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
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San Vicente
MPB-4 Lyrics
Jump to: Overall Meaning ↴
Te canto desde el Alma con todo el corazón
La dulce serenata sueños de barriada
Besaron las guitarras de quien fue tu cantor
El viejo matadero con aguas del Siquia
Que en sus paredes frías por siempre aprisionó
Los valsecitos criollos de don Julio Ceballos
Que por sus empedrados de versos alfombró
Donde te fuiste a ocultar
Lunita de San Vicente
Que vuelve de nuevo a brillar
Llevaste la serenata perfumada de cedrón
Siguiendo un viejo Mateo
Por la calle Agustín Garzón
La noche se adormece entre hojas de parranda
Flores primaverales se abrazan a un balcón
Tu risa va juntando tus filos de ilusiones
Y ardiente de pasiones brotó de un corazón
Las sombras de la noche testigo y confidente
Mi viejo San Vicente mil besos ocultó
En pliegue de una nuve que junto a las estrellas
Blanca y mensajera muy lejos se marchó
The lyrics of MPB-4's song "San Vicente" paint a vivid picture of nostalgia and longing for a beloved place. The song opens with a heartfelt tribute to Córdoba, described as a "nidito de campanas" (nest of bells), emphasizing the emotional connection the singer has with this city. The imagery of a sweet serenade and dreams of the neighborhood suggest a deep affection and attachment to the memories associated with the place. The mention of guitars being kissed by the serenade hints at the romantic and musical essence of the location.
The lyrics then delve into specific landmarks and figures of Córdoba, such as the old slaughterhouse with waters of the Siquia River, and the valsecitos criollos of Julio Ceballos that adorned the cobblestone streets with verses. These references add layers of history and culture to the portrayal of the beloved city, showcasing the singer's admiration for its traditions and artistic heritage. The use of poetic language and metaphors like "paredes frías" (cold walls) and "versos alfombró" (carpeted with verses) further enrich the emotional depth of the lyrics.
The chorus shifts the focus to La Lunita (the little moon) of San Vicente, a symbolic figure that seems to represent a hidden essence or a lost connection. The mention of a perfumed serenade and following a mysterious character named Mateo down Agustín Garzón street creates an aura of mystery and romanticism surrounding this enigmatic presence. The repetition of the moon shining again suggests a cyclical nature of longing and rediscovery in the singer's reminiscences.
The final verses bring a sense of closure and acceptance as the night descends, and the cityscape comes alive with spring flowers and laughter. The imagery of uniting laughter with moments of hope and passion from a heart pierced by emotions conveys a bittersweet tone of reminiscing and moving forward. The shadows of the night become witness and confidante as the singer's beloved San Vicente hides a thousand kisses within the folds of a cloud, symbolizing a departure but also a timeless connection that transcends physical distance. The song concludes with a poignant image of a white, messenger cloud departing with the stars, suggesting a sense of longing and farewell, yet also a reminder of enduring memories and connections.
Lyrics © O/B/O APRA AMCOS
Written by: R. D. GAMBOA
Lyrics Licensed & Provided by LyricFind