MPB-4 (aka MPB4), is an important Brazilian vocal / instrumental group, whi… Read Full Bio ↴MPB-4 (aka MPB4), is an important Brazilian vocal / instrumental group, which devoted its activities to MPB (where commercial aspects were subordinate to the group's artistic standards). They reinvented the Brazilian vocal groups with their jazz free style focused on samba and also launched the careers of several soon-to-be masters of Brazilian music, such as Aldir Blanc (with his "Amigo É Pra Essas Coisas" with Sílvio da Silva Jr.). Having recorded more than 30 albums since 1964, many of them of utmost historical and artistic significance, they had a considerable part of this production released in countries like the U.S., Norway, Canada, Japan, Portugal, Mexico, Argentina, and others. The group was awarded with the Sharp prize as the best MPB group in 1987, 1989, and 1995. In 2001, MPB-4 completed a 36-year career with the same formation (registered in the Brazilian edition of the Guinness Book of Records of 1996).
In 1963, a trio formed by Rui Alexandre Faria (Rui, the lead vocalist), Aquiles Rique Reis (Aquiles), and Milton Lima dos Santos (Miltinho) in Niterói (Rio de Janeiro) started to perform at the Popular Center of Culture (CPC) of the National Student League (UNE). The CPC of Niterói was founded in Aquiles' home. At the same time, Magro (Antônio José Waghabi Filho) had a bossa nova group with Miltinho and a flutist, bassist, and drummer, called MPB-5. With Magro (the group's lifelong musical director) invited to join the original vocal trio, the quartet became known as Quarteto do CPC. With the extinction of the CPC (and of the UNE) after the military coup in 1964, the group adopted the name of MPB-4, playing in local bars and doing a double single with the first recording of Zé Kéti/Elton Medeiros' "Mascarada" with "Samba Bem" (Luís José) and other songs.
With all of them as college students, they took a period of vacations in 1965 to go to São Paulo, where they did their professional debut at the Pontifícia Universidade Católica's Theater (Tuca). They met producer Chico de Assis and were invited by him for a season with Quarteto em Cy (which was already professional), on the condition that they abandon other aspirations to devote themselves full-time to their group. Deciding for the music, they opened with Quarteto em Cy at the show No Samba Que Eu Vou, when they met Chico Buarque, also introduced to them by de Assis. From 1969 to 1974, Buarque was almost the fifth member of MPB-4 as all of his shows were with the quartet. Together they toured several countries and were deeply influential on the Brazilian youth. de Assis also introduced them to Manoel Carlos, who was one of the directors of the O Fino da Bossa TV Record show hosted by Elis Regina. MPB-4 participated right on the first show singing together with Regina, which was their definitive consecration.
Back in Rio, they participated in the show Contraponto, together with Quarteto em Cy, Oscar Castro-Neves, and Rosinha de Valença. At the Opinião theater, MPB-4 participated in the historic show O Samba Pede Passagem with Aracy de Almeida, Baden Powell, Ismael Silva, and others. The show was recorded live and released in June 1966 as O Samba Pede Passagem. Also in 1966, they released their first LP, which had the first recording for Buarque's "Olê Olá." Having participated in Nara Leão's show Quem Tem Medo de Nara Leão?, in the same year they defended "Canção de Não Cantar" (Sérgio Bittencourt) at the II Festival de Música Popular Brasileira (Festival of Brazilian Popular Music, FMPB, TV Record of São Paulo), which won fourth place. In the next year's edition of the same festival, the group was consecrated definitively with "Gabriela" (Maranhão) and "Roda Viva" (Buarque), achieving, respectively, sixth and third places. Also in 1967, they participated in the II FIC (International Song Festival, TV Globo, Rio) with "O Sim Pelo Não" (Alcivando Luz/Carlos Coquejo) and "Cantiga" (Nelson Motta/Dori Caymmi), which reached sixth and ninth places. In 1968, they opened a show shared with Buarque at the Teatro Toneleros, and also had a season in São Paulo. Three years later, they did the historic show Construção at the Canecão with Buarque, Jacques Klein, and the Orquestra Sinfônica Brasileira (Brazilian Symphony Orchestra) conducted by Isaac Karabtchevski. In the next year, MPB-4 toured Portugal and in 1973, Buenos Aires, Argentina, both with Buarque. In 1975, they participated, with Buarque, in the show República de Ugunga. In 1980, the group released, together with Quarteto em Cy, the children's LP Flicts/de Ziraldo e Sérgio Ricardo. Recording another children's LP in the next year with "O Pato" (Toquinho/Vinicius de Moraes), they had the song presented in the TV Globo musical A Arca de Noé. The LP Caminhos Livres (1983) had another of their hits with an Aldir Blanc song, "A Nível De..." (with João Bosco). In 1991, the quartet launched another of their themed albums, the CD Sambas da Minha Terra, dedicated to the works of Dorival Caymmi, Toquinho/Vinícius, Zé Kéti, and Ary Barroso, among others. Always doing shows and recording frequently, the group commemorated their 30-year career in 1995 with the show Arte de Cantar and the eponymous album. ~ Alvaro Neder, Rovi
Sites: MusicBrainz & Discogs.
