved Brazil, he returned determined to show his disagreement with the situation. And he managed to create a masterpiece.
“Construction” is the chronicle of the life and death of a construction worker. The character of the song leaves the house, kisses his wife and children and goes to work. There he works “as if he were a machine”. Finally, he falls from the scaffolding in the middle of the street “like a package, disrupting the traffic”.
The lyrics are truly brilliant, written in dodecasyllable verses with each sentence ending with a proparoxytone word (that is, stressed on the antepenultimate syllable). The stanzas are repeated three times, with some keywords being changed position; these changes make the understanding of the lyrics ambiguous as it is not clear whether the worker dies as a result of the bad working conditions or he commits suicide, desperate in the face of his scant life prospect.
“Construction” would not be so overwhelming without the symphonic, imposing arrangement conceived by Rogério Duprat, who uses the orchestra as a sinister component, emulating the chaotic noises of the metropolis, its horns and buildings under construction.
The song is a strong critic of workers’ alienation in a modern, urban capitalist society; it is still a reference song to understand a thorny period of Brazil’s history. Deservedly, “Construção” was selected by Rolling Stone magazine as the greatest Brazilian song of all times.
37) Maria Creuza – “Você Abusou ” (1971)
The BaianosAntônio Carlos and Jocáfi composed and first sung this beautiful song (“You abused”), which was successful with the sultry voice of Maria Creuza -who later married Antônio Carlos.
It became an international hit, particularly in France, where it was later adapted by Michel Fugain with the name “Fais comme l’oiseau”; other famous versions are those by Celia Cruz and Stevie Wonder.
38) Nara Leão – “Insensatez” (1971)
“How foolish” is a bossa nova song composed by Antônio Carlos Jobim, with lyrics by Vinícius de Moraes. The song resembles Chopin’s prelude in E minor.
Latin pop superstar Roberto Carlos is a major figure in Brazil – and worldwide: his popularity as romantic ballad singer is perhaps rivalled only by Julio Iglesias.
During the 60s he initiated a major revolution; in a period when the Beatles were taking over the world, Carlos became their Brazilian counterpart as the leader of the Jovem Guarda. Initially a TV show, this “Young Guard” soon became not only a musical style, but also a behavioral, fashion and language influence to an entire generation. With his light music and simple lyrics, he was a deep contrast to “serious”, “somber” MPB. Managing to pursue a successful career throughout the years, Roberto Carlos is arguably the most successful romantic artist in Brazil, gaining the title of “The King”.
Together with his longtime partner Erasmo Carlos, he composed this timeless ballad whose lyrics are, according to Rolling Stone Brazil: “…among the most beautiful in the history of music, in any of the five continents”.
40) Gal Costa – “Vapor Barato” (1971)
Arguably one of Brazil’s most amazing voices, a representative figure of the Tropicália movement, an indisputable timeless icon. Gal Costa is a star that keeps shining for over 5 decades.
Back in the 70s, things were not easy for Gal. While all her friends had gone away, exiled by the dictatorship, she decided to stay in Brazil, as part of the “resistance”. And she managed to become the muse of Tropicália with the show Gal a Todo Vapor. Directed by Wally Solomon, the show was recorded in her outstanding double album Fa-Tal.
“Vapor Barato”, included in Fa-Tal is about the disenchantment of the post-1968 years, of course expressed in a very poetical, metaphorical way so as to remain under the radar of censorship. Although now considered a timeless song, it had been almost forgotten until filmmaker Walter Salles “rescued” it by including it in the soundtrack of the film Terra Estrangeira (Foreign land).
41) Jorge Ben – “Filho Maravilha” (1972)
Brazilians’ passion for football (soccer) is not a secret; therefore, a song devoted to a football player comes to no surprise. “Filho Maravilha” is a song written by one of the most important Brazilian artists, singer and songwriter Jorge Ben (later renamed Jorge Ben Jor), and refers to Brazilian football player João Batista de Sales, better known as “Fio Maravilha”.
Always innovative and open-minded, Jorge Ben has been a member of most of the important movements of 20th Brazilian popular music. He is the author of two of the most legendary samba songs: “Mas Que Nada” and “País Tropical“.
42) Sérgio Sampaio – “Eu Quero é Botar Meu Bloco na Rua” (1972)
Sérgio Sampaio was not a mainstream artist. His elaborate lyrics, often with literary references (he was an admirer of Franz Kafka) did not enjoy much commercial success. Nevertheless, his enormous talent and his irreverent manners were invariably praised by critics and a selected public.
He did have one big hit, “Eu Quero é Botar Meu Bloco na Rua” (I want to throw my troops on the streets), a song that refers, as many songs of that period, to the military dictatorship and Sampaio’s wish that everybody goes out and express anything they had keep to themselves.
43) Milton Nascimento – “San Vicente” (1972)
Milton Nascimento is one of Brazil’s most talented and influential artists, with a sublime tenor voice “that often slips into an ethereal falsetto, (…) as that of an angel”, the New York Times once wrote.
