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.
Lá Vem Ela
Gilberto Gil Lyrics
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Fico cor de Deus, a cor sem cor
Nessas horas todos coram e a menina
Nessas horas ela é de maior
Passa pela casa de Jurema e Mario
Ancas de mulher são âncoras
Ai, se Deus me desse cor, coragem e fibra
Olha, lá vem ela, fértil, riso aceso
Semeando a rua
Espalhando mudas de sol, de esperança
Futuro e danuras
Quando ela corre ocorre uma corrente
De ar quente, ar de arrasta-pé
Ela corre à frente e o rastro arrasta a gente
E resta somente o que não é
O que ainda não é amor, ardor, paixão
Que o feitiço dela ainda não faz
Tudo mais, na luz da noite de São João
O ventinho dela leva e traz
In Gilberto Gil's song Lá Vem Ela, the singer describes the powerful presence of a woman who appears on the corner of the street. The sight of her causes him to feel a sensation of being "color of God, the color without color". The woman is described as causing everyone to blush and in these moments, she becomes an adult. As she passes by the houses of Jurema and Mario, her hips are compared to anchors, which leads the singer to wish he had the courage to "anchor" himself to her.
The chorus describes the woman as fertile, with a bright laugh and as she walks down the street, she is spreading the seeds of the sun, of hope, future, and the joy of living. When she runs, a current of hot air follows, causing everyone to dance. But, the singer points out that this feeling is not yet love or passion; it is simply a magical presence of the woman that alters reality. The wind that she leaves behind brings and takes everything that is in the light of the night of São João.
The song seems to be about the impact of one person, specifically this woman, on the world around them. Rather than being a love story, it describes the transformative power of her presence, which creates the sensation of joy and hope for those around her. The lyrics suggest that the woman has a magical quality that affects the mood and energy of the world around her. The song is set against the backdrop of São João, a Brazilian midsummer festival known for its lively music and dance.
Line by Line Meaning
When she appears at the corner of the street
The sight of her fills me with a sense of divinity and colorlessness
I become the color of God, colorless
At that moment, I am rendered speechless and awe-struck
At these times, everyone blushes and the girl
Is in her utmost glory and majesty
At these times, she is grown up
She is an embodiment of maturity and sophistication
She passes by Jurema and Mario's house
Her feminine hips serve as anchors
Oh, if God gave me color, courage, and fiber
So that I could anchor myself in her presence
Look, here she comes! Fertile, fiery laughter
As she walks, she sows seeds of hope, sunshine, and new beginnings
Spreading sprouts of sunshine, hope
And the prospect of a bright and beautiful tomorrow
When she runs, a chain reaction
Of hot air follows her; ardent, feverish air
She runs ahead, the trail dragging the rest of us along
And all that remains is what has yet to be: love and passion that this enchantress still has to inspire
Everything else, in the light of Saint John's
Her gentle, refreshing breeze carries away
Night, comes and goes
Leaving behind only memories of what could have been
Lyrics © Universal Music Publishing Group
Written by: GILBERTO GIL, VANESSA SIGIANE DA MATA FERREIRA
Lyrics Licensed & Provided by LyricFind