MM
1989
  1. 1ComidaLyricsVideo
    Arnaldo Antunes / Marcelo Fromer / Sérgio Britto

    BEBIDA É ÁGUA.
    COMIDA É PASTO.
    VOCÊ TEM SEDE DE QUÊ?
    VOCÊ TEM FOME DE QUÊ?
    A GENTE NÃO QUER SÓ COMIDA,
    A GENTE QUER COMIDA,
    DIVERSÃO E ARTE.
    A GENTE NÃO QUER SÓ COMIDA,

    A GENTE QUER SAÍDA
    PARA QUALQUER PARTE
    A GENTE NÃO QUER SÓ COMIDA,
    A GENTE QUER BEBIDA,
    DIVERSÃO, BALÉ.
    A GENTE NÃO QUER SÓ COMIDA,
    A GENTE QUER A VIDA
    COMO A VIDA QUER.
    BEBIDA É ÁGUA.
    COMIDA É PASTO.
    VOCÊ TEM SEDE DE QUÊ?

    VOCÊ TEM FOME DE QUÊ?
    A GENTE NÃO QUER SÓ COMER,
    A GENTE QUER COMER
    E QUER FAZER AMOR.
    A GENTE NÃO QUER SÓ COMER,
    A GENTE QUER PRAZER
    PRA ALIVIAR A DOR.
    A GENTE NÃO QUER SÓ DINHEIRO,
    A GENTE QUER DINHEIRO
    E FELICIDADE.
    A GENTE NÃO QUER SÓ DINHEIRO,

    A GENTE QUER INTEIRO
    E NÃO PELA METADE.
    BEBIDA É ÁGUA.
    COMIDA É PASTO.
    VOCÊ TEM SEDE DE QUÊ?
    VOCÊ TEM FOME DE QUÊ?

  2. 2Bem Que Se QuisLyricsVideo
    Pino Danielle / Nelson Motta

    BEM QUE SE QUIS
    DEPOIS DE TUDO
    AINDA SER FELIZ
    MAS JÁ NÃO HÁ CAMINHO
    PRA VOLTAR.

    O QUE É QUE A VIDA FEZ
    DA NOSSA VIDA?
    O QUE É QUE A GENTE
    NÃO FAZ POR AMOR?
    MAS TANTO FAZ,
    JÁ ME ESQUECI DE
    TE ESQUECER PORQUE
    O TEU DESEJO
    É O MEU MELHOR PRAZER
    E O MEU DESTINO
    É QUERER SEMPRE MAIS
    A MINHA ESTRADA
    CORRE PRO TEU MAR.

    AGORA VEM
    PRA PERTO VEM
    VEM DEPRESSA VEM SEM FIM
    DENTRO DE MIM
    QUE EU QUERO SENTIR
    O TEU CORPO PESANDO
    SOBRE O MEU
    VEM MEU AMOR
    VEM PRA MIM,
    ME ABRAÇA DEVAGAR,
    ME BEIJA E ME FAZ ESQUECER.

  3. 3ChocolateLyricsVideo
    Tim Maia

    CHOCOLATE,
    CHOCOLATE, CHOCOLATE
    EU SÓ QUERO CHOCOLATE
    SÓ QUERO CHOCOLATE
    NÃO ADIANTA VIR COM
    GUARANÁ PRA MIM
    É CHOCOLATE
    O QUE EU QUERO BEBER

    * NÃO QUERO PÓ

    NÃO QUERO RAPÉ
    NÃO QUERO COCAÍNA
    ME LIGUEI NO CHOCOLATE
    EU ME LIGUEI
    SÓ QUERO CHOCOLATE
    NÃO ADIANTA VIR
    COM GUARANÁ PRA MIM
    É CHOCOLATE
    O QUE EU QUERO BEBER

    CHOCOLATE,
    CHOCOLATE, CHOCOLATE
    NÃO ADIANTA VIR
    COM GUARANÁ PRA MIM
    É CHOCOLATE
    O QUE EU QUERO BEBER

    NÃO QUERO CHÁ
    NÃO QUERO CAFÉ
    NÃO QUERO COCA-COLA
    ME LIGUEI NO CHOCOLATE
    SÓ QUERO CHOCOLATE
    EU SÓ QUERO CHOCOLATE
    SÓ QUERO CHOCOLATE
    NÃO ADIANTA VIR
    COM GUARANÁ PRA MIM
    É CHOCOLATE
    O QUE EU QUERO BEBER.

