The band started in mid 1977, formed by experienced musicians on the brazilian national scene. Experiencing new sound patterns, he made use of previous experiences with Moraes Moreira, Pepeu Gomes, among others, being considered a post-tropicalist movement. On his first album of the same name (WEA 1977), he had as members Dadi Carvalho (ex-Novos Baianos and Jorge Ben) on bass, his brother Mú Carvalho (ex-A Banda do Zé Pretinho) on keyboards, Gustavo Schroeter (ex-A Bolha ) on drums and Armandinho Macêdo (Trio Elétrico Armandinho, Dodô & Osmar) on guitar, mandolin, and bahian guitar. From the second album "Ao Vivo em Montreux", percussionist (and Armandinho's colleague in his other band) Ary Dias becomes part of the group.
Mixing rock, regional rhythms, and classical music, they were invited by Claude Nobs to participate in the Montreux Jazz Festival, in Switzerland, becoming the first Brazilian musical group to participate in the event. The presentation featured almost all new material and yielded a live album. After the third work, "Frutificar", they started to perform songs sung at the request of the label, which elevates them to new levels of popularity.
After the 1981 album "Mudança de Estação", Armandinho left the group to continue with his previous project and take a new direction in his solo career. He is then replaced by Victor Biglione, who records "Magia Tropical", from 1982, and "As Quatro Fases do Amor", from 1983. In 1984, they again release an all instrumental album entitled "Intuition", already without Victor Biglione, but with participation by Egberto Gismonti, Tulio Mourão and Perinho Santana. The following year, with Perinho on guitars, they released "Som da Cor". In 1986, they recorded "Gosto do Prazer" (whose title track becomes part of the soundtrack of the soap opera Hipertensão). In 1987, another change: Perinho Santana and Gustavo Schroeter left and Jorginho Gomes (ex-Novos Baianos) came on drums and Didi - "Claudimar Gomes" (also experienced, having played with his brother Pepeu Gomes and others) on bass, taking Dadi to take on the guitars. In 1996, the group met with the original formation to record the album "A Cor do Som Ao Vivo no Circo", registered at Circo Voador, in Rio de Janeiro. That year they received the Sharp award for best instrumental group.
In 2005, with the original formation, the group performed in Canecão, in Rio de Janeiro. The show had the special participation of Caetano Veloso, Daniela Mercury, Moraes Moreira, Davi Moraes, and the Coral dos Canarinhos de Petrópolis, in addition to musicians Nicolas Krassic (violin), Nivaldo Ornelas (soprano sax), Marcos Nimrichter (accordion and keyboards) ), Jorge Helder (acoustic bass, guitar, and bass), Jorginho Gomes (drums and percussion), Marco Túlio (flute), Francisco Gonçalves (oboe), Bernardo Bessler (violin), Marie Cristine (viola), and Marcio Mallard ( cello).
The show generated the CD and DVD "A Cor do Som Acústico", released in the same year with musical production by Sérgio de Carvalho.
Palco
A Cor Do Som Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Minha alma cheira a talco,
Como bumbum de bebê, de bebê
Minha aura clara,
Só quem é clarividente pode ver,
Pode ver
Trago a minha banda,
Só quem sabe onde é Luanda
Vale quanto pesa,
Prá quem preza o louco bumbum do tambor,
Do tambor
Fogo eterno prá afugentar
O inferno prá outro lugar
Fogo eterno prá consumir
O inferno, fora daqui
Venho para a festa,
Sei que muitos têm na testa
O deus-sol como um sinal,
Um sinal
Eu como devoto,
Trago um cesto de alegrias de quintal
De quintal
Há também um cântaro,
Quem manda é Deus a música
Pedindo prá deixar,
Prá deixar
Derramar o bálsamo,
Fazer o canto, cantar o cantar
Lá, lá, iá
In "Palco," A Cor Do Som's lead singer, Dadi, takes the stage to perform for an audience. His persona is a mix of confidence and vulnerability as he compares his presence on stage to the innocence of a baby's bottom. He describes his aura as clear, but only visible to clairvoyants. He brings his band to the stage and acknowledges that only those who know where Luanda is will appreciate the sound they bring. He values the sound of the drum, and for those who appreciate it, it is worth its weight.
The lyrics also touch on themes of religion and spirituality. Dadi mentions the god-sun, which different people have a mark of on their foreheads. He comes bearing a basket of joys from his homeland, perhaps evoking the idea of paradise on earth. He states that music is controlled by God, and that they are singing in praise of Him. The chorus emphasizes the power of fire, both as a force that can purify and a means of rejecting evil.
Line by Line Meaning
Subo nesse palco,
I ascend to this stage
Minha alma cheira a talco,
My soul smells of talc
Como bumbum de bebê, de bebê
Like a baby's bottom, a baby's bottom
Minha aura clara,
My clear aura
Só quem é clarividente pode ver,
Only those who are clairvoyant can see
Pode ver
Can see
Trago a minha banda,
I bring my band
Só quem sabe onde é Luanda
Only those who know where Luanda is
Saberá lhe dar valor, dar valor
Will know how to value it, value it
Vale quanto pesa,
Worth its weight
Prá quem preza o louco bumbum do tambor,
For those who appreciate the crazy thump of the drum
Do tambor
Of the drum
Fogo eterno prá afugentar
Eternal fire to scare away
O inferno prá outro lugar
Hell to another place
Fogo eterno prá consumir
Eternal fire to consume
O inferno, fora daqui
Hell, get out of here
Venho para a festa,
I come to the party
Sei que muitos têm na testa
I know many have on their forehead
O deus-sol como um sinal,
The sun-god as a sign,
Um sinal
A sign
Eu como devoto,
I, as a devotee,
Trago um cesto de alegrias de quintal
Bring a basket of backyard joys
De quintal
Of the backyard
Há também um cântaro,
There is also a jug,
Quem manda é Deus a música
God commands the music
Pedindo prá deixar,
Asking to let it
Prá deixar
To let it
Derramar o bálsamo,
Pour out the balm
Fazer o canto, cantar o cantar
Make the song, sing the singing
Lá, lá, iá
There, there, iá
Contributed by Lauren J. Suggest a correction in the comments below.
Pedro Pereira
Dos poucos carnavais que participei, este foi o último: 1981, quando surgiu esta canção MARAVILHOSA do Gilberto Gil: Palco. E eu com meus 21 anos. Valeu a pena! 37 anos depois, estou implorando pela volta da Boa música. Muito triste.
cesar netto rojas
a cor do som eternizou esta linda cançao!!!
Patrícia Brandão
A Cor do Som será eterna ! Eternos meninos!
cesar netto rojas
+cesar netto rojas e a minha juventude tambem!!
Haroldo Souza
Fui ver a cor do som no parque do Ibirapuera em 1979 maior público até hoje no parque só isso
Samuel Melo
Hoje não temos mais nada
Samuel Melo
Você como muitos foram privilegiados com a boa música
Haroldo Souza
70 mil pessoas até hoje não teve nenhuma banda superar esse público no parque do Ibirapuera em 1979 foi em um domingo nunca mais vou esquecer
Adriano Ourique
Poxa , eu queria estar lá , tinha só 6 anos e sou do RJ rsrs
Romildo Pawlik
Marcou minha vida em 1979. Muitas saudades dessa época!