He began his career as a bossa nova musician, but soon began writing songs that reflected a new focus on political awareness and social activism, along with fellow singer Caetano Veloso. In the 1970s, Gil added new elements of African and North American music to his already broad palette, and continued to release a steady stream of albums, including Realce and Refazenda. João Gilberto recorded Gil's "Eu Vim da Bahia" ("I Came from Bahia") on his classic João Gilberto LP.
In 1969, Gil and Veloso, whose status in Brazil was, and is, equivalent to that of John Lennon and Paul McCartney in the English-speaking world, were arrested by the military government of Brazil for anti-government activities. Upon their release, the pair both moved to London. Gil began playing with groups like Yes, Pink Floyd and The Incredible String Band, while continuing his solo career. In the 1970s, he toured the US and recorded an English-language album. He worked with Jimmy Cliff and released in 1980 a cover of "No Woman, No Cry" (Bob Marley & the Wailers) that was a massive hit and introduced reggae to Brazil.
Gil continued recording, performing and involving himself in various social causes, and was eventually elected a city councillor in his home town Salvador in 1989. His 1993 album with Caetano Veloso, Tropicália 2, featured a cover of a Jimi Hendrix song, "Wait Until Tomorrow", and is regarded as one of his finest efforts since the late 1960s.
When President Lula da Silva took office in January 2003, he chose Gil to serve as Brazil's new Minister of Culture, a post he held until 2008. While minister, Gil released his songs "Refazenda", "Rebento" and "Refavela" under the Creative Commons Sampling License.
In May 2005 Gil was awarded the Polar Music Prize in Stockholm, Sweden. He was the first Latin American recipient of the annual award, which was given to him by the King of Sweden. Gil also performed four songs in an outdoors concert the day before the award show and again at the show with only two songs, accompanied by Jimmy Cliff.
In September 2005 he was awarded the Légion d'honneur from the French Government. This coincided with the Année du Brésil en France (Brazil's Year in France).
His daughter Preta Gil is also a musician.
Bat Macumba
Gilberto Gil Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Bat Macumba ê ê, Bat Macumba obá
Bat Macumba ê ê, Bat Macumba obá
Bat Macumba ê ê, Bat Macumba obá
Bat Macumba ê ê, Bat Macumba obá
Bat Macumba ê ê, Bat Macumba obá
Bat Macumba ê ê, Bat Macumba obá
Bat Macumba ê ê, Bat Macumba obá
Bat Macumba ê ê, Bat Macumba
Bat Macumba ê ê, Bat Macum
Bat Macumba ê ê, Bat Man
Bat Macumba ê ê, Bat
Bat Macumba ê ê, Ba
Bat Macumba ê ê
Bat Macumba ê
Bat Macumba
Bat Macum
Bat Man
Bat
Ba
Bat
Bat Man
Bat Macum
Bat Macumba
Bat Macumba ê
Bat Macumba ê ê
Bat Macumba ê ê, Ba
Bat Macumba ê ê, Bat
Bat Macumba ê ê, Bat Man
Bat Macumba ê ê, Bat Macum
Bat Macumba ê ê, Bat Macumba
Bat Macumba ê ê, Bat Macumba o
Bat Macumba ê ê, Bat Macumba obá
Bat Macumba ê ê, Bat Macumba obá
Bat Macumba ê ê, Bat Macumba obá
Bat Macumba ê ê, Bat Macumba obá
Bat Macumba ê ê, Bat Macumba o
Bat Macumba ê ê, Bat Macumba obá
The lyrics to Gilberto Gil's song Bat Macumba are repetitive and don't have a clear narrative, but they serve as a chant or invocation to the Afro-Brazilian religion of Candomblé. The term Bat Macumba comes from the Yoruba language and refers to a ritual drumming, dancing, and singing ceremony performed to propitiate or communicate with the gods (or orixás). The lyrics' emphasis on the word "obá" can be interpreted as a reference to one of the orixás or a chant to keep the rhythm.
The song's lyrics also have a political and social context. When the song was released in 1967, Brazil was under a military dictatorship that censored music and other forms of culture that were perceived as subversive or too African-influenced. Bat Macumba was part of the Tropicalista movement, which aimed to blend different musical styles and cultural references to challenge the dictatorship's homogenizing and nationalist agenda. By using traditional Candomblé elements in the lyrics and arrangements, Gilberto Gil and co-writers Caetano Veloso and Os Mutantes sought to reclaim and celebrate Brazil's African heritage and promote cultural diversity.
Line by Line Meaning
Bat Macumba ê ê, Bat Macumba obá
Bat Macumba is a powerful and mystical religious practice that is being celebrated with excitement and enthusiasm.
Bat Macumba ê, Bat Macumba
The rhythmic beats of the Bat Macumba enchant and captivate those who hear it.
Bat Macumba ê, Bat Man
The Bat Macumba summons the spirits and the Bat Man, the master of the ceremony, is in control, leading the celebration.
Bat
The repetition of the word 'Bat' represents the driving force of the ritual.
Bat Macum
The Bat Macumba is a powerful force that transforms those who participate in it.
Bat Macumba ê, Bat Macum
The Bat Macumba is a transformative experience that allows individuals to connect with their spiritual selves and the universe as a whole.
Bat Macumba ê ê, Bat Macumba obá
The Bat Macumba is a celebration of spirituality and the power of the unknown, and those involved in the ritual are united in their devotion to it.
Bat Macumba ê ê, Bat
The rhythmic beats of the Bat Macumba are essential to the ritual, carrying the celebrants along on a journey of transformation and spiritual awakening.
Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: Caetano Emmanuel Viana Teles Veloso, Gilberto Moreira
Lyrics Licensed & Provided by LyricFind