In 1963, a trio formed by Rui Alexandre Faria (Rui, the lead vocalist), Aquiles Rique Reis (Aquiles), and Milton Lima dos Santos (Miltinho) in Niterói (Rio de Janeiro) started to perform at the Popular Center of Culture (CPC) of the National Student League (UNE). The CPC of Niterói was founded in Aquiles' home. At the same time, Magro (Antônio José Waghabi Filho) had a bossa nova group with Miltinho and a flutist, bassist, and drummer, called MPB-5. With Magro (the group's lifelong musical director) invited to join the original vocal trio, the quartet became known as Quarteto do CPC. With the extinction of the CPC (and of the UNE) after the military coup in 1964, the group adopted the name of MPB-4, playing in local bars and doing a double single with the first recording of Zé Kéti/Elton Medeiros' "Mascarada" with "Samba Bem" (Luís José) and other songs.
With all of them as college students, they took a period of vacations in 1965 to go to São Paulo, where they did their professional debut at the Pontifícia Universidade Católica's Theater (Tuca). They met producer Chico de Assis and were invited by him for a season with Quarteto em Cy (which was already professional), on the condition that they abandon other aspirations to devote themselves full-time to their group. Deciding for the music, they opened with Quarteto em Cy at the show No Samba Que Eu Vou, when they met Chico Buarque, also introduced to them by de Assis. From 1969 to 1974, Buarque was almost the fifth member of MPB-4 as all of his shows were with the quartet. Together they toured several countries and were deeply influential on the Brazilian youth. de Assis also introduced them to Manoel Carlos, who was one of the directors of the O Fino da Bossa TV Record show hosted by Elis Regina. MPB-4 participated right on the first show singing together with Regina, which was their definitive consecration.
Back in Rio, they participated in the show Contraponto, together with Quarteto em Cy, Oscar Castro-Neves, and Rosinha de Valença. At the Opinião theater, MPB-4 participated in the historic show O Samba Pede Passagem with Aracy de Almeida, Baden Powell, Ismael Silva, and others. The show was recorded live and released in June 1966 as O Samba Pede Passagem. Also in 1966, they released their first LP, which had the first recording for Buarque's "Olê Olá." Having participated in Nara Leão's show Quem Tem Medo de Nara Leão?, in the same year they defended "Canção de Não Cantar" (Sérgio Bittencourt) at the II Festival de Música Popular Brasileira (Festival of Brazilian Popular Music, FMPB, TV Record of São Paulo), which won fourth place. In the next year's edition of the same festival, the group was consecrated definitively with "Gabriela" (Maranhão) and "Roda Viva" (Buarque), achieving, respectively, sixth and third places. Also in 1967, they participated in the II FIC (International Song Festival, TV Globo, Rio) with "O Sim Pelo Não" (Alcivando Luz/Carlos Coquejo) and "Cantiga" (Nelson Motta/Dori Caymmi), which reached sixth and ninth places. In 1968, they opened a show shared with Buarque at the Teatro Toneleros, and also had a season in São Paulo. Three years later, they did the historic show Construção at the Canecão with Buarque, Jacques Klein, and the Orquestra Sinfônica Brasileira (Brazilian Symphony Orchestra) conducted by Isaac Karabtchevski. In the next year, MPB-4 toured Portugal and in 1973, Buenos Aires, Argentina, both with Buarque. In 1975, they participated, with Buarque, in the show República de Ugunga. In 1980, the group released, together with Quarteto em Cy, the children's LP Flicts/de Ziraldo e Sérgio Ricardo. Recording another children's LP in the next year with "O Pato" (Toquinho/Vinicius de Moraes), they had the song presented in the TV Globo musical A Arca de Noé. The LP Caminhos Livres (1983) had another of their hits with an Aldir Blanc song, "A Nível De..." (with João Bosco). In 1991, the quartet launched another of their themed albums, the CD Sambas da Minha Terra, dedicated to the works of Dorival Caymmi, Toquinho/Vinícius, Zé Kéti, and Ary Barroso, among others. Always doing shows and recording frequently, the group commemorated their 30-year career in 1995 with the show Arte de Cantar and the eponymous album. ~ Alvaro Neder, Rovi
Sites: MusicBrainz & Discogs.