  4. 4Ando Meio DesligadoLyricsVideo
    Arnaldo Baptista / Sérgio Baptista / Rita Lee

    ANDO MEIO DESLIGADO
    EU NEM SINTO MEUS PÉS
    NO CHÃO OLHO
    E NÃO VEJO NADA
    EU SÓ PENSO
    SE VOCÊ ME QUER

    EU NEM VEJO A HORA
    DE TE DIZER
    AQUILO TUDO QUE EU DECOREI
    E DEPOIS DO BEIJO
    QUE EU JÁ SONHEI
    VOCÊ VAI SENTIR
    MAS POR FAVOR
    NÃO LEVE A MAL

    EU SÓ QUERO QUE VOCÊ
    ME QUEIRA NÃO
    LEVE A MAL

  5. 5Preciso Me EncontrarLyrics
    Samba de Candeia

    DEIXE-ME IR, PRECISO ANDAR
    VOU POR AÍ A PROCURAR
    RIR PRA NÃO CHORAR

    QUERO ASSISTIR AO SOL NASCER
    VER AS ÀGUAS DOS RIOS CORRER
    OUVIR OS PÁSSAROS CANTAR
    EU QUERO NASCER,
    QUERO VIVER

    DEIXE-ME IR PRECISO ANDAR
    VOU POR AÍ A PROCURAR
    RIR PRA NÃO CHORAR

    SE ALGUÉM
    POR MIM PERGUNTAR
    DIGA QUE EU
    SÓ VOU VOLTAR
    QUANDO EU ME ENCONTRAR

    QUERO ASSISTIR AO SOL NASCER
    VER AS ÁGUAS DO RIO CORRER
    OUVIR OS PÁSSAROS CANTAR
    EU QUERO NASCER,
    QUERO VIVER

    DEIXE-ME IR,
    PRECISO ANDAR
    VOU POR AÍ A PROCURAR
    RIR PRA NÃO CHORAR

  6. 6Xote das MeninasLyrics
    Zé Dantas / Luiz Gonzaga

    MANDACARU QUANDO
    FULORÁ NA SECA
    E UM SINÁ QUE A CHUVA
    CHEGA NO SERTÃO
    TODA MENINA
    QUE ENJÔA DA BONECA
    É SINAL DE QUE
    O AMOR JÁ CHEGOU NO CORAÇÃO
    MEIA COMPRIDA
    NÃO QUER MAIS SAPATO BAIXO
    VESTIDO BEM CINTADO
    NÃO QUER MAIS VESTIR GIBÃO
    ELA SÓ QUER
    SÓ PENSA EM NAMORAR (BIS)

    DE MANHÃ CEDO
    JÁ TÁ PINTADA
    SÓ VIVE SUSPIRANDO
    SONHANDO ACORDADA
    O PAI LEVA AO DOUTOR
    A FILHA ADOENTADA
    NÃO COME NEM ESTUDA
    NÃO DORME NEM QUER NADA
    ELA SÓ QUER
    SÓ PENSA EM NAMORAR
    ELA SÓ QUER
    SÓ PENSA EM NAMORAR
    ELA SÓ QUER
    SÓ PENSA EM NAMORAR

    MAS O DOUTOR NEM EXAMINA
    CHAMANDO O PAI DO LADO
    LHE DIZ LOGO EM SURDINA
    QUE O MAL É DA IDADE
    E QUE PRA TAL MENINA
    NÃO HÁ UM SÓ REMÉDIO
    EM TODA MEDICINA
    ELA SÓ QUER
    ELA SÓ PENSA EM NAMORAR

  7. 7Negro GatoLyricsVideo
    Getúlio Cortes

    EU SOU UM NEGRO GATO
    DE ARREPIAR
    ESSA MINHA HISTÓRIA
    É MESMO DE AMARGAR
    SÓ MESMO DE UM TELHADO
    AOS OUTROS DESACATO

    EU SOU UM NEGRO GATO

    MINHA TRISTE HISTÓRIA
    VOU IHES CONTAR
    E DEPOIS DE OUVI-LA
    SEI QUE VÃO CHORAR
    HÁ TEMPOS
    QUE EU NÃO SEI
    O QUE É UM BOM PRATO

