RCA and their promoters have always drawn a veil of mystery around Los Indios Tabajaras, so it's tough to trace their early years accurately. Their literature claimed they discovered a guitar in the jungle near Ceara, Brazil, and, after making sure it wasn't going to explode like other firearms their tribesmen had found, began to examine it. Eventually, they both mastered the instrument and came to the attention of townspeople, one of whom took them to Rio de Janeiro to play.
Dressing up in ceremonial Indian costumes, the brothers perfected a nightclub act in which they sang and played Brazilian and Latin folk songs. They changed their names to Natalicio and Antenor Lima and began touring throughout South America. In 1943, RCA's Latin American arm signed them to a contract.
In the early 1950s, they took a break from touring and returned to study, each with a different teacher. Natalicio focused on melody and Antenor worked on harmony. They also added a substantial classical repertoire to their act, including guitar pieces by Bach, Falla, and Albeniz.
Another tour followed, this time to Europe as well, and they recorded several more albums for RCA in Mexico. One of their singles, "Maria Elena," released in 1958, became a steady seller, and by early 1962, its success caught the eye of RCA's U.S. division. They issued the tune, and this lovely, gentle melody quickly carved a solid niche in the U.S. pop charts. It ended up spending 14 weeks in the U.S. Top 10 and 17 weeks in the U.K. charts, and the subsequent album placed in the Top 10 album chart as well. Within a year, the brothers followed with another single, "Always in My Heart," but the novelty had worn off and it barely dented the Top 100.
Chet Atkins was particularly impressed by the brothers' guitar work, and he invited them to Nashville, where they recorded an instrumental album with Atkins and pianist Floyd Cramer, and--in one of the oddest releases of the countrypolitan era--one with singer Don Gibson ("Oh, Lonesome Me").
RCA--both the U.S. and Latin American divisions--continued to record them well into the 1980s, and the brother's mellow guitar style proved a big influence on a new generation of guitarists such as Rick Vito
The Girl From Ipanema
Los indios tabajaras Lyrics
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The girl from Ipanema goes walking
And when she passes, each one she passes goes - ah
When she walks, she's like a samba
That swings so cool and sways so gentle
That when she passes, each one she passes goes - ah
How can he tell her he loves her
Yes I would give my heart gladly
But each day, that she walks to the sea
She looks straight ahead, not at he
Tall, (and) tan, (and) young, (and) lovely
The girl from Ipanema goes walking
And when she passes, he smile - but she doesn't see
(Doesn't see)
(She just doesn't see, she never sees him)
The lyrics of "Girl From Ipanema" by Los Indios Tabajaras, originally written and composed by Tom Jobim and Vinicius de Moraes, speak of a beautiful young woman walking down the streets of Ipanema, a beach neighborhood in Rio de Janeiro, Brazil. The lyrics describe her physical characteristics, her graceful movements, and the effect she has on those around her. Each person she passes is left in awe, mesmerized by her beauty and grace. The lyrics also hint at a love interest who watches her from afar, but is too sad to express his love to her. He is left to admire her as she walks towards the sea, her gaze fixed ahead, oblivious to his affection.
The lyrics of this song focus on the beauty and charm of a woman, taking the listener on a sensory journey through the streets of Ipanema. The descriptive language used in the lyrics helps paint a vivid picture, transporting the listener to the sunny, vibrant streets of Brazil. The lyrics also touch on the theme of unrequited love, a common trope in music, making this song relatable to many.
Line by Line Meaning
Tall and tan and young and lovely
The girl from Ipanema is tall, has tan skin, and is young and beautiful.
The girl from Ipanema goes walking
The girl from Ipanema takes walks.
And when she passes, each one she passes goes - ah
When the girl from Ipanema walks by, people are struck by her beauty and make a sound like 'ah.'
When she walks, she's like a samba
The girl from Ipanema walks with a rhythmic swaying motion like a samba dance.
That swings so cool and sways so gentle
Her walking motion is smooth, relaxed, and graceful.
That when she passes, each one she passes goes - ah
Again, when the girl from Ipanema walks by, people are struck by her beauty and make a sound like 'ah.'
(Ooh) But he watch her so sadly
There is someone watching the girl from Ipanema with a sense of longing or sadness.
How can he tell her he loves her
The watcher wants to confess his feelings to the girl from Ipanema, but he doesn't know how to approach her.
Yes I would give my heart gladly
The watcher is willing to give his heart and love to the girl from Ipanema.
But each day, that she walks to the sea
The girl from Ipanema goes to the sea every day.
She looks straight ahead, not at he
The girl from Ipanema doesn't notice the watcher and simply walks straight ahead.
Tall, (and) tan, (and) young, (and) lovely
Repeating the description of the girl from Ipanema from the beginning of the song.
And when she passes, he smile - but she doesn't see
The watcher smiles when the girl from Ipanema walks by, but she doesn't notice him.
(Doesn't see)
Repeating the fact that the girl from Ipanema doesn't see the watcher.
(She just doesn't see, she never sees him)
Emphasizing that the girl from Ipanema never notices the watcher.
Lyrics © Universal Music Publishing Group, Tratore
Written by: Norman Gimbel, Antonio Carlos Jobim, Vinicius De Moraes
Lyrics Licensed & Provided by LyricFind