___ _ __ __
___/ (_)_________(_)___/ /__ ____ / /_
/ __ / / ___/ ___/ / __ / _ \/ __ \/ __/
/ /_/ / (__ |__ ) / /_/ / __/ / / / /_
\__,_/_/____/____/_/\__,_/\___/_/ /_/\__/
d i s s i d e n t
_______________________________________________________________________
a r t i s t : Chico Buarque
t i t l e : O Melhor De Chico Buarque
d a t e : 1997
l a b e l : Polygram
g e n r e : Latin
r l s. d a t e : Feb-2003
t r a c k s : 20
b i t r a t e : 192kbps
s i z e : 96,4 MB
_______________________________________________________________________
Of the early stars of MPB (musica popular brasileira), Chico
Buarque was one of the first to become a certifiable pop star.
With his warm, nasally croon, elegant phrasing, and
considerable skill at lyric writing, Buarque (who is handsome
to boot) became extremely popular with women, who loved his
understated sensuality. However, Buarque was uncomfortable
playing the role of pop star preferring to be seen as a serious
artist. Throughout his career he's managed to have the best of
both worlds, but not without some significant bumps along the
way. Still, he remains a towering figure in Brazilian pop
music, one of the country's greatest singer-songwriters and
interpreters of the samba.
Born in Rio de Janeiro in 1944, Buarque spent his early youth
in Sao Paulo and Italy. Upon returning to Brazil, Buarque
artistic development was greatly enhanced by the friends of his
father (the historian Sergio Buarque de Holanda) who were
prominent in the early bossa nova movement. Although he
immersed himself in music, specifically the new bossa nova
sounds of Joao Gilberto, Buarque decided that a college
education was more practical and he decided to study
architecture at the University of Sao Paulo. That turned out to
be a short-lived career choice and it wasn't long before
Buarque was cutting classes and hanging out with Sao Paulo's
bossa nova cognoscenti.
Buarque was 21 when his career began to take off. He recorded
the single "Pedro Pedreiro," composed music for a theatrical
production and, perhaps most importantly, had three of his
compositions recorded by the undisputed queen of bossa nova
Nara Leao. Not an openly polemical performer, Buarque's
material did not lack social consciousness, but it did seem
stylistically conservative when compared to the late 60s sounds
of the tropicalistas such as Caetano Veloso, Gilberto Gil, and
Os Mutantes. Despite the charges of aesthetic conservatism
leveled against him (by Gil and Veloso) Buarque took a huge
career chance in 1968 writing and scoring a bleak, existential
play entitled Roda Viva that was critical of obsessive fan
culture. The play's pop star protagonist is torn limb from
limb, his flesh consumed by his fans. In a move that sounds
lifted from Julian Beck's radical Living Theater, the
performers would offer the audience pieces of the dead pop
star's flesh to eat (it was chicken meat). Needless to say,
with a military dictatorship in power this was considered
extremely controversial stuff and soldiers were sent out to
disrupt performances of Roda Viva, which including destroying
sets and assaulting performers, Buarque himself was jailed
briefly.
After the disaster of Roda Viva Buarque returned to Italy for a
year only to return to Brazil to find most of the stars of
tropicalia in exile or severely circumscribed by government
censorship. In 1971 he recorded the album Construction which
was decided break from his earlier bossa nova records. This was
the star of the second half of Buarque's career that saw him
writing more intense songs that underneath each complicated
lyrical layer was social and political protest. Forced to
submit his material to government censors, nearly two-thirds of
his material was rejected. And from 1974-1975 the censors
approved almost nothing he wrote. On a more positive note the
rift between Buarque, Veloso and Gil was settled upon their
return to Brazil in 1972 and Buarque went on to record with
both of them in the mid-70s. In the 80s, Buarque was given more
compositional leeway and recorded some stunning music, along
with branching out into other artist endeavors that included
writing plays and novels, as well as scoring films, all of this
work consistent with his desire to re-examine Brazil's cultural
past, it relationship with the present, and its limitless
possibilities for the future.
For over 30 years Chico Buarque has been an artist that
struggled with pop music and pop stardom. Always challenging,
always conscious of cultural history, he remains, deservedly
so, a towering figure in Brazilian music.
_______________________________________________________________________
01-Carolina [02:42]
02-Essa Moτa Ta Diferente [02:47]
03-Vai Passar [06:07]
04-Samba De Orly [02:40]
05-Bye, Bye, Brasil [04:42]
06-Atras Da Porta [03:07]
07-Tatuagem [02:51]
08-O Que Sera (A flor Da Terra) [02:47]
09-Morena De Angola [03:06]
10-Apesar De Voce [03:53]
11-A Banda [02:12]
12-Minha Historia (Gesubambino) [03:02]
13-Com Aτucar E Com Afeto [02:55]
14-Brejo Da Cruz [03:35]
15-Meu Caro Amigo [04:19]
16-Geni E O Zepelim [05:17]
17-Trocando Em Miudos [02:49]
18-Vai Trabalhar Vagabundo [02:19]
19-Gota D'Agua [02:32]
20-Construτao/Deus Lhe Pague [06:23]
-------
70:05 min
_______________________________________________________________________
e m a i l: diss@subdimension.com
inventas vitam iuvat excoluisse per artes