    EU SOU UM NEGRO GATO

    SETE VIDAS TENHO
    PARA VIVER
    SETE CHANCES TENHO
    PARA VENCER
    MAS SE NÃO COMER
    ACABO NUM BURACO

    EU SOU UM NEGRO GATO

    UM DIA LÁ NO MORRO
    POBRE DE MIM
    QUERIAM MINHA PELE
    PARA TAMBORIM
    APAVORADO DESAPARECI NO MATO

    EU SOU UM NEGRO GATO

  8. 8Lenda das SereiasLyricsVideo
    Vicente / Dionel / Veloso

    OGUNTÊ, MARABÔ
    CAIALA, E SOBÁ
    OLOXUM, YNAÊ
    JANAINA E, YEMANJÁ

    O MAR MISTERIOSO MAR
    QUE VEM DO HORIZONTE
    É O BERÇO DAS SEREIAS
    LENDÁRIO E FASCINANTE

    OLHA O CANTO DA SEREIA
    LALAÓ, OQUÊ, IALOÁ
    EM NOITE DE LUA CHEIA
    OUÇO A SEREIA CANTAR

    E O LUAR SORRINDO
    ENTÃO SE ENCANTA
    COM A DOCE MELODIA
    OS MADRIGAIS
    VÃO DESPERTAR

    ELA MORA NO MAR
    ELA BRINCA NA AREIA
    NO BALANÇO DAS ONDAS
    A PAZ ELA SEMEIA
    E QUEM É?

    OGUNTÊ, MARABÔ
    CAIALA, E SOBÁ
    OLOXUM, YNAÊ
    JANAINA, E YEMANJÁ

    OLHA O CANTO DA SEREIA
    LALAÓ, OQUÊ, IALOÀ
    EM NOITE DE LUA CHEIA
    OUÇO A SEREIA CANTAR

  9. 9South American WayLyricsVideo
    Al Dubim / Jimmy McHugh

    AI, AI, AI, AI
    É O CANTO DO PRIGONEIRO
    QUE COM SUA HARMONIA
    TRAZ ALEGRIA
    IN SOUTH AMERICAN WAY

    AI, AI, AI, AI
    E O QUE FAZ EM SEU TABULEIRO
    VENDE PRA IOIÔ

    E VENDE PRA IAIÁ
    IN SOUTH AMERICAN WAY
    E VENDE VATAPÁ
    E VENDE CARURU
    E VENDE MUNGUNZÁ
    VENDE UMBU

    NO TABULEIRO TEM
    OI TEM DE TUDO TEM
    E SÓ NÃO TEM MEU BEM
    BERENGUENDEM

    AI, AI, AI, AI
    HAVE YOU EVER DANCED
    IN THE TROPICS?
    WITH THAT HAZY LAZY
    LIKE, KIND OF CRAZY
    LIKE SOUTH AMERICAN WAY

    AI, AI, AI, AI
    HAVE YOU EVER KISSED
    IN THE MOON LIGHT
    IN THE GRAND AND GLORIOUS
    GAY NOTORIOUS
    SOUTH AMERICAN WAY

  10. 10I Heard It Through The GrapevineLyricsVideo
    Norman Whitfield / Barret Strong

    I BET YOU WONDERIN’
    HOW I KNEW
    ‘BOUT YOUR PLANS
    TO MAKE ME BLUE
    WITH SOME OTHER GUY
    YOU KNEW BEFORE
    BETWEEN TWO OF US GUYS
    YOU KNOW I LOVE YOU MORE

    IT TOOK ME BY SURPRISE
    I MUST SAY
    WHEN I FOUND YOU YESTERDAY
    DON’T YOU KNOW THAT
    I HEARD IT
    THROUGH THE GRAPEVINE,
    NOT MUCH LONGER
    WOULD YOU BE MINE
    UHH UHH HEARD IT
    THROUGH THE GRAPEVINE
    OH I’M JUST ABOUT
    TO LOSE MY MIND
    HONEY HONEY, OH BABY
    OOH OOH HONEY HONEY
    I KNOW A MAN
    AIN’T SUPPOSED TO CRY
    BUT THESE TEARS
    I CAN’T HOLD INSIDE
    LOSIN’ YOU
    WOULD END MY LIFE YOU SEE
    CAUSE YOU MEAN
    THAT MUCH TO ME
    YOU COULD HAVE
    TOLD ME YOURSELF
    THAT YOU LOVED
    SOMEONE ELSE

    INSTEAD
    I HEARD IT
    THROUGH THE GRAPEVINE
    NOT MUCH LONGER
    WOULD YOU BE MINE
    OHH I HEARD IT
    THOUGHT THE GRAPEVINE
    AND I’M JUST ABOUT
    TO LOSE MY MIND
    HONEY HONEY
    PEOPLE SAY
    BELIEVE HALF OF WHAT YOU SEE
    OH, AND NONE
    OF WHAT YOUR HEAR
    BUT I CAN’T HELP
    BUT BE CONFUSED
    IF IT’S TRUE
    PLEASE TELL ME DEAR
    DO YOU PLAN TO LET ME GO
    FOR THE OTHER GUY
    YOU LOVED BEFORE?

