Marcos Valle
Marcos Kostenbader Valle (born September 14, 1943 in Rio de Janeiro ) is a Brazilian singer, songwriter and record producer. His work has found success across many musical styles both within Brazil and in the rest of the world, including bossa nova, samba, incidental music for drama, and fusions of American/European rock and dance music with Brazilian styles. His brother is Paulo Sérgio Valle, with whom he composed many songs. From the younger Bossa Nova generation, as well as Bebel Gilberto and others, made a large part of his career abroad. Read Full BioMarcos Kostenbader Valle (born September 14, 1943 in Rio de Janeiro ) is a Brazilian singer, songwriter and record producer. His work has found success across many musical styles both within Brazil and in the rest of the world, including bossa nova, samba, incidental music for drama, and fusions of American/European rock and dance music with Brazilian styles. His brother is Paulo Sérgio Valle, with whom he composed many songs. From the younger Bossa Nova generation, as well as Bebel Gilberto and others, made a large part of his career abroad.
Valle's precocious talent was evident from his high school years, which coincided with the height of the Bossa Nova movement in Rio. His classmates included future legends like Edu Lobo and Dori Caymmi, and his composition Sonho De Maria was included on the Avanço album by the highly influential Tamba Trio in 1963. With his brother Paulo Sérgio Valle as his lyricist, he had already built an impressive portfolio of songs, prompting the Odeon label (a subsidiary of EMI) to sign him to a recording contract. His debut album Samba Demais was released early in 1964. His reputation quickly spread, and his contemporaries on the music scene (including Wilson Simonal, Elis Regina, Nara Leão and many others) lined up to record his songs. A second album, O Compositor e o Cantor, followed in 1965, and featured the debut of what would become his most recognizable song, Samba De Verão (known in English as "So Nice (Summer Samba)"), as well as other instant classics as Deus Brasileiro, Gente and A Resposta.
1966 brought Valle's first trip to the U.S., where he and his then-wife Anamaria teamed up with the also recently-emigrated Sérgio Mendes briefly in an embryonic version of what would later become the latter's hugely successful Sérgio Mendes & Brasil '66. The threat of being drafted and sent to Vietnam caused him to return quickly to Brazil, however, although the following year saw him return and have a more positive experience which included his debut American release Braziliance! on Warner Bros. Records, several appearances on the Andy Williams TV show. Following session work on Verve records releases by compatriots Walter Wanderley and Astrud Gilberto, the label released Valle's Samba '68 album featuring English-language versions of assorted songs from his earlier Brazilian releases.
Shortly thereafter, feeling homesick, Valle returned to Brazil and entered a new creative phase in his career. 1968's Viola Enluarada album was a more introspective affair, with Valle's songwriting attaining a more mature and reflective tenor far removed from the frothy and lighthearted feel of the "Samba '68" album. The title track became one of Valle's signature compositions and was a duet with the up-and-coming future icon Milton Nascimento. It also featured a surprising political bent previously absent in Valle's work, and the album as a whole pointed to a broader range of musical influences that moved him out of the box marked "bossa nova artist".
This process continued on 1969's Mustang Cor De Sangue, another leap forward that incorporated rock, soul and pop styles, all stamped with Valle's unmistakable melodic style. His work here reflected the sophisticated pop approach of American songwriters such as Jimmy Webb and Burt Bacharach as well as the inescapable influence of The Beatles.
Around this time, Valle was tapped to create theme music for assorted TV programs and "novelas" (soap operas), which over the next few years would become one of the main outlets for his work, along with advertising jingles. 1970's Marcos Valle (often referred to as "The Bed Album" due to its cover shot of Valle in bed) was his most adventurous effort to date as well as his most rock and psychedelic-influenced music up to that point. Backed by Milton Nascimento's backing band Som Imaginário, Valle explored a more eccentric approach, with a number of futuristic tracks and an extended instrumental suite not unlike the work of U.S. composer/producer David Axelrod. 1971's Garra was a career highpoint, a pop masterwork that summed up his music and still stands as one of the finest pop albums of the era, Brazilian or otherwise. Its effervescent pop/jazz/soul/bossa/film soundtrack musical stylings were matched by lyrics that attempted to reconcile Valle's hippie leanings with his status as a wealthy young musician who was also a successful businessman because of his successful novela soundtracks and corporate advertising accounts. Tele-novelas he provided some or all of the music for during this period included O Cafona, Minha Doce Namorada, Pigmalião 70, Os Ossos Do Barão and, most prominently, Selva De Pedra.
