In 1977, Gal Costa came in recent years in three different moments of his career: first, in 1974, culminated in two albums, " Season Summer - Live in Bahia , "he shared with Caetano Veloso and Gilberto Gil, and" Singing "where the singer recorded the beauty your voice, choosing to clear a corner which valued the splendor of his unique voice, almost to bring us a recital of luxury. Despite the splendor of the moment, the public rejected criticism of the knockout and the perfection of that work, calling back the rebel Gal Costa accustomed to seeing from the psychedelic " Gal" 1969. The second time resulted in the "Gal Canta Caymmi ", released in March 1976, who was born in the ride's novel " Gabriela" (1975), when Dorival Caymmi composition of the opening theme, "For Modinha Gabriela", exclusively for the singer to interpret. And finally, the third time, the show "Sweet Barbarians" in 1976, which recorded the historic meeting on the stage of Gal Costa, Maria Bethania, Gilberto Gil and Caetano Veloso. Sure, the inspiration of the show "In the Mouth Worldwide " and, consequently, the album "Faces & Bocas", came from the circus scenes, of colorful clothing, and a moment of "flower power " late of "Barbarians Sweets." "Guys & Bocas", released in 1977, could be a record of uneven show " With Boca in the World", shrugging up and surpassing in quality the show . The singing and rasping treble rebels who signed up on stage, disappeared in all age groups, showing a mature singer in a mellow repertoire. The theme "Flower Power " is almost unnoticeable on the album with a timeless creation existentialist on tracks like "Black Love" and "Guys and Mouth . The hard knocks experimentalism throughout the show, showing the disruption of Gal Costa, final, ready to make it become a great lady of the MPB. "Guys & Bocas" is final, after him, could not go back to the stage of rebellion it once was, but to inaugurate a new, as outgrown the singer herself, tearing off the national scene ready to bloom. The album is this, a contrasting youthful and mature beauty of Gal Costa, who was to become the next year, the highest interpreter of Brazilian popular music in all its aspects. The record is this, a seductive and final rupture of the real Bahia.
With the Mouth in the World - Echoes of the knockout
Gal Costa became, in the late 1960s, the muse of Tropicalia, the movement sang lonely when Friends Caetano Veloso and Gilberto Gil went into exile in London. Of the Tropicalia existentialist philosophy and the psychedelic underground of the knockout, Gal Costa has become a youth icon of bearded intellectuals and ideologically "with no scarf, no document." Gradually the singer grew in prestige and vocal maturity and stage. Her lush sensuality contrasted with the natural intimacy, making it something unique and definitive. The knockout was getting on the road and Gal Costa was more than a singer of a certain sector of Brazilian society. When he was thirty, sailing triumphantly by the musical universe of renowned Dorival Caymmi, expected and demanded from her most daring flights within the essence MPB. But, stubbornly, she turned back, he wanted to re-embrace that youth that tore through it, forgetting that his beard had been shaved, and bypassed the expensive cleaner trends. The show "The Sweet Barbarians ," 1976, went against the time, and insisted that the dream " flower power" was not over. He was met by fierce criticism. After the show, Maria Bethania had a career if he left without affecting the climate, and Gilberto Gil, after the humiliation by imprisonment for drug possession, has joined Rita Lee, in a unique spectacle. Gal Costa and Caetano Veloso let themselves be taken by the hippie nostalgia that had ended in Woodstock. Bahia The Master made it clear that time with the release of " Odara " a word that has become synonymous with alienation in a Brazil strangled by a military dictatorship.
Unlawful that was demanded of it, Gal Costa has chosen to show a youthful, rebellious to the climate that passed between the knockout and Tropicalia. Guilherme Araújo, then manager of the singer, was against but and insisted she was born " With Boca in the World", a show that caused controversy and contempt of criticism of Rio, in his debut at Teatro Carlos Gomes, Praça Tiradentes, the center Rio de Janeiro. Gal Costa dazzles on stage in a long dress with a forward slash. Vineyard rebellious, provocative, erasing once the effect of the recitals of the "Singing . Returned with a rasping corner, almost dirty,
accompanied by strident metals, and to explore the acute exhaustion challenging, recalling the era of "Fa-tal - Gal a Todo Vapor . But the resemblance faded away before the scenic apparatus, something unprecedented in the singer's concerts. The lighting has negative criticism of all, without exceptions. The repertoire, she brought back the icons knockout songs, " Black Pearl" (Luiz Melodia) and "Vapor Barato (Jards Macalé - Waly), and the psychedelic Tropicalia, " Cinema Olympia "(Caetano Veloso). At a time that Maria Bethania publicly declared to be the only singer who could interpret in Brazil Chico Buarque, Gal Costa dared stage, which had never done on disk, the composer singing, doing it in two moments of brilliance and only to "Flower of the Ages " and "What Is ( At Terra Flora )", only for historical interpretation, culminating with the singer alone, the guitar, playing " Please A "was worth all the misconceptions of the show. " With Boca in the World", which aimed to release his new album "Face & Mouth " suffered severe rejection, which would not affect anything in the disc. So at age 32, the singer promoted the highest break of his career, ending with the show, all the echoes of the knockout. The result proved the following year with her album "Living Water .