  11. 11Bess, You Is My Woman Now!LyricsVideo
    George Gershwin / DuBose Heyward / Ira Gershwin

    PORGY
    BESS, YOU IS MY WOMAN NOW!
    YOU IS! YOU IS!
    AN’ YOU MUS! LAUGH AN’ SING
    AN’ DANCE FOR TWO
    INSTEAD OF ONE
    WANT NO WRINKLE ON YO!

    BROW, NO- HOW.
    BECAUSE DE SORROW
    OF THE PAST
    IS ALL DONE DONE
    OH, BESS, MY BESS,
    DE REAL HAPPINESS
    IS JES’ BEGUN!

    BESS
    PORGY, I’S YO’ WOMAN NOW!
    I IS, I IS!
    AN’ I AIN’ NEVER GOIN’ NOWHERE
    LESS YOU SHARES DE FUN
    DERE’S NO WRINKLE
    ON MY BROW, NO-HOW
    BUT I AIN’ GOIN’!
    YOU HEAR ME SAYIN’
    IF YOU-AIN’ GOIN’,
    WID YOU L’M STAYIN’.
    PORGY, I’S YO’ WOMAN NOW,
    I’S YOURS FOREVER
    MORNIN’ TIME AN’ EVENIN’ TIME
    AN’ SUMMER TIME AN’ WINTER TIME

    PORGY
    MORNIN’ TIME AN’ EVENIN’ TIME
    AN’ SUMMER TIME AN’ WINTER TIME
    BESS, YOU GOT YO’ MAN!
    BESS, YOU IS MY WOMAN
    NOW AN’ FOREVER
    DIS LIFE IS JES’ BEGUN
    BESS WE TWO IS ONE
    NOW AN’ FOREVER
    OH BESS, DON’ MIN’
    DOSE WOMEN
    YOU GOT YO’ PORGY
    YOU LOVES YO’ PORGY
    I KNOWS YOU MEANS IT,
    I SEEN IT IN YO’ EYES, BESS
    WE’LL GO SWINGIN’
    THROUGH DE YEARS A-SINGIN’
    HMMM… MOMIN’ TIME
    AN’ EVENIN’ TIME
    AN’ SUMMER TIME AN’ WINTER TIME
    MY BESS, MY BESS,
    FROM DIS MINUTE I’M TELLIN’ YOU
    I KEEP DIS VOW, OH MY BESSIE
    WE’S HAPPY NOW
    WE IS ONE NOW

    BESS
    PORGY, I’S YO WOMAN NOW!
    I IS! I IS!
    AN’ I AIN’ NEVER
    GOIN’ NOWHERE’
    LESS YOU SHARES THE FUN
    DERE’S NO WRINKLE
    ON MY BROWN, NO-HOW
    BUT I AIN’GOIN’!
    YOU HEAR ME SAYIN’
    IF YOU AIN GOIN’,
    WID YOU I’M STAYN’.
    PORGY I’S YO WOMAN NOW!
    I’S YOURS FOREVER
    MORNIN’TIME AN’ EVENIN’TIMEAN’ SUMMER TIME
    AN’ WINTER TIME
    OH MY PORGY, MY MAN PORGY
    FROM DIS MINUTE
    I’M TELLIN’ YOU,
    I KEEP DIS VOW, PORGY
    I’S YO’ WOMAN NOW

  12. 12Speak LowLyricsVideo
    Ogden Nash / Kurt Weill

    SPEAK LOW
    WHEN YOU SPEAK LOVE
    OUR SUMMER DAY
    WITHERS AWAY
    TOO SOON, TOO SOON

    SPEAK LOW
    WHEN YOU SPEAK LOVE
    OUR MOMENT IS SWIFT
    LIKE SHIPS ADRIFT,

    WERE SWEPT APART
    TOO SOON
    SPEAK LOW
    DARLING SPEAK LOW
    LOVE IS A SPARK
    LOST IN THE DARK
    TOO SOON, TOO SOON

    I FEEL
    WHEREVER I GO
    THAT TOMORROW IS HERE
    TOMORROW IS NEAR
    AND ALWAYS TOO SOON
    TIME IS SO OLD
    AND LOVE’S SO BRIEF
    LOVE IS PURE GOLD
    AND TIME A THIEF.