1972's Vento Sul album found Valle long-haired and bearded, and backed by the progressive rock band O Terço. His most experimental and left-field effort to date, it was something of a sales flop, although it has accumulated many admirers over the ensuing decades. The following year's Previsão do Tempo fared better and was an innovative effort made in conjunction with the band who initially formed to back Valle at live shows and named themselves after one of his songs, Azimuth (soon to change the spelling to Azymuth). This album had a notable jazz fusion influence due to Azymuth keyboardist José Roberto Bertrami's expertise on the Fender Rhodes keyboard and assorted synthesizers such as the Mini-Moog and the ARP Soloist. This sound would later prove a decisive influence on the Acid Jazz scene in Europe twenty years later.
In 1974 Valle provided the music for "Vila Sésamo", Brazil's version of "Sesame Street". He also released his final album on EMI, another self-titled effort. This album differed yet again from its predecessors in pursuing a piano pop sound reminiscent in turns of Elton John, Todd Rundgren and Bread, and replete with elaborate vocal arrangements. At this point, Valle had grown tired of the strictures of living and working under Brazil's military dictatorship, then in its darkest and bleakest phase. He therefore decided to return to the U.S., where he spent the rest of the decade. Settling in Los Angeles, he entered into collaborations with artists as diverse as Sarah Vaughan, Chicago and rnb singer and songwriter Leon Ware. Valle and Ware found themselves especially compatible, and wrote many songs together, Valle appearing on several of Ware's Elektra album releases.
Valle's precocious talent was evident from his high school years, which coincided with the height of the Bossa Nova movement in Rio. His classmates included future legends like Edu Lobo and Dori Caymmi, and his composition Sonho De Maria was included on the Avanço album by the highly influential Tamba Trio in 1963. With his brother Paulo Sérgio Valle as his lyricist, he had already built an impressive portfolio of songs, prompting the Odeon label (a subsidiary of EMI) to sign him to a recording contract. His debut album Samba Demais was released early in 1964. His reputation quickly spread, and his contemporaries on the music scene (including Wilson Simonal, Elis Regina, Nara Leão and many others) lined up to record his songs. A second album, O Compositor e o Cantor, followed in 1965, and featured the debut of what would become his most recognizable song, Samba De Verão (known in English as "So Nice (Summer Samba)"), as well as other instant classics as Deus Brasileiro, Gente and A Resposta.
1966 brought Valle's first trip to the U.S., where he and his then-wife Anamaria teamed up with the also recently-emigrated Sérgio Mendes briefly in an embryonic version of what would later become the latter's hugely successful Sérgio Mendes & Brasil '66. The threat of being drafted and sent to Vietnam caused him to return quickly to Brazil, however, although the following year saw him return and have a more positive experience which included his debut American release Braziliance! on Warner Bros. Records, several appearances on the Andy Williams TV show. Following session work on Verve records releases by compatriots Walter Wanderley and Astrud Gilberto, the label released Valle's Samba '68 album featuring English-language versions of assorted songs from his earlier Brazilian releases.
Shortly thereafter, feeling homesick, Valle returned to Brazil and entered a new creative phase in his career. 1968's Viola Enluarada album was a more introspective affair, with Valle's songwriting attaining a more mature and reflective tenor far removed from the frothy and lighthearted feel of the "Samba '68" album. The title track became one of Valle's signature compositions and was a duet with the up-and-coming future icon Milton Nascimento. It also featured a surprising political bent previously absent in Valle's work, and the album as a whole pointed to a broader range of musical influences that moved him out of the box marked "bossa nova artist".
