Son of the violeiro (Brazilian viola player), repentista (verse improviser)… Read Full Bio ↴Son of the violeiro (Brazilian viola player), repentista (verse improviser), and harmonica player Severino Alves de Souza, Ataulfo Alves (Ataulfo Alves de Sousa - May 2,1909 Miraí/MG - April 20,1969 Rio de Janeiro) at age eight already was responding in verses to his father's desafios (cutting contests). Becoming an orphan at age ten, he worked in several jobs, moving to Rio in 1927. There he continued to work, frequenting rodas de samba in his leisure hours. At that time he already knew how to play the violão (acoustic guitar), the cavaquinho, and the mandolin, and organized a group, which played in the neighborhood. Alves then became the diretor de harmonia of the bloco (Carnival group) Fale Quem Quiser. Introduced by Bide to RCA Victor's director in 1933, he had his "Sexta-feira" recorded by Almirante, and soon (1934) his "Tempo Perdido" was recorded by Carmen Miranda (who was already acquainted with Alves). The first hit came out in the following year, "Saudades do Meu Barracão," which was recorded by Floriano Belham and the Bando da Lua. In the same year, the Bando da Lua recorded the march "Menina Que Pinta o Sete" (with Roberto Martins). In 1936 Sílvio Caldas recorded the samba "Saudade Dela" and in 1937 Carlos Galhardo recorded the valse "A Você" (with Aldo Cabral) and the samba "Quanta Tristeza" (with André Filho), among many others in the following years. Orlando Silva recorded in 1938 "Errei...Erramos," and several other Alves songs in the years to come. In 1940 and 1941 Alves won the Carnival contest with "Oh! Seu Oscar" and "O Bonde de São Januário," both with Wilson Batista as a partner. In 1941, Alves decided to record an album just for his family and friends. Talking to Odeon's head Max Strauss, he had the idea approved. The album had Alves' "Leva Meu Samba" and "Alegria Na Casa de Pobre" (with Abel Neto), and he was backed by the Escola de Samba da Cidade. In 1942, Alves wrote a samba with Mário Lago, which was offered unsuccessfully to several recording artists. Deciding to record it himself, he went to Odeon to propose the same deal to Strauss, but there he learned that the company wanted to sign with him as its exclusive artist. Alves recorded then the sambas "Ai, Que Saudades da Amélia!" and "Não Posso Viver Sem Ela" (Bide/Cartola), backed by the Academia de Samba (intro by Jacob do Bandolim). The album promoted his definitive consecration as composer and singer. "Ai, Que Saudades da Amélia!" became hugely popular and is an all-time Carnival classic. Together with Mário Lago, he would still write "Atire a Primeira Pedra" (for 1944's Carnaval), "Capacho," and "Pra Que Mais Felicidade" (1945). Concerned with practical reasons, he substituted the Academia for a three-girl choir, nicknamed the Pastoras by Pedro Caetano. Alves then harvested one hit after another: "Pois É...," "Vai Mesmo," "Mulata Assanhada," "Inimigo do Samba" (with Jorge de Castro), "Todo Mundo Enlouqueceu" (with Jorge de Castro), "Boêmio Sofre Mais" (with Floriano Belham), "Vá Baixar Noutro Terreiro" (with Raul Marques), and "Infidelidade" (with Américo Seixas). In the 1950s, a decade characterized by the sadness of the fossa and dor-de-cotovelo styles, Alves had success with "Fim de Comédia" and "Errei Sim," both recorded by Dalva de Oliveira. In 1954 he participated in the Casablanca nightclub's show O Samba Nasce do Coração, where he presented the samba "Pois É...." Fired by RCA Victor, "Pois É..." was recorded only in 1955, through Sinter. In the next year, he recorded the LP Ataulfo Alves e Suas Pastoras. In 1957 he wrote "Meus Tempos de Criança" and "Vai, Mas Vai Mesmo," the latter a hit at the 1958 Carnival. Alves participated in