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.
Imbalança
Gilberto Gil Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Quando o vento dá
Óia o tombo da jangada
Nas ondas do mar,
Óia o tombo da jangada
Nas ondas do mar
Óia a paia do coqueiro
Quando o vento dá
Imbalança, imbalança, imbalançá
Imbalança, imbalança, imbalançá
Imbalança, imbalança, imbalançá
Pra você agüentar meu rojão
É preciso saber requebrar
Ter molejo nos pés e nas mãos
Ter no corpo o balanço do mar
Ser que nem carrapeta no chão
E virar foia seca no ar
Para quando escutar meu baião
Imbalança, imbalança, imbalançá
Você tem que viver no sertão
Pra na rede aprender a embalar
Aprender a bater no pilão
Na peneira aprender peneirar
Ver relampo no mei' dos trovão
Fazer cobra de fogo no ar
Para quando escutar meu baião
Imbalança, imbalança, imbalançá
The lyrics of Gilberto Gil's song Imbalanca speak of the swaying movements of different elements of nature, such as the coconut tree and the jangada (a traditional Brazilian fishing boat), when they are pushed by the wind and waves. The repetitive phrase "imbalanca, imbalanca, imbalanca" further emphasizes this theme of movement and instability. However, the song then transitions to discussing the physical and cultural movements required to dance and appreciate the rhythm of baião, a traditional Brazilian music style. The singer encourages the listener to have the "molejo" (flexibility) in their body like the waves of the sea and to understand the rural lifestyle and customs of the sertão (Brazilian countryside) in order to truly appreciate and move to the beat of the music.
Line by Line Meaning
Óia a paia do coqueiro
Take a look at the coconut tree's leaves
Quando o vento dá
when the wind blows
Óia o tombo da jangada
Look at the capsizing of the boat
Nas ondas do mar
in the waves of the sea
Imbalança, imbalança, imbalançá
Unbalance, unbalance, unbalancing
Pra você agüentar meu rojão
For you to withstand my firecracker
É preciso saber requebrar
You need to know how to shake your hips
Ter molejo nos pés e nas mãos
Have flexibility in your hands and feet
Ter no corpo o balanço do mar
Have the rhythm of the sea in your body
Ser que nem carrapeta no chão
be like a spinning top on the ground
E virar foia seca no ar
And turn like a dry leaf in the air
Para quando escutar meu baião
So when you hear my baião
Você tem que viver no sertão
You have to live in the countryside
Pra na rede aprender a embalar
To learn how to rock in a hammock
Aprender a bater no pilão
Learn how to pound in a pestle
Na peneira aprender peneirar
Learn how to sift in a sieve
Ver relampo no mei' dos trovão
See lightning in the middle of the thunder
Fazer cobra de fogo no ar
Make a fire snake in the air
Para quando escutar meu baião
So when you hear my baião
Imbalança, imbalança, imbalançá
Unbalance, unbalance, unbalancing
Lyrics © IRMAOS VITALE S.A. - INDUSTRIA E COMERCIO
Written by: Jose Dantas, Luiz Gonzaga
Lyrics Licensed & Provided by LyricFind
Dina da Silva Sauro
Cara, esse Gilberto é um dinossauro mesmo. PQP o cara faz o que bem entender com a voz, parece que nem se ele quiser ele desafina, GÊNIO!
WongKai-Kar1994FW
This song is amazing! My favourite on the album along with "Iansa".
Anna dos Santos
maravilhosidade pura
E JR
Parabéns MESTRE Gil, por essa beleza numa das músicas MAIS GENIAIS DA MPB.. Q artista foi seu Luiz e aqui, pra mim, o melhor parceiro.musical o extraordinário Zé Dantas.