This process continued on 1969's Mustang Cor De Sangue, another leap forward that incorporated rock, soul and pop styles, all stamped with Valle's unmistakable melodic style. His work here reflected the sophisticated pop approach of American songwriters such as Jimmy Webb and Burt Bacharach as well as the inescapable influence of The Beatles.
Around this time, Valle was tapped to create theme music for assorted TV programs and "novelas" (soap operas), which over the next few years would become one of the main outlets for his work, along with advertising jingles. 1970's Marcos Valle (often referred to as "The Bed Album" due to its cover shot of Valle in bed) was his most adventurous effort to date as well as his most rock and psychedelic-influenced music up to that point. Backed by Milton Nascimento's backing band Som Imaginário, Valle explored a more eccentric approach, with a number of futuristic tracks and an extended instrumental suite not unlike the work of U.S. composer/producer David Axelrod. 1971's Garra was a career highpoint, a pop masterwork that summed up his music and still stands as one of the finest pop albums of the era, Brazilian or otherwise. Its effervescent pop/jazz/soul/bossa/film soundtrack musical stylings were matched by lyrics that attempted to reconcile Valle's hippie leanings with his status as a wealthy young musician who was also a successful businessman because of his successful novela soundtracks and corporate advertising accounts. Tele-novelas he provided some or all of the music for during this period included O Cafona, Minha Doce Namorada, Pigmalião 70, Os Ossos Do Barão and, most prominently, Selva De Pedra.
1972's Vento Sul album found Valle long-haired and bearded, and backed by the progressive rock band O Terço. His most experimental and left-field effort to date, it was something of a sales flop, although it has accumulated many admirers over the ensuing decades. The following year's Previsão do Tempo fared better and was an innovative effort made in conjunction with the band who initially formed to back Valle at live shows and named themselves after one of his songs, Azimuth (soon to change the spelling to Azymuth). This album had a notable jazz fusion influence due to Azymuth keyboardist José Roberto Bertrami's expertise on the Fender Rhodes keyboard and assorted synthesizers such as the Mini-Moog and the ARP Soloist. This sound would later prove a decisive influence on the Acid Jazz scene in Europe twenty years later.
In 1974 Valle provided the music for "Vila Sésamo", Brazil's version of "Sesame Street". He also released his final album on EMI, another self-titled effort. This album differed yet again from its predecessors in pursuing a piano pop sound reminiscent in turns of Elton John, Todd Rundgren and Bread, and replete with elaborate vocal arrangements. At this point, Valle had grown tired of the strictures of living and working under Brazil's military dictatorship, then in its darkest and bleakest phase. He therefore decided to return to the U.S., where he spent the rest of the decade. Settling in Los Angeles, he entered into collaborations with artists as diverse as Sarah Vaughan, Chicago and rnb singer and songwriter Leon Ware. Valle and Ware found themselves especially compatible, and wrote many songs together, Valle appearing on several of Ware's Elektra album releases.
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Marcos Valle Lyrics
Tem que correr
Tem que suar
Tem que malhar
Vamos lá
Musculação
Respiração
Ar no pulmão
Vamos lá
Tem que esticar
Tem que dobrar
Tente encaixar
Vamos lá
Um, dois e três
É sem parar
Mais uma vez
Verão chegando
Quem não se endireitar
Não tem lugar ao sol
Domingo é dia de um tititi a mais
E de bumbum pra trás
Vem
Vem brilhar
Mas ser uma estrela sobre o sol
Estrelar mais
Ser mais brilhante do que o sol
Se mostrar
Mas se Deus no céu
Na Terra eu encantar mais
Ser tudo por um dia
Verão tá chegando
Eu quero correr, vou malhar
E perder alguns quilos
Pois também quero um lugar ao sol
À noite dançar, é que eu vou me acabar
Somente isso eu preciso pra noite compensar
Uau, uau, sensual, como ela rebola
Com esse corpo ela pode até me endoidar
É inevitável o que ela faz pra te seduzir
Rebolando
Lyrics © BMG Rights Management, Universal Music Publishing Group, Warner Chappell Music, Inc.