    WE’RE LATE,
    DARLING WE’RE LATE

    THE CURTAIN DESCENDS,
    EVERYTHING ENDS
    TOO SOON, TOO SOON
    I WAIT,
    DARLING I WAIT
    WHEN YOU SPEAK LOW TO ME,
    SPEAK LOVE TO ME AND SOON.

  13. Princípios (1989-1992) – Ao Vivo

  14. 1These Are the Songs (feat. Ed Motta)LyricsVideo
    Tim Maia

    THESE ARE THE SONGS
    I WANNA SING
    THESE ARE THE SONGS
    I WANNA PLAY
    I WANNA SING IT EVERY TIME
    SING IT EVERY DAY
    THESE ARE THE SONGS
    I WANNA SING AND PLAY

    ESTA É A CANÇÃO QUE EU VOU OUVIR
    ESTA É A CANÇÃO QUE EU VOU CANTAR
    FALA DE VOCÊ, MEU BEM
    E DO NOSSO AMOR, TAMBÉM
    SEI QUE VOCÊ VAI GOSTAR

  15. 2Eu Não Sou Da Sua RuaLyricsVideo
    Branco Melo / Arnaldo Antunes

    EU NÃO SOU DA SUA RUA,
    EU NÃO SOU O SEU VIZINHO.
    EU MORO MUITO LONGE, SOZINHO.

    ESTOU AQUI DE PASSAGEM.
    EU NÃO SOU DA SUA RUA,
    EU NÃO FALO A SUA LÍNGUA,
    MINHA VIDA É DIFERENTE DA SUA.

    ESTOU AQUI DE PASSAGEM.
    ESSE MUNDO NÃO É MEU,
    ESSE MUNDO NÃO É SEU.

  16. 3De noite na camaLyricsVideo
    Caetano Veloso

    DE NOITE NA CAMA, EU FICO PENSANDO
    SE VOCÊ ME AMA… E QUANDO
    SE VOCÊ ME AMA, EU FICO PENSANDO
    DE NOITE, NA CAMA… E QUANDO
    DE DIA EU FAÇO GRAÇA
    PRA NÃO DAR BANDEIRA
    NÃO DEIXO VOCÊ VER
    DE DIA TUDO PASSA
    COMO BRINCADEIRA
    POR LONGE DE VOCÊ
    POR ONDE VOCÊ MORA
    PARA E SE DEMORA
    POR HORA NÃO VOU TER
    CORAGEM DE DIZER
    MAS HÁ DE HAVER A HORA…
    SE VOCÊ FOR EMBORA
    AGORA
    DE NOITE, NA CAMA, EU FICO PENSANDO
    SE VOCÊ ME AMA E QUANDO
    SE VOCÊ ME AMA, EU FICO PENSANDO
    DE NOITE NA CAMA E QUANDO

  17. 4Você não serve pra mimLyricsChordsVideo
    Renato Barros

    NÃO FIQUE TRISTE, NÃO SE ZANGUE
    COM TUDO QUE EU VOU LHE FALAR
    SINTO DEMAIS , PORÉM AGORA
    TENHO QUE LHE EXPLICAR
    VOCÊ COMIGO NÃO COMBINA
    NÃO ADIANTA NEM TENTAR
    NÃO VEJO MAIS RAZÃO NENHUMA
    PRA CONTINUAR

    NÃO QUERO MAIS SEU AMOR
    NÃO PENSE QUE EU SOU RUIM
    VOU PROCURAR OUTRO ALGUÉM
    VOCÊ
    NÃO SERVE PRA MIM
    NÃO SERVE PRA MIM
    NÃO SERVE PRA

    UMA PALAVRA DE CARINHO
    JAMAIS OUVI VOCÊ FALAR
    SEU BEIJO TÃO INDIFERENTE
    FOI O QUE ME FEZ PENSAR
    NO TEMPO QUE EU ESTOU PERDENDO
    NO AMOR QUE EU TENHO PRA DAR
    DEVE EXISTIR ALGUÉM QUERENDO
    O QUE VOCÊ NÃO QUIS ME DAR

    NÃO QUERO MAIS SEU AMOR
    NÃO PENSE QUE EU SOU RUIM
    VOU PROCURAR OUTRO ALGUÉM
    VOCÊ

    PODE SER QUE ALGUÉM LHE QUEIRA
    DAR UM GRANDE AMOR
    QUERO QUE VOCÊ SEJA FELIZ COM
    OUTRO ALGUÉM

    PORQUE EU
    NÃO QUERO MAIS SEU AMOR
    NÃO PENSE QUE EU SOU RUIM
    VOU PROCURAR OUTRO ALGUÉM
    VOCÊ
    NÃO SERVE PRA MIM
    NÃO SERVE PRA MIM

