The empathy with the musical instruments started with the guitar. It was with the guitar that she realised were the chords of her parent’s music come from. From The Beatles and from many others. And it was on an early age that she gave herself to the unique melodies that the jazz immortalized. The capacity of a melody to stand by itself, without the instruments. She embraced such artists as Billie Holiday, Ella Fitzerald, Chet Baker, and many others and with them in her heart she set off to the Berklee College of Music, in Boston, USA, to study music. In her 4 year stay in Boston she was nominated for the «Best Jazz Song» at the Malibu Music Awards (2008); «Best Jazz Artist» at the Hollywood Music Awards ; «International Songwriting Competition» (2007) and «The John Lennon Songwriting Competition» (2008).
More than being nominated or completing her studies, Luísa was also discovering herself every year that went by. Her musical identity would further develop in New York, where she moved after finish her degree in Boston (2009). In her bags a lot of what would eventually give shape to songs that where already wandering inside her head. Hers and her mother’s who confessed to her she had dreamed that her first album would be called «The Cherry on My Cake». Maternal magic that made a dream come true.
The learning of the jazz standards, the practice done by playing a Brazilian music in bars and the stamina of her creativity all filtered into songs that would either gain live in paper or in chords. One after another. Well thought melodies with images inside. «I Would Love To», «Don`t Let Me Down», «Why Should I», among other songs that came together in an EP («My Funny Clementine»). The emphasis on the starting theme was obvious: «Not There Yet». A triple time rhythm, like a jazz waltz, colorful, an imposing chorus and violins in heaven. The record composition wasn’t to become limited to the English language. Between trips to and from Portugal, Luisa performed at the Super Bock Super Rock festival in Stock 2009. At this gig she mentions how much she would like to have a song in Portuguese. Upon her return to the States Luisa sketches a poem and melody for “O Engraxador” (the shoe shine man). That is followed by “Xico and Dolores”. For the upcoming record the will for a Portuguese cover song was still very much present. Nobody would be better to fill this part than Rui Veloso, artist that Luisa’s father listens to insistently. Luisa registers Carlos Te’s lyric and tries a different version of “Saiu para a Rua”.
«The Cherry on my Cake» is the result of all of this: of the person who dreams to live in Paris - totally inspired by French cinema. Result of the hectic New York vibe, of the familiar affection for Lisbon. From Regina Spektor to Elis Regina. From Billie Holiday to Bjork. From the 50’s to ingenuousness. From sound to image. From voice and talent: “I have a good life” she concludes.
Sr. Vinho
Luísa Sobral Lyrics
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Espreita pelas tabuinhas para a ver dormir
E em Alfama até a Júlia, a florista
Que anda mal da vista
Se apercebe do seu amor
Até que um dia cansado de tanto esperar
Mas vejam lá qual não é o seu espanto
Quando ela num pranto o convida a entrar
Até que um dia cansado de tanto esperar
Bate à porta devagar com o coração na mão
Mas vejam lá qual não é o seu espanto
Quando ela num pranto o convida a entrar
O senhor Vinho gosta da Mariquinhas
E fecha as tabuinhas quando se vão deitar
The lyrics of "Sr. Vinho" by Luísa Sobral tell the story of a character named Sr. Vinho, who harbors a deep affection for a woman named Mariquinhas. The song paints a vivid picture of Sr. Vinho's infatuation with Mariquinhas, as he is portrayed as someone who watches over her through the blinds to see her sleep. This imagery suggests a sense of longing and obsession, as Sr. Vinho's feelings for Mariquinhas are described as intense and almost voyeuristic.
The lyrics then shift to mention another woman, Júlia, who is a florist in the neighborhood of Alfama. Despite her failing eyesight, Júlia becomes aware of Sr. Vinho's love for Mariquinhas. This detail adds depth to the story, showing that Sr. Vinho's affection for Mariquinhas is not just his own secret but something that others in the community can also perceive. Júlia's realization of Sr. Vinho's feelings further emphasizes the intensity of his emotions.
The narrative progresses as Sr. Vinho finally musters the courage to knock on Mariquinhas' door after waiting for so long. The description of him knocking "devagar com o coração na mão" (slowly with his heart in his hand) conveys a sense of nervousness and vulnerability. When Mariquinhas tearfully invites him inside, it is a moment of unexpected vulnerability and connection. The meeting between Sr. Vinho and Mariquinhas is a pivotal moment in the song, symbolizing the culmination of Sr. Vinho's longing and the potential fulfillment of his desires.
The final lines of the song bring a sense of closure as Sr. Vinho's love for Mariquinhas is encapsulated in the simple act of closing the blinds as they go to bed. This gesture suggests intimacy and privacy, signaling that their relationship, whatever it may be, is a personal and private affair. Overall, "Sr. Vinho" explores themes of love, longing, and connection, painting a poignant and evocative portrait of a character consumed by his feelings for another. The song captures the emotional complexity of romantic entanglements and the profound impact that love can have on individuals.
Line by Line Meaning
O senhor Vinho gosta da Mariquinhas
Mr. Wine likes Mariquinhas
Espreita pelas tabuinhas para a ver dormir
He peeks through the shutters to see her sleep
E em Alfama até a Júlia, a florista
And in Alfama even Julia, the florist
Que anda mal da vista
Who has trouble with her sight
Se apercebe do seu amor
Realizes his love for her
E fecha as tabuinhas quando se vão deitar
And closes the shutters when they go to bed
Lyrics © O/B/O APRA AMCOS
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