Written by: MARCOS VALLE, PAULO SERGIO KOSTENBADER VALLE, LEON WARE
Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
A Feathered Dinosaur
Lyric's translation:
Start of SongHave to run
Have to sweat
Have to work out
(Let's go!)
Weight training
Breathing
Air in lung
(Let's go!)
Have to stretch
Have to bend
Have to fit
(Let's go!)
One, two and three
It's non-stop
One more time
(Summer comes)
Who doesn't straighten up
Doesn't have a place under the sun
(Sunday is (the)Day)
Of extra ti-ti-ti and of butts to the back
(Summer comes)
Who doesn't straighten up
Doesn't have a place under the sun
(Sunday is (the)Day)
Of extra ti-ti-ti and of butts to the back
Come
Come shine more
Be a star above The Sun
Star more
Be brighter than The Sun
Show yourself more
If God in Heaven I on Earth
Charm more
Be all for one day
Have to run
Have to sweat
Have to work out
(Let's go)
Weight lifting
Breathing
Air in lungs
(Let's go)
Have to stretch
Have to bend
Have to fit
(Let's go)
One, two and three
It's non-stop
One more time
(Summer Comes)
Who doesn't straighten up
Doesn't have a place under the sun
(Sunday is (the)Day)
Of extra ti-ti-ti and of butts to the back
(Summer Comes)
Who doesn't straighten up
Doesn't have a place under the sun
(Sunday is (the)Day)
Of extra ti-ti-ti and of butts to the back
Come
Come shine more
Be a star above The Sun
Star more
Be brighter than The Sun
Show yourself more
If God in Heaven I on Earth
Charm more
Be all for one day
Have to run
Have to work out
(Let's go)
Weight training
Breathing
Have to stretch
Have to fit
One, two and three
It's non-stop
Have to run
Have to sweat
Weight Lifting
Air in the lung
Have to stretch
Have to bend
One, two and three
One more time
"Let's go, let's go, let's keep going
Can't stop
Everyone together, on rhythm
Have to sweat
Let's go
One, two, three, four"
End of SongA few liberties were taken, some other things that makes sense in Portuguese weren't fully adapted because adding too many extra words sounded wrong to me, just one occasion that sounded extra wrong to me got a "fix".
Edits:
•changed 'pure of air' to 'for one day', as the most recent performance of Marcos Valle has the latter instead of the former.
aizawa 。
1:00
Translation:
come, come and shine more be a star upon the sun!
be a star, more brighter than the sun!
show yourself more, be a god in the skies and me on earth
charm everything, make it all made of pure air
hope this helps (?) <3
( yes im brazilian hehe 🇧🇷)
dsccd
When he said "Tem que correr, tem que suar, tem que malhar (vamos lá!)
Musculação, respiração, ar no pulmão (vamos lá!)
Tem que esticar, tem que dobrar, tem que encaixar (vamos lá!)
Um, dois e três; é sem parar, mais uma vez
(Verão chegando)
Quem não se endireitar não tem lugar ao sol
(Domingo é dia)
De ti-ti-ti a mais e de bumbum pra trás
(Verão chegando)
Quem não se endireitar não tem lugar ao sol
(Domingo é dia)
De ti-ti-ti a mais e de bumbum pra trás
Vem, vem brilhar mais ser uma estrela sobre o sol
Estrelar mais ser mais brilhante do que o sol
Se mostrar mais ser Deus no céu na terra eu
Encantar mais ser tudo puro de ar
Tem que correr, tem que suar, tem que malhar (vamos lá!)
Musculação, respiração, ar no pulmão (vamos lá!)
Tem que esticar, tem que dobrar, tem que encaixar (vamos lá!)
