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.
Cicatrizes
MPB4 Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Amor que nunca cicatriza
Ao menos ameniza a dor
Que a vida não amenizou.
Que a vida a dor domina
Arrasa e arruína
Depois passa por cima a dor
Acho que estou pedindo uma coisa normal
Felicidade é um bem natural.
Uma
Qualquer uma
Que pelo menos dure enquanto é carnaval
Apenas uma
Qualquer uma
Não faça bem mais que também não faça mal.
Meu coração precisa...
The lyrics of the song “Cicatrizes” by MPB4 reflect on the idea that love, even if it never fully heals, can at least alleviate the pain caused by the hardships of life. The lyrics suggest that the pain of life can be destructive and overwhelming, but it is important to move on and seek out new love regardless. The singer seems to be seeking out happiness and is willing to accept any love – even if transient - that can bring him a momentary sense of joy.
The words used in the song are emotive, with “cicatrizes” (scars) serving as a metaphor for the emotional wounds left by love and the struggles of life. The singer acknowledges that love may not completely erase our pain, but it can help to mitigate its severity. The song ultimately conveys a sense of hope that love will eventually provide a way to overcome the challenges of life.
Line by Line Meaning
Amor
Love
Amor que nunca cicatriza
Love that never heals
Ao menos ameniza a dor
At least, it eases the pain
Que a vida não amenizou.
That life did not soothe.
Que a vida a dor domina
That life dominates pain
Arrasa e arruína
Ruins and destroys
Depois passa por cima a dor
Then passes over the pain
Em busca de outro amor.
In search of another love
Acho que estou pedindo uma coisa normal
I think I'm asking for something ordinary
Felicidade é um bem natural.
Happiness is a natural good
Uma
One
Qualquer uma
Any one
Que pelo menos dure enquanto é carnaval
That lasts at least during carnival
Apenas uma
Just one
Qualquer uma
Any one
Não faça bem mais que também não faça mal.
That doesn't do much good but also doesn't do harm.
Meu coração precisa...
My heart needs...
Contributed by Brayden V. Suggest a correction in the comments below.
Fernando Conde Sangenis
Roberta Sá é uma grande Dama da Música ! Lindíssima e elegante ! Presença de palco e uma voz muito afinada e belíssima. Sem dúvida, uma maravilhosa cantora. Agradeço aos Céus pela música brasileira ter, ainda, "ilhas" de bom gosto e qualidade !!!!!! Parabéns ao MPB 4, conheci esses caras, lá no ex-IAPI, em Niterói, onde trabalhava o Rui Alexandre Farias, meu colega de repartição... era o ano de 1965...
Reginaldo Ferreira
Roberta Sá, sempre linda tanto quanto sua voz!
Lucia Miana
Canta muito!
Ubirajara Santana
Que perfeiçao em corpo e alma
Salete Varella Barca
AMO de Paixão..linda..Voz meiga e Doce.. tanta PERFEIÇÃO DE BELEZA
Maurilio Ramos
Mpb 4 e quarteto em cy, foram únicos, nunca teremos outros iguais. Roberta dispensa comentarios, ela reune beleza e talento.
Mario Percow
Roberta Sá, con su forma de cantar, penetra sutilmente en mi sangre y me va convirtiendo en un adicto a su música. ¡Qué hermosas todas sus interpretaciones! Me emociona profundamente… Y su humildad multiplica su talento. Es una presencia angelical entregando su dulce voz en modo generoso e incondicional a los simples mortales que tienen el honor de acompañarla o que tenemos el delicioso gusto de escucharla.
Alexandre Pedro Pedro
Maravilhosa uma das minhas preferidas como canta essa mulher linda ela e a voz parabéns
Edson Alves Da Costa
JA TINHA OUVIDO COM O GRANDE ROBERTO RIBEIRO E A SURPRESA FOI COM A ROBERTA E O MPB 4 FICOU LINDA
Fernando Conde Sangenis
Excelente. Roberta Sá, não se pode qualificar, pois está entre os homens e os deuses da música. O MPB 4 eu conheci esses caras, lá por volta de 1968, no ex-IAPI, na Cidade de Niterói. Ruy Alexandre Farias era meu colega de repartição pública, ambos entramos por Concurso Público do ex-DASP e, assim, conheci os componentes do MPB 4 e o sucesso foi tão grande que o Ruy pediu demissão, para não prejudicar nem o serviço público e nem sua carreira músical. Pois é naquele tempo havia respeito...