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.
Boto
Elis Regina Lyrics
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Eu sei todo mal que a mim voc fez.
Voc desconhece conscincia,
S deseja o mal, a quem o bem te fez.
Basta, no ajoelhes, v embora!
Se ests arrependida, v se chora.
Quando voc partiu diseste chora, no chorei.
Caprichosamente fui esquecendo que te amei.
Jesus no castiga um filho que esta inocente.
Basta, no ajoelhes, v embora!
Se ests arrependida, v se chora.
Basta, no ajoelhes, v embora!
Se ests arrependida, v se chora
The song "Boto" by Elis Regina features lyrics that express a sense of betrayal and hurt caused by someone who has wronged the singer. The opening lines, "Basta de clamares inocência" (Enough of claiming innocence), suggest that the person being addressed has been denying any wrongdoing. However, the singer claims to know "todo mal" (all the harm) that this person has caused her. The next line, "Você desconhece consciência" (You are ignorant of conscience), implies that this person does not feel any guilt for their actions and only wishes harm on those who have done good to them.
The chorus, "Basta, não ajoelhes, vai embora / Se estás arrependida, vai se chorar" (Enough, don't kneel down, go away / If you're sorry, go cry), conveys a sense of finality and the singer's desire for this person to leave her alone. Despite the person's claims of regret, the singer cannot forgive and forget their actions. The final lines, "Jesus não castiga um filho que está inocente" (Jesus does not punish an innocent child), suggest that the singer is not at fault for the hurt she has experienced.
Line by Line Meaning
Basta de clamares inocncia.
Stop claiming innocence, I know all the harm you've caused me.
Eu sei todo mal que a mim voc fez.
I know all the wrongs you've done to me.
Voc desconhece conscincia,
You lack consciousness,
S deseja o mal, a quem o bem te fez.
And only wish ill upon those who've done good to you.
Basta, no ajoelhes, v embora!
Enough, don't kneel, just go!
Se ests arrependida, v se chora.
If you're truly sorry, then go cry somewhere else.
Quando voc partiu diseste chora, no chorei.
When you left and claimed to have cried, I didn't shed a tear.
Caprichosamente fui esquecendo que te amei.
I started slowly forgetting that I ever loved you.
Hoje me encontras to alegre e diferente.
Today you find me so happy and different.
Jesus no castiga um filho que esta inocente.
Jesus doesn't punish an innocent child.
Basta, no ajoelhes, v embora!
Enough, don't kneel, just go!
Se ests arrependida, v se chora.
If you're truly sorry, then go cry somewhere else.
Basta, no ajoelhes, v embora!
Enough, don't kneel, just go!
Se ests arrependida, v se chora.
If you're truly sorry, then go cry somewhere else.
Contributed by Jason M. Suggest a correction in the comments below.
Anderson Oliveira Alves
A praia de dentro tem areia
A praia de fora tem o mar
Um boto casado com sereia
Navega num rio pelo mar
O corpo dum bicho deu na praia
E a alma perdida quer voltar
Caranguejo conversa com arraia
Marcando a viagem pelo ar
Ainda ontem vim de lá do Pilar
Ontem vim de lá do Pilar
Com vontade de ir por aí
Ontem vim de lá do Pilar
Ontem vim de lá do Pilar
Com vontade de ir por aí
Na ilha deserta o sol desmaia
Do alto do morro vê-se o mar
Papagaio discute com Jandaia
Se o homem foi feito pra voar
Inhambu cantou lá na floresta
E o velho Jereba fêz-se ao ar
Sapo querendo entrar na festa
Viola pesada pra voar
Ainda ontem vim de lá do Pilar
Ontem vim de lá do Pilar
Com vontade de ir por aí
Ontem vim de lá do Pilar
Ontem vim de lá do Pilar
Com vontade de ir por aí
Camiranga, urubu, mestre do vento
Urubu caçador, mestre do ar
Urutau cantando num lamento
Pra lua redonda navegar...
antonio euclides
Tons dificílimos. Interpretação impecável. É td isso gravado ao vivo.
Elis Regina Maria
❤️ maravilhosa 😍
Sophia Souza
Tons musicais e Tomzinho Jobimpecosvecos fecos também rárárátra!!!!
Sophia Souza
Ao Vivo é oq ue é do bommmmmm!!! TOM!!!!!!
Fluvio Nunes
Difícil pra quem não sabe mas ela nasceu com tudo isso e muito mais.
Mauro de Souza
Musicas cantada por Elis não pode ser cantada por outra...esse é o problema ....os outros não consegue chegar no quão sublime fica com ela
Melvin Toribio
Increíble y muy real.
Y me asusta. Kkkk mucho.
Eduardo Gaui
Exatamente. Elis é incomparável. Uma voz registrada na Ordem dos Músicos do Brasil. Quer mais alguma coisa?
Ethel Lima
Elis,Tom Jobim.Perfeito.Ela,sempre será a dona do pedaço. VIVA A PIMENTINHA, que seu CANTAR foi e é um bálsamo á nossa alma!!
Ana Lúcia Oliveira
Esss música maravilhosa,na voz de Elis Regina e de arrepiar!!