Um, dois e três; é sem parar, mais uma vez
(Verão chegando)
Quem não se endireitar não tem lugar ao sol
(Domingo é dia)
De ti-ti-ti a mais e de bumbum pra trás
(Verão chegando)
Quem não se endireitar não tem lugar ao sol
(Domingo é dia)
De ti-ti-ti a mais e de bumbum pra trás
Vem, vem brilhar mais ser uma estrela sobre o sol
Estrelar mais ser mais brilhante do que o sol
Se mostrar mais ser Deus no céu na terra eu
Encantar mais ser tudo puro de ar
Tem que correr
Tem que malhar
Musculação, respiração
Tem que esticar
Tem que encaixar
Um, dois e três; é sem parar
Tem que correr
Tem que suar
Musculação
Ar no pulmão
Tem que esticar
Tem que dobrar
Um, dois e três
Mais uma vez
Vamos lá, vamo lá, vamos nessa aí
Não pode parar
Todo mundo junto, no ritmo
Tem que suar
Vamos nessa
Um, dois, três, quatro" i really felt that man
Daniel Aguiar
[TRANSLATION]
I guess we brazilians are reluctant to translate the song because the lyrics seems pretty "80's beach sexy workout vibes". I actually don't think there's hidden critics to the sexualization and the "beautification" culture shown in the text, although I was born in '97 and don't know a lot about Marcos-Valle.
vou tentar meu melhor / i'll try my best
ESTRELAR - MARCOS VALLE // STAR-LIKE - MARCOS VALLEY
Tem que correr, tem que suar, tem que malhar (vamos lá!) // Gotta run, gotta sweat, gotta work out (let's go!)
Musculação, respiração, ar no pulmão (vamos lá!) // Bodybuilding, respiration, air in the lungs (let's go!)
Tem que esticar, tem que dobrar, tem que encaixar (vamos lá!) // Gotta stretch, gotta bend, gotta fit (let's go!)
Um, dois e três; é sem parar, mais uma vez // One, two and three, it's non-stop, one more time
(Verão chegando) // Summer is coming
Quem não se endireitar não tem lugar ao sol // No place in the sun for the straightless [[unstraightened?]]
(Domingo é dia) // Sunday is the day
De ti-ti-ti a mais e de bumbum pra trás // to get some more buzz and tossin' butts backwards
(Verão chegando) // Summer is coming
Quem não se endireitar não tem lugar ao sol // No place in the sun for the straightless
(Domingo é dia) // Sunday is the day
De ti-ti-ti a mais e de bumbum pra trás // to get some more buzz and tossin' butts backwards
Vem, vem brilhar mais ser uma estrela sobre o sol // Come up, come to shine, more, be[[embody?]] a star under the sun
Estrelar mais ser mais brilhante do que o sol // Star-like, more, to be shinier than the sun
Se mostrar mais ser Deus no céu na terra eu // Show yourself, more, to be god on heaven, earth, me
Encantar mais ser tudo puro de ar // Becharm, more, to be entirely pure air
Tem que correr, tem que suar, tem que malhar (vamos lá!) // Gotta run, gotta sweat, gotta work out (let's go!)
Musculação, respiração, ar no pulmão (vamos lá!) // Bodybuilding, respiration, air in the lungs (let's go!)
Tem que esticar, tem que dobrar, tem que encaixar (vamos lá!) // Gotta stretch, gotta bend, gotta fit (let's go!)
Um, dois e três; é sem parar, mais uma vez // One, two and three, it's non-stop, one more time
(Verão chegando) // Summer is coming
Quem não se endireitar não tem lugar ao sol // No place in the sun for the straightless [unstraighted?]