  18. 5Não quero dinheiroLyricsChordsVideo
    Tim Maia

    TE ESPERO PARA VER SE VOCÊ VEM
    NÃO TE TROCO NESSA VIDA POR NINGUÉM
    PORQUE EU TE AMO
    EU TE QUERO BEM
    ACONTECE QUE NA VIDA A GENTE TEM
    QUE SER FELIZ POR SER AMADO POR ALGUÉM
    PORQUE EU TE AMO
    EU TE ADORO, MEU AMOR!

    A SEMANA INTEIRA FIQUEI ESPERANDO
    PRA TE VER SORRINDO
    PRA TE VER CANTANDO
    QUANDO A GENTE AMA NÃO PENSA EM DINHEIRO
    SÓ SE QUER AMAR
    SE QUER AMAR

    DE JEITO MANEIRA
    NÃO QUERO DINHEIRO
    QUERO AMOR SINCERO
    ISSO QUE EU ESPERO
    DIGO AO MUNDO INTEIRO
    NÃO QUERO DINHEIRO
    EU SÓ QUERO AMAR

    VOU PEDIR PRA VOCÊ VOLTAR
    VOU PEDIR PRA VOCÊ FICAR
    EU TE AMO
    EU TE QUERO BEM
    VOU PEDIR PRA VOCÊ GOSTAR
    VOU PEDIR PRA VOCÊ ME AMAR
    EU TE AMO
    EU TE ADORO, MEU AMOR

  19. 6Volte para o seu larLyricsChordsVideo
    Arnaldo Antunes

    AQUI NESSA CASA NINGUÉM QUER A SUA BOA EDUCAÇÃO.
    NOS DIAS QUE TEM COMIDA, COMEMOS COMIDA COM A MÃO.
    E QUANDO A POLÍCIA, A DOENÇA, A DISTÂNCIA OU ALGUMA DISCUSSÃO
    NOS SEPARAM DE UM IRMÃO,
    SENTIMOS QUE NUNCA ACABA DE CABER MAIS DOR NO CORAÇÃO.
    MAS NÃO CHORAMOS À TOA,
    NÃO CHORAMOS À TOA

    AQUI NESSA TRIBO NINGUÉM QUERA SUA CATEQUIZAÇÃO.
    FALAMOS A SUA LÍNGUA MAS NÃO ENTENDEMOS SEU SERMÃO.
    NÓS RIMOS ALTO, BEBEMOS E FALAMOS PALAVRÃO
    MAS NÃO SORRIMOS À TOA.
    NÃO SORRIMOS À TOA.

    AQUI NESSE BARCO NINGUÉM QUERA SUA ORIENTAÇÃO.
    NÃO TEMOS PERSPECTIVA, MAS O VENTO NOS DÁ A DIREÇÃO.
    A VIDA QUE VAI À DERIVAÉ A NOSSA CONDUÇÃO.
    MAS NÃO SEGUIMOS À TOA
    NÃO SEGUIMOS À TOA.

    VOLTE PARA O SEU LAR,
    VOLTE PARA LÁ.

Credits

Produced // Nelson Motta

Art Direction // Jorge Davidson
Executive Production // Lula Buarque de Hollanda
Musical Direction // Eduardo Souto Neto
Technical Direction // Sérgio Bittencourt
Recording and Mixing // Sérgio Bittencourt, Renato Luiz e Geraldo Murro
Maintenance Supervision // Jorge Nunes
Recording Assistants // Ricardo e Márcio

Graphic Project // Claudio Torres
Cover Photos // Fotograma do especial Marisa Monte
Inside Cover Photos // Márcia Ramalho
CD's Art // Egeu Laus
Graphical Coordination // Tice Mousinho e Gualter Pupo

Percussion // Marcos Suzano
Bass // Ronaldo Diamante
Trumpet // Saulo Dansa
Electric Guitar // Paulinho Muylaert
Piano // Roberto Alves
Drums // Edu Szajnbrum
Backvocals // Letícia Monte, Suzana Ribeiro e Joana Motta
String Quartet // (Bess you is my woman now)
Violins // Michel Bessier e Bernardo Bessler,
Cello // Jaques Morelenbaum
Viola // Marie Christine Bessler

Release

The premiére MM was almost in its totality recorded on the stage of Teatro Villa-Lobos, Rio de Janeiro, in September, 1988. Through this album Marisa opens her way towards the large public, exposing her identity via a repertoire with no frontiers. Here one finds the Portela samba schools Candeia (Preciso me encontrar); the Tropicalist Mutantes (Ando meio desligado); and even the Gershwin brothers (Bess, you is my woman now), besides one of her major hits, Bem que se quis, a version made by Nelson Motta of the composition created by the Italian musician Pino Daniele.

