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.
Xote
Gilberto Gil Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Deixando o Monte da Viúva sem molhar
Que eu me dei conta que a santa lá da fonte
Ficou três dias sem beata pra rezar
Ficou três dias sem beata pra cantar a cantoria
Que há dez anos todo dia vêm cantar
As rezadeiras, todas filhas de Maria
Rezadeiras, todas filhas de Maria
Todas elas com um bocado de promessas pra pagar
Aquela fonte permanece desaguando
De um milagre que há dez anos acontece no lugar
Ela não brota de uma grota, de uma pedra
Nunca medra como qualquer fonte costuma medrar
Bem na caatinga, onde quase nunca pinga
Nessa fonte sempre chove todo dia sem falhar
Esse fenômeno de fato inusitado
Parece que é provocado pela firme devoção
Das rezadeiras que vêm sempre em romaria
De Alagoas, Pernambuco, Paraíba e região
Mas todos sabem se a oração não principia
Com uma moça da Bahia, então chover, não chove, não
Algumas moças rezadeiras que vieram
De outros lugares sem ligar pra tradição
Cantaram tudo, tudo, tudo que puderam
Mas nos três dias não choveu no lajedão
Nesses três dias sem as moças da Bahia
Pra cantar a cantoria, todo mundo percebeu
Não adianta, pirulito é pirulito
Piriquito é piriquito, mito é mito, Deus é Deus
The song "Xote" by Gilberto Gil tells the story of a miraculous fountain in the Monte da Viúva region that remains flowing even during times of drought. The song speaks of the belief that the constant flow of the fountain is a result of the unwavering devotion and prayers of a group of women, known as "rezadeiras," who come from all over the region to visit and pray at the fountain. The lyrics explain that the fountain leaves the Monte da Viúva untouched by drought, and everyone in the area is aware that the fountain's ability to keep flowing is dependent on the Bahia women's prayers. The lyrics suggest that the women's worship and devotion are the reason for the fountain's constant flow.
The lyrics of "Xote" highlight not only the religious beliefs and practices of those living in the Monte da Viúva region but also the importance of women in their communities. The song emphasizes the power of women's prayers and highlights their ability to maintain the health and abundance of the land. The song also sheds light on the mystical elements of Brazilian culture, highlighting the mysterious and unexplainable elements that are essential to the faith and folklore of people living in the region.
Line by Line Meaning
Foi quando a chuva fez a curva no horizonte
It was when the rain bent on the horizon,
Deixando o Monte da Viúva sem molhar
Leaving the Widow's Mount dry,
Que eu me dei conta que a santa lá da fonte
That I realized the saint by the fountain,
Ficou três dias sem beata pra rezar
Stayed three days without a devoted woman to pray.
Ficou três dias sem beata pra cantar a cantoria
Stayed three days without a devoted woman to sing the song,
Que há dez anos todo dia vêm cantar
That they've been singing every day for ten years,
As rezadeiras, todas filhas de Maria
The praying women, all daughters of Mary,
Todas vindas da Bahia com promessas pra pagar
All coming from Bahia with promises to fulfill.
Rezadeiras, todas filhas de Maria
Praying women, all daughters of Mary,
Todas elas com um bocado de promessas pra pagar
All of them with many promises to keep.
Aquela fonte permanece desaguando
That fountain keeps flowing,
De um milagre que há dez anos acontece no lugar
From a miracle that happened ten years ago in that place,
Ela não brota de uma grota, de uma pedra
It doesn't come from a grotto or a stone,
Nunca medra como qualquer fonte costuma medrar
It never dries up like any other fountain would.
Bem na caatinga, onde quase nunca pinga
Right in the arid lands where rain is rare,
Nessa fonte sempre chove todo dia sem falhar
On that fountain, it always rains every day without fail.
Esse fenômeno de fato inusitado
This truly unusual phenomenon,
Parece que é provocado pela firme devoção
Seems to be caused by firm devotion,
Das rezadeiras que vêm sempre em romaria
Of the praying women that always come on a pilgrimage,
De Alagoas, Pernambuco, Paraíba e região
From Alagoas, Pernambuco, Paraíba, and the region.
Mas todos sabem se a oração não principia
But everyone knows that if the prayer doesn't begin,
Com uma moça da Bahia, então chover, não chove, não
With a woman from Bahia, then it won't rain, no it won't.
Algumas moças rezadeiras que vieram
Some praying women that came,
De outros lugares sem ligar pra tradição
From other places not caring about tradition,
Cantaram tudo, tudo, tudo que puderam
Sang everything, everything, everything they could,
Mas nos três dias não choveu no lajedão
But in those three days, it didn't rain on the rock plateau.
Nesses três dias sem as moças da Bahia
On those three days without the women from Bahia,
Pra cantar a cantoria, todo mundo percebeu
To sing the song, everyone realized,
Não adianta, pirulito é pirulito
It's no use, a lollipop is a lollipop,
Piriquito é piriquito, mito é mito, Deus é Deus
A parakeet is a parakeet, a myth is a myth, God is God.
Writer(s): Gilberto Gil, Rodolfo Stroeter Copyright: Preta Music Inc.
Contributed by Makayla A. Suggest a correction in the comments below.