San Vicente is one of his greatest classics; it has become an anthem, both in Brazil and other Latin America countries. Recorded in 1972 in the double collective album Clube da Esquina, it is, without any doubt, one of the most beautiful songs of the Brazilian popular songbook. Milton has interpreted it with many other artists, of which those with the remarkable Brazilian percussionist Naná Vasconcelos and the Argentinian iconic singer Mercedes Sosa are just marvellous.
This song was part of his masterful 1973 album “Fingers”, and was composed together with Uruguayan artist Hugo Fattoruso. What Airto probably never imagined was that “Tombo In 7/4” would become a huge mainstream success, until German group Bellini sampled it in 1997 to create the super hit “Samba de Janeiro”.
This song belongs to their third record, Novos Baianos F. C.; it displays the enormous talent of the band, particularly through the voice and violão (acoustic guitar) of Moraes Moreira, and the electric guitar of virtuoso Pepeu Gomes.
46) Raul Seixas – “Metamorfose Ambulante” (1973)
Raul Seixas is without any doubt one of Brazil’s fundamental rock musicians. In spite of his premature death at 44 years old in 1989, “Raulzito” –his nickname- remains a strong influence to popular music and a timeless idol for Brazilian people.
His expressive and existentialist discography was heavily marked by his collaboration with the outstanding novelist Paulo Coelho. From his numerous hits I find this song (“Walking metamorphosis”) is one of the most beautiful; it was released in his acclaimed debut album Krig-ha, Bandolo!
47) Fagner – “Canteiros” (1973)
Raimundo Fagner (or just Fagner) is a singer, composer, musician, actor and music producer. He has managed to remain highly successful from the beginning of his career in the 70s till nowadays, not only in Brazil, but also abroad -particularly in Spanish-speaking countries.
During his long career he has recorded in several countries and collaborated with many international artists, leading to the release of -so far- 35 albums (the last one in 2014). This song belongs to his debut album, Manera Fru Fru, Manera.
48) Nelson Cavaquinho – “A Flor e o Espinho” (1973)
Nelson Cavaquinho is -together with Cartola- the most talented and prolific samba composer: he left 600 compositions that have been recorded by some of the greatest interpreters of Brazilian music.
Cavaquinho composed the tune for this beautiful samba and Guilherme de Brito wrote the lyrics, which are among the most heartbreaking of Brazilian music: “Get your smile out of the way, ‘cause I want to go by with my pain”. Its tone is typical of the pair, usually pessimistic about love and life.
49) Secos & Molhados – “Rosa de Hiroshima” (1973)
Formed in 1971 by Ney Matogrosso, Gerson Conrad and João Ricardo, Secos & Molhados is one of few bands who led Brazil from bossa nova through Tropicália and then to Brazilian rock. Much of the group’s success, apart from their masterful first eponymous album (one of the biggest selling phenomena of the 1970s), was their extravagant stage presence, with heavy use of makeup and dramatic elements, and of course Ney’s signature counter-tenor voice.
“Rosa de Hiroshima” was originally a poem by Vinicius de Moraes. Its very powerful lyrics are a criticism to war; the poetic tone managed to fool censorship and became a huge success during the seventies.
50) Os Originais do Samba – “Saudosa Maloca” (1973)
Appreciated for their particular blend of traditional samba and humor, Os Originais do Samba became a commercial success, achieving three gold records during their long-lasting career. Their fame in Brazil extended abroad: they were the first samba group to perform and record at the Olympia in Paris; they also performed in the USA.
This song (“Nostalgic Shed”) belongs to the great paulista composer Adoniran Barbosa; it has been performed by many artists including Adoniran himself, but this version by Os Originais do Samba is my favourite.
51) Benito De Paula – “Meu Amigo Charlie Brown” (1974)
With his fancy dressing and emotional interpretations, Benito di Paula became the father of a new samba style, which would be known as sambão-jóia, a romantic and commercial genre precursor of contemporary pagode romântico.
52) Elis Regina and Tom Jobim – “Águas de Março” (1974)
“A a stick, a stone, it’s the end of the road”… “Águas de Março” describes the beginning of the rainy season in Brazil, the month of March, which also marks the end of the summer (in the Southern Hemisphere). The element of water is a metaphor for a rebirth, a promise of life. Both the lyrics and music have a constant downward progression much like the water torrent from the rain.
Tom Jobim wrote both the English and Portuguese lyrics. Although there were previous recordings, this is the version that many consider definitive; it was recorded by Elis Regina and Tom in the album Elis & Tom.
“Águas de Março” was named as the all-time best Brazilian song in a poll conducted by the newspaper Folha de S.Paulo, and the second greatest Brazilian song by the Brazilian edition of Rolling Stone .
53) Tim Maia – “Imunização Racional (Que Beleza)” (1975)
Musician and songwriter known for his humorous and ironic musical style, Tim Maia is regarded as one of the biggest icons of Brazilian music. Mostly acknowledged for introducing soul into Brazil’s musical scene; he also contributed to a wide variety of musical genres, such as funk, bossa nova, disco, romantic ballads, pop, rock, jazz, baião and MPB.
