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Title Chico Buarque Subtitle The Classic Years Artist Chico Buarque Format: CD Cat. No.: MANTCD021 Barcode: 698458202123 Playing Time: 54.09

Chico Buarque uses the traditional elements of Rio samba as an embryo from which has sprung forth a body of work staggering in its richness: no less than a tapestry of Brazilian popular culture in all its private grieves and public joys. He is undoubtedly Brazil’s greatest living songwriter and here, for the first time is a beautiful selection of 20 tracks from the late 60s and early 70s, reputedly his finest, that created this musical giant. See Reviews

Track List 1 A Banda 2 Sohno De Um Carnaval 3 Que Tem Viu, Quem Te Ve 4 Roda Viva 5 Carolina 6 Funeral De Um Lavrador 7 Pedro Pedreiro 8 Logo Eu ? 9 Retrato Em Branco E Preto 10 Um Chorinho 11 A Rita 12 Meu Refrao 13 Sera Que Cristina Volta? 14 Ela Desatinou 15 Lua Cheia 16 Onde E Que Voce Estava 17 Desencontro 18 Ate 2a Feira 19 Madalena Foi Pro Mar 20 Ole Ola         Sleevenotes   Anyone familiar with the Rio Carnaval will instantly recognise the ‘colours’ of Mangueira Samba School: emerald and rose. Associated with Mangueira years before his first recordings, Chico Buarque De Hollanda wrote his first song composition in 1964, released his first eponymous album in 1966 and, has continued throughout the quarter-century that followed, to write songs, novels, musicals, soundtracks, poems and plays with a creative genius and energy unmatched by any living Brazilian artist in any artistic field. Strong words? Let’s examine his fellow Brazilians’ observations down the years. “Chico Buarque is a phenomenon who has attained exactly what we in the bossa nova movement tried to attain for a long time, the true unity between culture and the people” (Vinicius de Moraes, poet/composer). “He is not just an extraordinary popular artist. He is the most significant cultural representative who sprang from the generation which, around 1964, was 20 years old and starting to make its contribution.” (Zuenir Ventura, distinguished journalist/writer, 1976) “Chico Buarque does not exist, he is fictional, an embodiment of Brazilian art and culture. He has been invented because he is necessary, vital, without whom Brazil would be poorer, emptier, without time, without bricks, without structure” (Ruy Guerra, film-maker, 1998). “It is a very good thing for Brazil to have someone like Chico. He is a genius of the Brazilian race, a depository of popular Brazilian culture. A great poet, a great musician, a great lyricist, a great everything.” (Tom Jobim, composer, 1994). “Chico’s music . . . is always wonderful. I identify with his songs” (Gal Costa, singer, 1998). “Chico’s poetry touches the soul of women, the feminine soul in us all” (Marilia Pera, actress, 1998). “What a man, what a poet . . . he is not just one, he’s a thousand” (Maria Bethania, singer, 1999). “Chico is the Prince of Brazilian Popular music . . .” (Caca Diego, film-maker, 1998). “He is the greatest musician among the composers of our popular music. A genius from whom I would like to steal . . .” (Egbert Gismonti, musician and composer, 1999). “Let’s talk about Chico Buarque. About his extraordinary talent. About the unwavering courage and dignity that he shows towards life and his fellow men” (Oscar Niemeyer, architect and urbanist, 1998) Most artists are lucky to garner even one such laurel in their lifetimes, but the above is just a random sample of quotations from Chico’s peers. Born into a reasonably well-to-do middle-class carioca family, Chico’s first composition, “Marcha para um Dia de Sol”, appeared in 1964. In 1966, with the issue of his debut album, came the beginning of what Brazilians now call his ‘first phase’; in an effort to make some sense, give some shape to his staggering body of work, the ‘first phase’ covers the years until the early 70s. All the selections in this compilation come from this early period. Modern Popular Music Professor Walnice Vogueria Calvão divides this phase into two sections: the ‘songs about song’ (lyrical with narrative aspects), such as ‘Olé Ola’, ‘Sonho de um Carnaval’ and ‘Roda Viva’; and the ‘personal anecdote’ songs such as ‘Lua Cheia’, ‘A Rita’, and ‘Quem Te Viu, Quem Te Ve’. The first area covers Chico’s contribution to the spirit and culture of carnival and song specifically, whereas the latter deals more with the character and culture of ‘Brazil-ness’, as it’s been called; the aspect of Brazilian popular music first explored by legends of the early samba years such as Noel Rosa, Ataulfo Alves and Sinho. The poet Augusto de Camos, quoted in the seminal 60s book ‘ Balanço da Bossa’, saw the lyricism of Chico’s first two albums as according him the position of “green-eyed prodigal son, a follower of the traditional musical family’. But by 1969 at the height of the excesses of Brazil’s dictatorship, Chico, clearly uncomfortable with this inappropriately apolitical image, recorded a song that was to change the way in which his public viewed his work and was to shatter the ‘harmless’ view taken