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.
Negro negro
MPB-4 Lyrics
Jump to: Overall Meaning ↴
What the fuck?
What?, what?, whats going on?
Suena tutu con este flow
Ya no quiero más tu amor
Voy nadando en alcohol
No me digas que es lo que debo yo hacer
Esta noche a enloquecer
Y no quiero límites
Mucha chela en mi panza
To' los días de parranda
Sin descanso aquí nos vamos, desacato
Muchos dicen he cambiado
Ya no eres del pasado
Llevas días encerrado
Estamos preocupados
Sin amigos, no hay lío
No confío, yo lo admito
Solo miro, analizo
Y no eres de mi agrado
Tú no sabes, ni te esperas
Que algún día te dispare
No confíes y vigila quién está a tu lado
Estos cabrones aún no saben quién soy yo
Pero ya van a saber cabrón, ya van a saber jajaja
A mí darme lo que merezco yo por ley
Tengo tu bruja brincando en mi bicho everyday
No saben como hacemos
Hijo puta 'toy en juego
A la que besas le dí huevo
Cuando cantas me da sueño
Mucha chela en mi panza, to' los días de parranda
Sin descanso aquí nos vamos, desacato
Muchos dicen he cambiado
Ya no eres del pasado
Llevas días encerrado
Estamos preocupados
Sin amigos, no hay lío
No confío, yo lo admito
Solo miro, analizo
Y no eres de mi agrado
Tú no sabes, ni te esperas
Que algún día te dispare
No confíes y vigila quien está a tu lado
What the fuck?
What?, what?, whats going on?
Suena tutu con este flow
Ya no quiero más tu amor
Voy nadando en alcohol
No me digas que es lo que debo yo hacer
Esta noche a enloquecer
Y no quiero límites
To' los días de parranda
Sin descanso aquí nos vamos, desacato
Muchos dicen he cambiado
Ya no eres del pasado
Llevas días encerrado
Estamos preocupados
Sin amigos, no hay lío
No confío, yo lo admito
Solo miro, analizo
Y no eres de mi agrado
Tú no sabes, ni te esperas
Que algún día te dispare
No confíes y vigila quién está a tu lado
Estos cabrones aún no saben quién soy yo
Pero ya van a saber cabrón, ya van a saber jajaja
A mí darme lo que merezco yo por ley
Tengo tu bruja brincando en mi bicho everyday
No saben como hacemos
Hijo puta 'toy en juego
A la que besas le dí huevo
Cuando cantas me da sueño
Mucha chela en mi panza, to' los días de parranda
Sin descanso aquí nos vamos, desacato
Muchos dicen he cambiado
Ya no eres del pasado
Llevas días encerrado
Estamos preocupados
Sin amigos, no hay lío
No confío, yo lo admito
Solo miro, analizo
Y no eres de mi agrado
Tú no sabes, ni te esperas
Que algún día te dispare
No confíes y vigila quien está a tu lado
What the fuck?
The lyrics to MPB-4's song "Negro Negro" seem to be a combination of various thoughts and emotions. The opening lines express confusion or disbelief - "What the fuck? What?, what?, what's going on?" The following lines mention alcohol, a desire to no longer be in love, and a willingness to indulge in wild behavior. The lyrics then shift to feelings of distrust and isolation, with mentions of being enclosed, worried, and without friends.
The succeeding lines portray a sense of self-confidence and a warning to others. The singer asserts their worthiness to receive what they deserve by law and boasts about having someone else's lover interested in them. The lyrics also suggest that others underestimate the singer and keep a close eye on those around them. The concluding lines reiterate the confusion and disbelief expressed at the beginning.
Overall, the lyrics of "Negro Negro" reflect a range of emotions, including confusion, disillusionment, self-assuredness, and suspicion. The song seems to delve into themes of personal identity, relationships, and navigating through societal expectations.
Lyrics © O/B/O DistroKid
Written by: Tomy Cruz Cotrina
Lyrics Licensed & Provided by LyricFind
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