Can
MPB-4 Lyrics
Jump to: Overall Meaning ↴
喂! 你好靓仔啊! 帮我签个名得吾得呀?
黎个乐坛 人人见到我都要借歪!
最受欢迎男歌手系我个名叫阿茄
我唱野 你要听(HEY)咪咋型喊惊
失晒声 支荧光棒都吾好乱啶
你话难听 车~~我用紧假声
鹅公喉 你都话正甘我又使乜惊
痴痢筋走晒音 FANS一样甘开心
跳舞劲过MICHAEL JACKSON师公上埋我身
反町 木村 加TOM CRUISE 都无我甘大只
去亲老人院D阿婆梗追住我黎锡
我霖女有一手 比我拣中实无得走
韩国 日本 台湾 深圳 都大把女朋友
四十寸胸肌 大过你屋企部电视机
六旧腹肌 吾系你果六部烂鬼CALL机
开亲演唱会 闲闲地至小十灵廿场
次次都系海洋公园果个海洋剧场
金曲金奖 季季我实摞奖
个个哎 举高手话我知边位至大
PIZZA 叉烧 炸菜 瘦肉 香蕉
肚仔痛 呱呱叫入厕所整多两件
上次东华 我施展我只黄金右脚
挂住条WIRE连条UNDERWEAR 都无着
第朝打开报纸 点解张相打左格仔
大致标题话我露点 咦～仲有只雀仔
唉！雀仔雀仔 比你搞到一声蚁
受欢迎程度系我出道以黎既新低
运程好湿滞 捻到头爆都无计
唯有去叫风水师傅黎我屋企睇睇
大师话：仲争小小最好割埋块皮
（哗）..吓到我标晒冷汗原黎系割双眼皮
整高埋个鼻 包你捞到风山水起
点知大夫失手搞到好似士多啤梨
吾想甘样可以点样 大夫你条粉肠
今晚我仲要上台摞果个金曲金奖
把心一横换件红衫 加多只角专ＬＯＯＫ
唱返我细细个果只饮歌--长腿叔叔
金曲金奖 季季我实摞奖
个个哎 举高手话我知边位至大
PIZZA 叉烧 炸菜 瘦肉 香蕉
肚仔痛 呱呱叫入厕所整多两件
金曲金奖 季季我实摞奖
个个哎 举高手话我知边位至大
PIZZA 叉烧 炸菜 瘦肉 香蕉
肚仔痛 呱呱叫入厕所整多两件
黎个乐坛 人人见到我都要借歪!
