In the '60s, Elis was a leader and a standard-bearer in defense of Brazilian popular music, heavily contributing to the formation of the MPB label, with commercial and ideological characteristics at the same time. She was the first major artist to emerge from music festivals in the 1960s and detached herself from the Bossa Nova aesthetic through the use of her vocal range and drama. Initially, her style was influenced by radio singers, especially Ângela Maria. After four unsuccessful studio albums — Viva a Brotolândia (1961), Poema de Amor (1962), Elis Regina (1963), O Bem do Amor (1963) — Elis was the biggest revelation of the TV Excelsior festival in 1965, when he sang "Arrastão" by Vinícius de Moraes and Edu Lobo. This feat would guarantee him the invitation to act on television and, shortly afterwards, the title of first star of Brazilian popular song, when he started to command, alongside Jair Rodrigues, one of the two most important Brazilian popular music programs, O Fino da bossa. In 1967, she married Ronaldo Bôscoli, then director of O Fino da Bossa. From 1972, Elis began a relationship with César Camargo Mariano, which would last until 1981, in one of the most successful partnerships in Brazilian Popular Music.
She sang many genres: MPB, bossa nova, samba, rock and jazz. Interpreting songs like "Madalena", "Águas de Março", "Atrás da Porta", "Como Nosso Pais", "O Bêbado e a Equilibrista" and "Querellas do Brasil", he recorded moments of happiness, love, sadness and patriotism. Throughout his career, he stood out for also singing songs by artists, still little known, such as Milton Nascimento, Ivan Lins, Belchior, Renato Teixeira, Aldir Blanc, João Bosco, helping to launch them and publicize their works. , boosting them in the Brazilian music scene. Among other partnerships, the duets she had with Jair Rodrigues, Tom Jobim and Rita Lee are famous. With her second husband, pianist César Camargo Mariano, she consecrated a long work of great creativity and musical consistency and, in technical terms, was considered the best brazilian singer. His most memorable artistic presence is perhaps registered on the albums Em Pleno Verão (1970), Elis (1972), Elis (1973), Elis & Tom (1974), Elis (1974), Falso Brilhante (1976), Transversal do Tempo (1978). ), Essa Mulher (1979), Saudade do Brasil (1980) and Elis (1980). She was the first person to inscribe her own voice as if it were an instrument, in the Order of Musicians of Brazil. In 2013, she was elected the best female voice in Brazilian music by Rolling Stone Magazine. Elis was also mentioned in the list of the greatest artists in Brazilian music, ranking 14th, being the best-placed woman. In November of the same year, a musical was premiered in honor of her Elis, the musical.
Elis Regina died prematurely at the age of 36, at the height of her career, causing strong commotion in the country and leaving a vast body of work in Brazilian popular music. Although there were controversies and disputes as to the cause of death, the tests showed that the cause was the consumption of cocaine associated with alcohol, which caused a cardiac arrest.
é com esse que eu vou
Elis Regina Lyrics
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É com esse que eu vou desabafar na multidão
Se ninguém se animar
Eu vou quebrar meu tamborim
Mas se a turma gostar vai ser pra mim
Quero ver no ronca-ronca da cuíca
Gente pobre, gente rica, deputado e senador
Oi quebra, quebra que eu quero ver
No piano da patroa batucando
É com esse que eu vou
Mas quebra, quebra que eu quero ver
Uma cabrocha boa, no piano da patroa... batucando
É com esse que eu vou
The lyrics to Elis Regina's "É com esse que eu vou" speak to the joy and freedom found in samba music, and the desire to let loose and express oneself through dance and rhythm. The singer declares that she will samba until she falls to the ground, and that she will use the crowd around her as a place to vent her emotions. If no one else is dancing, she will break her tambourine to get them moving, but if they do join in the fun, it will all be worth it.
The song paints a picture of a lively, diverse gathering of people, from poor to rich, and even including politicians. The singer invites everyone to join in the music, chanting "break it, break it" as she encourages the crowd to let go and get lost in the rhythm. The final lines repeat the song's central message: that the singer will samba with this particular group of people because they know how to have a good time, and that she wants to see a "good-looking" girl playing the piano while they all dance.
Line by Line Meaning
É com esse que eu vou sambar até cair no chão
I will dance samba until I fall to the ground with this music.
É com esse que eu vou desabafar na multidão
I will express myself to the crowd with this music.
Se ninguém se animar, eu vou quebrar meu tamborim
If nobody gets excited, I will play my tambourine harder to get them going.
Mas se a turma gostar vai ser pra mim
But if the group enjoys it, it will be a win for me.
Quero ver no ronca-ronca da cuíca, gente pobre, gente rica, deputado e senador
I want to see people from all backgrounds - rich, poor, politicians - enjoying the sound of the cuica.
Oi quebra, quebra que eu quero ver, uma cabrocha boa no piano da patroa batucando
Come on, let's see a talented lady playing drums on the boss's piano.
É com esse que eu vou
This is the music I choose to enjoy myself.
Mas quebra, quebra que eu quero ver, uma cabrocha boa no piano da patroa...batucando
But come on, let's see that talented lady playing drums on the boss's piano again.
Contributed by Zachary H. Suggest a correction in the comments below.