Voice, Note Crystal Transparent
"Guys & Bocas " album from 1977, is almost all the songs that played on the show Gal Costa " With the Mouth in the World . Had the excellent arrangements produçãoe Perinho Albuquerque. Unlike the show, the interpretations of the disc went out of the corners and sharp rasping rebels, bringing moments of softness and strength of a mature corner, ready to be explored in all its technique. The cover blended the relaxed era of "flower power " with the sophistication of a woman Balzac. Featured singer in profile, her hair disheveled purposefully on a black background. The photographs, inventing and pouting, justifying the title, were made by Marisa Alvarez Lima. Features ten tracks, three of which are versions of American composers. The singer began the drive with intense delicacy of "Guys and Mouth " (Caetano Veloso - Maria Bethania), that song alone sets and aligns the entire proposal. Verses loose, existentialism of a more sophisticated than eloquent, intimate interpretation of color in the purchase, but intense Gal Costa. The music draws the perfect translation of a large woman who poses as a singer to follow the life of Brazil:
"But if this neck cords hidden
Of this
breast smothered
this HEART ; the jumbled
appears a bright note
Crystal transparent "
And the crystal voice, explicitly revealed in the wording and interpretation, followed by invading and ripping the tracks. "I refuse " (Rita Lee - Sérgio Luís - Lee Marcucci), gives way to levity Rita Lee ephemeral to perennial youthfulness of Gal Costa. Vibrant, cheerful, almost adolescent, the song is a nice rebellion against loneliness, flinging open the doors of the passion that is between someone without fear. The singer plays with the song, without at any time, fail to take seriously his corner. After all, everything was "on morality of the place "And nobody knew how Bahian tradition of breaking any habit.
The moment of youthful passion gives way to an intimate song, almost epic, "Call Me Crazy ( Crazy He Call's Me ) (Carl Sigman - Bob Russell - version Augusto de Campos). Great success of American music, the version of Augusto de Campos, Concrete poet, is poetic, combining beauty of tone and singing lyricism of Gal Costa. And she sings in the fire of feelings, without walking on it. Move mountains with the sweet voice of a mermaid, and the poetic words of the melody, we received the key to his musical heaven, without daring to call it even a moment of mad. In
"Clarie " (Pericles Cavalcanti), we find the maturity to hit the corner of Gal Costa, leading a moment that in other times, not avoid the knockout of passion. Interpretation of elaborately tearing a supposedly intimate latent. "Clarie " had two public releases, the album and the single compact 6069.177, released by Philips. And in the hope of a new moment that was hidden, brightening the career of the singer toward permanent identity.
the same pace, side A of the LP was finished with "My Eastern Star is ( Tindoró Dindinha )" (Jorge Ben). The world always cheerful Benjor reached safe haven in voice and style of Gal Costa. Composer had their songs recorded by her from the time of Tropicalia. The lightness existentialist, almost beast cricket, the song emphasizes the proposal of the neotropical disc, with bourgeois elegance to hippie balzaquiana who performed breathtaking. Typical music daring the universe of the muse of Tropicalismo and knockout.