最受欢迎男歌手系我个名叫阿茄
我唱野 你要听(HEY)咪咋型喊惊
失晒声 支荧光棒都吾好乱啶
你话难听 车~~我用紧假声
鹅公喉 你都话正甘我又使乜惊
痴痢筋走晒音 FANS一样甘开心
反町 木村 加TOM CRUISE 都无我甘大只
去亲老人院D阿婆梗追住我黎锡
我霖女有一手 比我拣中实无得走
韩国 日本 台湾 深圳 都大把女朋友
四十寸胸肌 大过你屋企部电视机
六旧腹肌 吾系你果六部烂鬼CALL机
开亲演唱会 闲闲地至小十灵廿场
次次都系海洋公园果个海洋剧场
金曲金奖 季季我实摞奖
个个哎 举高手话我知边位至大
PIZZA 叉烧 炸菜 瘦肉 香蕉
肚仔痛 呱呱叫入厕所整多两件
上次东华 我施展我只黄金右脚
挂住条WIRE连条UNDERWEAR 都无着
第朝打开报纸 点解张相打左格仔
大致标题话我露点 咦～仲有只雀仔
唉！雀仔雀仔 比你搞到一声蚁
受欢迎程度系我出道以黎既新低
运程好湿滞 捻到头爆都无计
唯有去叫风水师傅黎我屋企睇睇
大师话：仲争小小最好割埋块皮
（哗）..吓到我标晒冷汗原黎系割双眼皮
整高埋个鼻 包你捞到风山水起
点知大夫失手搞到好似士多啤梨
吾想甘样可以点样 大夫你条粉肠
今晚我仲要上台摞果个金曲金奖
把心一横换件红衫 加多只角专ＬＯＯＫ
唱返我细细个果只饮歌--长腿叔叔
金曲金奖 季季我实摞奖
个个哎 举高手话我知边位至大
PIZZA 叉烧 炸菜 瘦肉 香蕉
肚仔痛 呱呱叫入厕所整多两件
金曲金奖 季季我实摞奖
个个哎 举高手话我知边位至大
PIZZA 叉烧 炸菜 瘦肉 香蕉
肚仔痛 呱呱叫入厕所整多两件
The lyrics to MPB-4's song "Can" are in Cantonese and contain a mix of humblebrag and exaggerated self-promotion. The singer portrays themselves as a highly popular male singer who is adored by everyone and constantly in demand. They boast about their singing abilities, claiming that their voice is so good that even fluorescent light sticks would stay still when they sing. The singer also mentions using falsetto and vocal techniques to impress their audience. They further exaggerate their popularity by name-dropping famous actors and stating that they have a large number of female fans in different countries. The lyrics continue with self-aggrandizing statements about their physical attributes, such as having a 40-inch chest and six-pack abs. They also mention performing numerous concerts and winning awards. The song ends with the singer jokingly talking about their stomachache and needing to use the bathroom.
Overall, the lyrics of "Can" are a playful and exaggerated representation of a popular singer boasting about their fame, talent, and physical attributes while adding humorous elements.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
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Nidia Oliveira
Letras:
Sou eu que vou seguir você
Do primeiro rabisco até o be-a-bá
Em todos os desenhos coloridos vou estar
A casa, a montanha, duas nuvens no céu
E um sol a sorrir no papel
Sou eu que vou ser seu colega
Seus problemas ajudar a resolver
Te acompanhar nas provas bimestrais, você vai ver
Serei de você confidente fiel
Se seu pranto molhar meu papel
Sou eu que vou ser seu amigo
Vou lhe dar abrigo, se você quiser
Quando surgirem seus primeiros raios de mulher
A vida se abrirá num feroz carrossel
E você vai rasgar meu papel
O que está escrito em mim
Comigo ficará guardado, se lhe dá prazer
A vida segue sempre em frente, o que se há de fazer?
Só peço a você um favor, se puder
Não me esqueça num canto qualquer
Só peço a você um favor, se puder
Não me esqueça num canto qualquer
Oh oh
Sabrina
chorei ao ouvir "caderno", essa música sempre me acompanhou na infância e ouvi-la de novo depois de alguns anos é de uma emoção surreal. Gratidão por isso
Felipe Parker
Isso é ótimo de ler, esse comentário me emociona
Bruno Leopoldo
Não consigo terminar ouvir a musica sem chorar também
Paulo César Julio
Show
Robson fulco
Eu tbm.
Rosineide Silva
eu escuto o toque e já começo a chorar... o tempo passa depressa
Hiago Goncalves
Não tem como não se emocionar....isso sim é música de cheiro de infância de inocência....vida esperança.....quem roubou a infância das nossas crianças???!!!!
Samir Ali
Eu cantava a musica, o caderno.para minha filha, quando ainda era pequena, e eu chorava na parte que diz, " quando surgirem seus raios de mulher, a vida se abrirá num feroz carrosel, e você vai rasgar, meu papel...", hoje minha filha tem 21 anos, é uma linda mulher, e eu continuo cantando essa musica pra ela...
Claudia Menezes
Eu, quando era criança, tinha os discos, LP's, da Arca de Noé 1 e 2. Essa foi a trilha sonora do meu filho, hoje com16 anos. Na música do Vento, interpretada pelo 14bis no fim, eles dizem :"foi você Davi?", Davi é o nome do meu filho. Todas as vezes ele responda :"eu não"!!!!! Bons tempos!!! Saudades!!!!!
Catita Imóveis LTDA
Viajo quando ouço a canção Caderno ela me leva a um amor e carinho que incondicional por um filho e que só pedimos com muita humildade “nunca se esqueça de mim” só quero o amor !