This song belongs to his fifth album, Tim Maia Racional Vol. 1. Although not well received by the critics at that time, it is now regarded as one of the best albums of all times, ranking 17 in Rolling Stone’s list.
54) Clara Nunes – “Juízio Final” (1975)
“Queen of Samba” Clara Nunes is considered one of the greatest of her generation. She was the first female singer in Brazil to sell over 100,000 copies of a record, and at the peak of her career she would sell more than a million copies of each album she released. Nunes was researcher of the rhythms and folklore of Brazil and the roots of black music, she even converted to Umbanda in her later life. She died in 1983 at the age of 40 years old; nevertheless, she remains one of the most popular singers in Brazil.
This song (the title means “Last Judgment”) was written by Nelson Cavaquinho, and belongs to her album Claridade.
55) Cartola – “Preciso me Encontrar” (1976)
Cartola is one of the most wronged cases of Brazilian music: he became known only at advanced age, although his songs had been often recorded by other singers. Nevertheless, he is considered one of Brazil’s quintessential artists.
This particular song, sophisticated and delicate as most of his songs, was released in his masterful second disc Cartola II. It was included in the soundtrack of the highly acclaimed film Cidade de Deus (City of God), and lately in the TV series 3%.
56) Milton Nascimento and Chico Buarque – “O que Será (A Flor da Pele)” (1976)
57) Elis Regina and Milton Nascimento– “Caxangá” (1977)
Elis Regina is certainly one of the most talented singers to emerge from Brazil, often deemed the greatest Brazilian singer of all times. With her explosive personality and her sublime voice, she gained the respect not only of the Brazilian people, but also of the nation’s leading songwriters, who would line up to have one of their songs recorded by her. Elis’ death at the age of 36 shocked the whole country; nevertheless, she remains as popular after death as she was in life.
This beautiful song is interpreted together with Milton Nascimento, and belongs to her album Elis.
58) Maria Bethânia and Gal Costa– “Sonho Meu” (1978)
Maria Bethânia is one of Brazil’s biggest voices, with a long and successful career: she is among the 10 best-selling music artists in Brazil, having sold more than 26 million records. Talent seems to run in her family’s veins: Bethânia is the sister of the singer-songwriter Caetano Veloso and of writer-songwriter Mabel Velloso, as well as being aunt of the singers Belô Velloso and Jota Velloso.
From her album Alibi comes Sonho meu (“My dream”), where her unique voice blends with another, incredible one: Gal Costa’s.
59) Caetano Veloso – “Sampa” (1978)
It is curious that in a city with great musical representatives like Os Mutantes and Demônios da Garoa, no one could decipher São Paulo better than the baianoCaetano Veloso. “Sampa” (short for São Paulo) is Caetano’s tribute to the city of São Paulo, known for its characteristic drizzle and the large number of migrants, especially from the Northeast region of the country (pejoratively called “baianos”).
Pollution, the reception to migrants, the multiple cultures and the dreams of their inhabitants are pictured in the elegant lyrics, so intense to make the song an all-time classic and transform the intersection of Ipiranga and São João Avenues in one of the most famous spots of the city. In the song, from the album Muito (1978), Caetano is accompanied by the group Outra Banda da Terra.
60) João Bosco – “O Bêbado e a Equilibrista” (1979)
A civil engineer-turned-singer/songwriter, João Bosco would become one of Brazil’s most formidable songwriters, with songs recorded by the country’s greatest artists. During his early career, he supplied Elis Regina with some of her best material; since Elis’ death he started to perform his own songs, becoming an emblematic figure in Brazil’s musical scene.
This is his most personal protest song (English “The Drunkard and the Tightrope Walker”), which was selected as the theme song of Amnesty International. I love this version, sung by Bosco himself, although “O Bêbado” was made famous mostly by Elis Regina. Written during the last years of a military dictatorship, it is a deeply metaphoric, poetic song, not easy to understand on a first read. The drunk represents the artists, poets and musicians who dared to raise their voices against the dictatorship, the Equilibrist is the hope for democracy, which at every “event” that disturbed the military (marches, etc), saw its existence threatened.
61) Gilberto Gil– “Toda Menina Baiana” (1979)
Already a star from the 60’s, Gilberto Gil is known not only for his innovative musical style, but also for political and environmental activism.
Beth Carvalho’s name is synonymous with samba, particularly the MangueiraScola do Samba. Singer, guitarist, cavaquinist and composer, she began recording in the mid ‘60s; her interpretation of “Andança” earned her the third place at the III Festival Internacional da Canção and became a classic of MPB, re-recorded by many great singers like Maria Bethânia, Elis Regina, and Nana Caymmi.
Her 1979 album No Pagode is considered a masterpiece, and featured this song, her biggest hit of all time. In the late ‘90s, the song was even sent to outer space in the space probe Pathfinder!