Moments of Poetry and Interpretive Density
The B side of the disc was initiated by the mythical " Tigress" (Caetano Veloso) one of the most sublime and compelling interpretations of the singer's career. That year, the song was recorded simultaneously by Caetano Veloso on the album " Bug" and, by Maria Bethania, in "Morning Bird . But the interpretation was contrasted with an intimate intensity imaging, Gal Costa, the song got the exact shade of their transgressive vitality, making it a great success in 1977. The song was the theme of the character of Sonia Braga in the novel "Magic Mirror ," Lauro César Muniz, produced by TV Globo. Legend has it that " Tigress" was made for the actress. Several aspects of the trajectory of Sonia Braga shows up revealing verses, who had worked as an actress in the assembly of the legendary Brazilian musical "Hair " in early 1970. "Tigress " cites other times dated, but on the whole, they disappear under a remarkable and timeless song. Lyrics extensive and poetic moments intense, as Gal Costa knows how to drive perfectly, becoming, with his black mane, tiger of his own verses. "Rubbing the skin golden brown
From his body against mine
told me that evil is good and very cruel"
And the intensity of the disc continues, reaching a peak in " Black Love ( It's All Over Now, Baby Blue ) "(Bob Dylan - Version Caetano Veloso - Pericles Cavalcanti). Unsettling, dense, deep, thematic symbol of the generation " Flower Power", "Black Love " brings back the era of Gal Costa's knockout, an interpretation that transits among the perfect technique of singing and passion that has always broken in emoçãoo intimacy of the voice. Pungent, almost dead, the world of Bob Dylan came to the poetry of natural MPB. The precipitation in the deep existentialist song not balance destroyer Gal Costa emotive that this interpretation is sublime and unique. She ended here, officially, the loan of her singing to that movement started there in the beginning of everything. And for those who insisted that the dream was not over, it said
"Scratch another match, another life, another light, another color
And there's nothing else, black love"
Final Live
density achieved is diluted in the proposed "My Sweet Love " (Marina - Duda Machado), where the sharp ringing of the singer are used with an unusual field, making the song grow dramatically. Marina Lima was introduced into Brazilian music as a songwriter with extraordinary brilliance. Gal Costa is here jovial, intense, passionate. And if the blood was fresh, all listeners who have bled in that voice did not fail in search of the peak. And the intimate epic back in "Solitude " (Duke Ellington - Eddie De Lange - Irving Mills - Version Augusto de Campos), the third and final version of the disc. The world is never so lonely as our interpretation of intoxicating siren. Gal Costa mad pain with his sweet voice and sharp, when the theme is loneliness. " Solitude", though intimate, achieved success, becoming the soundtrack of the novel " Dancin 'Days " by Gilberto Braga in 1978. The success was immediate, and the singer was invited to join a chapter the novel, finding himself with the characters of Joan and Sonia Braga Fomm. On the track, another moment of delicacy and intuitive interpretation of emotion.
During the show "With Boca in the World," one of the most applause was when Gal Costa sat at a small bank, and the guitar solo, played "A Favor (Lupicinio '). The crowd went wild. The singer brought to the album that moment of beauty, ending with this song the ten tracks on " Guys & Bocas. " The version presented here was not recorded in the studio, came directly from the stage, live. Cleverly, the album was finished in a tone that gave the feeling of having been made
all live in the warmth of the audience that he had heard all the tracks. Gal Costa draws the poignant tone of the universe for loner Lupicinio ', giving him, with the complicity of the public, a dimension of hope in the face of setbacks passion. Following this interpretation, the song became a classic of the MPB. "Guys & Bocas " he concludes, with sofisticaçãoe beauty, which was only hinted in With Boca in the World. " Consolidates the prestige of Gal Costa, making clear that it was time to take the bare feet of the singer on stage, so he stepped sandals with silver at the heart of Brazilian popular music.
"My face breaks into the scene
Rips life
Display brightness
Acute musical"
Credits:
Guys & Hot Plates
Philips
1977
Production Director: Albuquerque Perinho
Direction Studio: Perinho
Albuquerque Technical Writing: Chocolate, Ary Carvalhaes, Jairo Gualberto and Luiz Cláudio Coutinho
Technical Mixing: Luigi Hoffer
Aides Studio: Julinho, Hannibal and Varella
Assembly: Luiz Cláudio Coutinho
Cover: Aldo Luiz
Pictures: Marisa Alvarez Lima
Artwork: Jorge Vianna
Studio: Regency and Phonogram
Arrangements: Thomas and Albuquerque Perinho Improta
Musicians Participants:
Piano: Thomas Improta
Guitar: Perinho Albuquerque, Vinícius Gomes
Canterbury and Bob Bass: Rubão Sabino and Moacyr Albuquerque
Guitar: Rubão Sabino and Gal Costa (A Favor)
Battery: Robby Silva, Paulinho Braga, Aeneas and Vinicius Costa
Canterbury Folk Guitar: Rick Ferreira
Flute Harmonica Jorginho
: Maurício Einhorn
Percussion: Monica Millet, Bira da Silva, Djalma Correa
trumpet player: Wanderley
-Alto Sax: Tuzé Abreu
Sax-Tenor: Raul Mascarenhas
Sax Solo: Juarez Araujo
Tracks: 1
Guys and Mouth (Caetano Veloso - Maria Bethania), 2 Me refuse (Rita Lee - Sérgio Luís - Lee Marcucci) Call Me Crazy 3 (Crazy He Call's Me) (Carl Sigman - Bob Russell - version of Augustus Campos), 4 Claire (Pericles Cavalcanti), 5 My Star Is East (Tindoró Dindinha) (Jorge Ben), 6 Tigress (Caetano Veloso), 7 Negro Amor (It's All Over Now, Baby Blue ) (Bob Dylan - version Caetano Veloso - Pericles Cavalcanti), 8 My Sweet Love (Marina - Duda Machado), 9 Solitude (Duke Ellington - Eddie De Lange - Irving Mills - version Augusto de Campos), 10 A Favor (Lupicinio ')
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