Part of the Brazilian Song of the Day project is exploring aspects of Brazilian music I might not otherwise experience. I’m not a metal fan. I like bands influenced by metal—Mogwai, Rodrigo y Gabriela—and some instrumental metal bands like Pelican, but the singing that is the hallmark of most metal annoys me. But I wouldn’t be doing this project justice if I didn’t spend some time figuring out how that international behemoth that is metal landed in Brasil and took root there.
Sepultura has sold 3 million records in the U.S., which probably makes them the most successful Brazilian artist in the U.S. I’m not sure how The Girl from Ipanema sold, but I doubt even Ivete Sangalo is moving that many units here.
I kind of liked this song. I loved the opening, and the lyrics are so slight, they didn’t bother me the way most metal does. More Brazilian metal will be coming before the end of this project.
I’d never heard of Pitty before I ran across yesterday’s 3 Na Massa cover of Tom Waits, with CéU and Pitty. I’m going to be seeking out her original work for later, but today, it’s another cover, this time of some hard rockin’ Aussie music, AC/DC’s Highway to Hell.
The audio quality on this live track is dreadful enough to give me pause, but 3 Na Massa covering Tom Waits? Must be played. Do yourself a favor and listen to this over some real speakers so the sound is somewhat less tinny.
Zéca di Nha Reinalda isn’t from Brasil, nor does he live in Brasil. He’s from the island of Cabo Verde, which, like Brasil, was once a Portuguese colony. It’s located off the western coast of Africa, closer to Portugal than Brasil, but a song like Fomi 47 reminds me of Virginia Rodrigues more than Ana Moura.
Time for another key Tropicalista, Gal Costa. This track, from 1970, shows her at her most psychedelic. Its massively of its time—just a few seconds in and you’ll know this is a song from the late sixties or early seventies. While timelessness has it’s place, there is something refreshing about a song that makes no compromises with the trends its following (and maybe making).