the 1961 Brazilian popular music caravan, invited by Humberto Teixeira, presenting there "Mulata Assanhada" and "Na Cadência do Samba" (with Paulo Gesta). In the same year he became his own publisher through his Ataulfo Alves Edições. He dissolved the Pastoras trio and continued to perform by himself. In 1962, his samba "Na Cadência do Samba" had a remarkable success after the release of the Philips LP Meu Samba...Minha Vida. In 1966 he represented Brazil in the I Black Arts Festival in Dakar, Senegal. "Laranja Madura" became a hit in 1967, having several recordings. In the same year, "Ai! Que Saudades da Amélia" was recorded by Roberto Carlos. With Carlos Imperial, he wrote "Você Passa e eu Acho Graça," "Você Não é Como as Flores," and his last song, "Mandinga," recorded by Clara Nunes. ~ Alvaro Neder, All Music Guide
Meus tempos de criança
Ataulfo Alves Lyrics
Jump to: Overall Meaning ↴
Eu daria tudo que tivesse
Pra voltar aos tempos de crian
Pra voltar aos tempos de crian
ça
Quando a minha mãe velhinha
Nos dava a bênção e a paz
Aquelas noites morenas
A nos embalar no colo
E os anjos que Deus mandava
Pra proteger nosso bolo
Meus tempos de criança
Meus sonhos de criança
Minhas ilusões de criança
Meu mundo de criança
In these lyrics to "Meus Tempos de Criança" by Brazilian songwriter Ataulfo Alves, the singer expresses a deep longing to return to their childhood, specifically the moments spent with their mother. The first verse sees the singer stating that they would give everything they have just to go back to those times when they were a child and their mother, despite her old age, would give them her blessing and peace. The second verse speaks to specific memories from childhood, such as the warm, dark nights spent being comforted and protected by their mother, as well as the presence of angels.
The song builds on a universal longing for simpler times, and the sweet nostalgia of childhood that we all experience at some point in our lives. The singer mourns for what is lost but celebrated what was, and through the lyrics, is able to transports the listener back to those moments.
Writer(s): Ataulpho Alves + Souza Copyright: Warner/Chappell Edicoes Musicais Ltda
Contributed by Noah R. Suggest a correction in the comments below.
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@raphaelcabral1854
Dedico a minha mãe e meu avô se Deus quiser um dia vou encontrá-los
Como eu era feliz
@user-hw7gm2qk2f
Está música faz lembrar de Paulo Fernandes, amigo de meu colega de trabalho na antiga fábrica Bangu,ele da cidade de Mirai, MG.nos anos 60,70 e 80,ele frequentemente almoçava aos domingos em minha casa em Padre Miguel. Que Deus guarde um lugar perto dele no céu. A sua generosidade foi marcante em nossa infância. Atauvo Alves,ficou va memória de infância.
@diganaoamentira
DIZEM QUE FALTA DE RESPEITO COMPARAR COM AS MÚSICAS ATUAIS. CONCORDO..AS MÚSICAS ANTIGAS NÃO MERECEM ESSA COMPARAÇÃO...ARTISTAS DE TERNO, QUE TEMPO!
@achilleiovine7610
Eu sou italiano e gosto muito de músicas brasileiras antigas muito obrigado por você ter enviado
@marlenerodrigues1612
Eu sou brasileira e amo músicas italianas antigas 💕
@adailsonsantos2420
O curioso é que muito brasileiro não gosta, parabéns
@joaovictorgamer4416
Eu gosto das músicas italianas.
@jorgedearaujovieira8036
Eu sou brasileiro eu sempre curto músicas boas.
@andreaathayde4429
E eu amo músicas e filmes italianos. Além da brasileira.
@lyahandrade
Dedico está música AOS BONS MESTRES QUE TIVE NESTA VIDA , AO MEU AVÔ , MEU IRMÃO ETERNO QUE ESTÁ COM O PAPAI DO CÉU E TODOS AQUELES QUE ESTENDERAM SUAS BOAS MÃOS PRA ME AJUDAR A VENCER A VIDA EM ESPECIAL AO MEU GRANDE E VENERÁVEL MESTRE MEU SENHOR E SALVADOR JESUS CRISTO , O DONO DOS MEUS CAMINHOS E SENHOR DA SABEDORIA E DA GRAÇA DA VIDA.