FROM NELSON MOTTA:

I met Marisa Monte when she was 18 years old, by the end of 1985, in Rio de Janeiro. I met her, as a request from my sister, which was a friend with Marisa's mother. She wanted guidance on singing teachers and schools in Rome, Italy, where I was living, and where Marisa was going to study.

The girl had singing lessons since she was 14 years old and wanted to be an opera singer, but she also liked and was very aware about the Jazz culture and the Brazilian music. I gave her some names and addresses, and then I returned to Italy and did not see her again. Months later, when I was in Rome, I heard about her again through the journalist Monica Falcone. Marisa was going to study in Venice, and was staying at a friend's house; she also told me that those few months in Rome had been enough to understand that she would not be happy living outside of Brazil and that in order to make a career in the Opera she would need to live abroad.

Marisa thought that her brief experience through the Italian academies and Italian teachers was not something she was looking forward to repeat. She was determined on going back to Brazil. But the next day she would perform in an improvised little show at a Venice bar, accompanied only by her friend, Roberto Bortolucci, in the acoustic guitar. Roberto was a great musician and also a cameriere, married with a Brazilian beauty, he was a MPB enthusiast and a master of rhythms and harmonies for the main songs of Chico Buarque, Caetano Veloso, Milton Nascimento, Gilberto Gil and many others....

I decided to leave for Venice, senselessly, instinctively and intuitively. I have heard only her humming in my house and I just felt she had a beautiful tone. In Venice, at a small open bar to the sidewalk, with a medium quality microphone, she starts to sing, and what a voice! The audience, no more than fifty people, liked her and started to cheer her, even more at each song. More people starts to gather outside the bar, there is even people at the edge of the channel, applauding. The girl had not only a beautiful voice, but she sang very beautifully, with style. I went back to Rome.

I returned to Brazil in March ‘87 and Marisa came to me to say she had decided to sing professionally, she told me that she now had a producer - Lula Buarque de Hollanda - and that she would perform a show directed by Rogéria Werneck. Marisa wanted to talk about her repertoire.

Hearing her sing Tim Maia, Tom Jobim, Caetano Veloso, Maria Callas, Roberto Carlos, Billie...- sorry, Elis Regina - I offered to direct her. We started rehearsing with a young piano student, Luiz Eca, after gathering an early repertoire that had a bit of blues, samba, bossa nova, funk. We spent a couple of months on it, seeking melodies and rhythms, tones and expressions, exercising styles. We called a bass player; a percussionist, who was a friend of Marisa, came up with a drummer and Lula hired the entire band to rehearse for the four day JazzMania festival, two months later.

On September 23rd, she made her debut to an almost sold out JazzMania festival. The microphone sound was bad, but the band was tight, and after a nervous and much applauded opening set, she returned with a rendition of the song "Negro Gato", turning it into a heavy bluesy-rock, and she nailed it. Among those who most applauded and cheered her were Sylvia Monique Gardemberg, Marina, Patricia Travassos, Euclydes Marino and Leo Jaime. In the second night the sound was improved and she made a great performance, singing "Speak Low" by Kurt Weil; "Chocolate", by Tim Maia; a torrid blues version of "Samba e Amor", by Chico Buarque, and "Cartão Postal", which was a beautiful blues wrote by Rita Lee and Paulo Coelho, in the early '70s. Marisa had discovered and invented a more modern way of interpreting the songs, among other various genres, some more and others less suited to her voice and temper.