of his composition by the right wing. The record, dedicated to the poet João Cabral de Mello Neto, took extracts of that poet’s ‘Morte a Vida Severina’ and was called ‘Funeral de Um Lavrador’: A Working Man’s Funeral. ‘Roda Viva’ sets out to smash the anodyne songsmith that fear may have otherwise forced him to become; whilst ‘Carolina’ is the happy young girl watching the carnival pass, unaware of the rottenness at the heart of society. A deepening dissatisfaction with the censorship of Brazilian culture at every level, coupled with viscerally ‘solid’ expressions of the junta’s disregard for public opinion and civil rights (such as the arrest and torture of another great poet-singer, Geraldo Vandré) forced many of Brazils’ new wave artists into political asylum: Caetano Veloso and Gilberto Gil to London, and Chico to Italy. And it was on his triumphant return to Brazil, after the democratic defeat of junta rule, that Chico truly became the leading spokesman for its new, politically-engaged generation. It would be pointless to recite here a résumé of the singers, filmscores, plays, musicals and operas that constitute his heritage to Brazilian culture (although his novels ‘Fazenda Modela ‘ (Model Farm), ‘Benjamin’ and ‘Estorvo’ would be a good starting-point for those wishing to explore his non-musical genius). Equally, I heaved a sigh of relief when it became clear that this compilation was to concentrate only on Chico’s early work: an overall picture of his recordings could only be achieved in a ten-volume CD set and his first recordings are repudedly some of the finest and most unavailable. When Brazilian Contemporary Arts put on their ground-breaking show ‘Since Samba Has Been Samba’ at the Royal Albert Hall, London on November 5th 1999, yours truly had the thrilling (but terrifying) job of introducing the show. Here’s a thumbnail impression of the backstage, about ten minutes before the off: Gilberto Gill, as wired as ever he is before performing, is arguing vociferously with whoever will listen about the inadequate time given to the sound check; Caetano Velos, the world’s most laid-back man, is chatting and laughing like someone who’s just about to spend a relaxing afternoon on a Bahian beach; Gal Costa and Virginia Rodrigues are both having a quiet five minutes total relaxation before the performance; the mighty Elza Soares graciously holding court to a succession of fans anxious to breathe for a few moments the same air as a living samba legend . . . And Chico Buarque de Hollanda is pacing the endless corridors of the Albert’s intestines, speaking to no-one, looking for all the world like a nervous schoolboy about to face an irascible headmaster over the matter of a poor term report. ‘We all want to mother him, ‘ a female fan confided. ‘As I listen to (Chico’s music). . . I gradually become more feminine. Rendered progressively more light-headed as I listen to his odd melodies, the more I hear, the more light-headed I became. The more the beauty increases, the more difficult the possibility of distinguishing the music’s gender . . . And I am bound, I, a woman, to this man without body or melody, who promises me songs, but only gives me diamonds through his voice’ (Tom Ze, musician 1998). Diamonds, yes; and emeralds, too. SELECTED SONG TRANSLATIONS OLÉ OLA Don’t cry yet I’ve got a guitar and we’re going to sing, Here happiness can pass and be heard And if it’s from the samba Then it will stay. Father, ring the bell So that everyone knows that the night is a child That the samba is young and That the pain is old And can die. Olé Ola, there is enough samba If you know how to dance, then come to the samba circle Show your swing But take care Because crying’s not allowed. CAROLINA Carolina, in the deep of your eyes there is so much pain the pain of all this world. I’ve already told you, tears won’t help. Thousands of verses I’ve sung to please to you and now I just don’t know how to explain. Just outside, my love a rose blooms everybody sang and a star died. PEDRO PEDREIRO Pedro Pedreiro is waiting for death Or for the day to return to the North. Pedro doesn’t know it yet But maybe deep down he awaits something more beautiful Than the world, bigger than the sea. . . But then why dream? why give in to the desperation of too much waiting? RODA VIVA Some days we feel as if we have parted or even died Either life just stopped in an instant. Or the world has suddenly grown. Just as we want to have an active voice And control of our destiny So comes the circle of life to engulf us. A BANDA I was doing nothing in particular When my love called to me To see the band go by Playing love songs. My long-suffering people Said farewell to their pain To see a band go by playing love songs. Translations by Maria Do Carmo Aguiar and John Armstrong John Armstrong John Armstrong is a London-based club & radio Dj and writer and has Djed throughout Europe, Africa and the Middle East. His playlist includes Latin, African, Caribbean, and Brazilian music as well as jazz, soul and funk.

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