(Domingo é dia) // Sunday is the day
De ti-ti-ti a mais e de bumbum pra trás // to buzz a little more and tossin' butts backwards
(Verão chegando) // Summer is coming
Quem não se endireitar não tem lugar ao sol // No place in the sun for the straightless
(Domingo é dia) // Sunday is the day
De ti-ti-ti a mais e de bumbum pra trás // to buzz a little more and tossin' butts backwards
Vem, vem brilhar mais ser uma estrela sobre o sol // Come up, come to shine, more, be[[embody?]] a star under the sun
Estrelar mais ser mais brilhante do que o sol // Star-like, more, to be, shinier than the sun
Se mostrar mais ser Deus no céu na terra eu // Show yourself, more, to be god on heaven, earth, me
Encantar mais ser tudo puro de ar // Becharm, more, to be entirely pure air
Tem que correr // Gotta run
Tem que malhar // Gotta pump it
Musculação, respiração // Bodybuilding, breath
Tem que esticar // Gotta stretch
Tem que encaixar // Gotta fit
Um, dois e três; é sem parar // One, two and three, it's non-stop
Tem que correr //Gotta run
Tem que suar // Gotta sweat
Musculação //Bodybuilding
Ar no pulmão // Air in the lungs
Tem que esticar // Gotta stretch
Tem que dobrar // Gotta bend
Um, dois e três // One two and three
Mais uma vez // Once again
Vamos lá, vamo lá, vamos nessa aí // Let's go, let's go there, let's go on that
Não pode parar // Can't stop
Todo mundo junto, no ritmo // Everyone together, on the rythm
Tem que suar // Gotta sweat
Vamos nessa // Let's go
Um, dois, três, quatro // One, two, three, four
honeysniff
I tried to make English lyrics:
You have to run
You have to sweat
You have to move (let’s go!)
Weights up & down
Respiration
Breath in & out (let’s go!)
You have to stretch
You have to bend
You have to get fit (let’s go!)
One two & three
You’re unstoppable
Keep on pushing
(Summers arriving)
Would you like to stay in place?
Or work to win this race?
(Today is the Day)
To let your fears away
You can’t be led astray
(Summers arriving)
Push your butt out, squat
You will get to the top
(Today is the day)
To get up off your butt
And make those tiptoes touch
Shine like the star that you are
Shining brighter than the sun
Show yourself bright and big
Love yourself the way you are
So tough and strong
You can do no wrong
Stop overthinking and move on
Achieve your dreams
Yes, believe
You can accomplish all you want!
-honeysniff
Davi Marins de Miranda
You have to run, you have to sweat, you have to work out (let's go!)
Weight training, respiration, air in the lungs (let's go!)
You have to stretch, you have to bend, you have to fit in (let's go!)
One, two and three; it's nonstop, one more time
(Summer's arriving)
Who doesn't straighten out, has no place to the sun
(Sunday's the day)
To buzz more and with your ass backwards
(Summer's arriving)
Who doesn't straighten out, has no place to the sun
(Sunday's the day)
To buzz more and with your ass backwards
Come, come shine, become another star over the sun
A star shining brighter than the sun
Show yourself more, be a God in the skies and me on Earth
Charm everything, make it all made out of pure air
You have to run, you have to sweat, you have to work out (let's go!)
Weight training, respiration, air in the lungs (let's go!)
You have to stretch, you have to bend, you have to fit in (let's go!)
One, two and three; it's nonstop, one more time
(Summer's arriving)
Who doesn't straighten out, has no place to the sun
(Sunday's the day)
To buzz more and with your ass backwards
(Summer's arriving)
Who doesn't straighten out, has no place to the sun
(Sunday's the day)
To buzz more and with your ass backwards
Come, come shine, become another star over the sun
A star shining brighter than the sun
Show yourself more, be a God in the skies and me on Earth
Charm everything, make it all made out of pure air
You have to run
You have to work out
Weight training, respiration
You have to stretch
You have to fit in
One, two and three; it's nonstop
You have to run
You have to sweat
Weight training
Air in the lungs
You have to stretch
You have to bend
One, two, three
One more time!
Let's go, let's go, come on
It can't stop
Everyone together, in the same rhythm
You have to sweat
Let's go
One, two, three, four
coco nut
Quem diria q no futuro viraria música de gringos e otakus
Gato do Trigun
@editz ffm 1¹
Pixel Dead
quem diria q seria roubada pelos gringos ssh misery por exemplo
Rxptri
apoco también les dicen gringos
k Batista
@João Paulo não só é "otaku" porque tem uma vibe otaku mesmo
Claudeci Clementino
@BuuLhufass AishitE playboi carti usou de sample
het deg
Idk what he’s saying, but I’ll gladly accept that drink
kipko
It a smurf
GilmsGabriel
@Ju Lya we do actually, b e c o m e g o d m o r e b r i g h t t h a n t h e s u n
Ju Lya
Even here in brazil we actually don’t understand these lyrics, but we vibe tho