Marisa was experiencing it to the fullest, within all genres, searching for her own style of expressing her music, in a different way - the way she liked to sing - harmonizing the songs with her vast vocal technique, gained through her long and hard lyrical learning. She was provided with an intense musicality and an indefatigable and almost obsessive curiosity to listen and learn from the greatest artists, schools and latitudes of all time. On the third morning, the entire first page of the "Caderno B" in the Jornal do Brasil contained a critic review by Alfredo Ribeiro and a great photo of Marisa with the classic headline: "A Star Is Born." It heralded the arrival of a future great singer and gave five stars to her performance. At the same night, the JazzMania was overcrowded and the next day was completely sold out. In the both following nights, Marisa sang very well, and was acclaimed and praised by the likes of Mariah Carey, Perfeito Fortuna, Bernardo Vilhena, Marília Pera, Bruno Barreto, Regina Casé and Caetano Veloso. Maria Bethânia, like Marina, also praised her, for her beautiful tone, musicality and personality - to them she was unique. "I want to sing to delight and thrill my audience," says Marisa.

Almost two months later, with a slightly modified repertoire, and now with the addition of a trumpeter to the band, she returned to JazzMania for other four nights. On the first day, the entire four days were already sold out. Her performances were beautiful, safer and much more applauded by a now standing audience, which is not very common in bars. She received another great review by Paul Adário of the Jornal do Brasil. The show was called "Tudo Veludo" (All Velvet) and it featured, within the sad and dramatic song by Lobão and Bernardo, one of the most beautiful moments of her performance.

On January of '88, Marisa was praised as the "revelation of the year" by the press in Rio de Janeiro. She made her first theater season, at the Casa de Cultura Laura Alvim. In midsummer, the air conditioning broke and the heat was unbearable. But no one was willing to left the place, everyone was drenched in sweat, each night, for two weeks, and the tickets were sold out days in advance. She was seen and heard by Sérgio Augusto, who wrote a whole page review for the Folha de São Paulo newspaper. He was mesmerized by this new singer and - among other enthusiasms – praised her as "the greatest vocal talent since Gal Costa." Gal came to her concerts at the Teatro Ipanema. She cheered her voice and, in Argentina, she gave an interview saying that Marisa was, beside Cazuza, one of the best things in the Brazilian music scene and, even not yet with a well-defined repertoire, “would be placed, without no doubt as one of the greatest Brazilian singers of an era.” Marisa's debut on the stage was at the age of 15, in a rendition of the "Rock Horror Show", directed by Miguel Falabella, with the students of the college Andrews, in 1982. Followed by that, she had a small role singing in the "Blue" musical, by André Felipe Mauro. She made semiprofessional performances in the "O Viro da Ipiranga" and "Double Dose" bars, in the southern area of Rio de Janeiro.

On March 4 and 5, of 1988, Marisa performed for the first time in São Paulo. She was invited to the Nouvelle Cuisine at the Grande Auditório of MASP. The overcrowded audience applauded so much that, in both nights, they had an encore for "Bess You Is My Woman Now" from the "Porgy and Bess" opera, by Gershwin. Her duo with Carlos Fernando was greeted with enthusiasm by the São Paulo press and two weeks later she was performing for five nights in a roll into an overcrowded Aeroanta with her "Aeroshow" - a more compact version of the show that she would perform on the following week at the Grande Auditório of MASP. During her season in Aeroanta there was always more than 200 spectators beyond the full capacity of the venue, they would gather across the floor and corridors, standing and applauding every night. She received excellent reviews and her first press controversy. The show was called "Cantando na Avenida" (Singing in the Avenue).

After that, she performed at the Teatro Ipanema: two sold out weeks with great reviews by the O Globo, Jornal do Brasil and Última Hora newspapers. “An absolutely extraordinary talent” (Paulo Adário – JB). At the “Show do Ipanema”, Marisa added the “Lenda das Sereias” samba to her repertoire, with afro arrangements, also turning a little poem by Octavio Paz into a song by the opening of “Blanco”. The band was now added by a guitar player and three backing vocals, that a follow her since her season at the Casa de Cultura Laura Alvim.

In Belo Horizonte, she performed at the Cabaret Mineiro for three sold out nights with the same sextet, but without the backing vocals. The reviews were more than great. She returned to São Paulo with the show "Volta a Sampa" (Back to Sampa). In July she performed for a week at the MASP and one more week at the Teatro Cultura Artística. The same thing happened. By the end of September she had five shows at the Teatro Villa-Lobos, in Rio de Janeiro, built especially to be recorded live by the EMI-Odeon record company and filmed for a TV special for the TV Manchete. The first album is a result of these live recordings held on September 30, and October 1, 2 and 3 of '88. In the studio, among the various versions of 16 songs, 11 were selected to cut for the album, which received minor corrections and additions and some instrumental countermelodies that Marisa created over the recorded material. In the studio, with the other musicians, a new live version of "Speak Low" - under the inspiration of João Gilberto – was recorded.

November, 1988