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.
Viva Zapátria
MPB4 Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Aterrisam falcões, onde estou?
Carabinas, sorriso, onde estou?
Um compromisso a sirene chamou
Duplicatas, meu senso de humor
Se perdeu na cidade onde estou.
Beijos, abraços, ano um chegou
Salve Zapátria, ê, viva Zapátria, ê
Esta cidade foi uma herança só.
Viva Zapátria, saudando o senhor
Horizonte aberto onde estou
Esta América mãe onde estou.
The lyrics of MPB4's song Viva Zapátria are full of ambiguity but they seem to be a reflection of the confusion and anger present in the Brazilian society during the military dictatorship in the 1970s. The first verse talks about the singer's passionate and rebellious nature which seems to attract the powerful and oppressive forces around them. The use of the word "falcões" (falcons) may refer to the military regime's emblem which featured an eagle or may imply the singer's sense of superiority over them. The second line suggests a feeling of disorientation as the singer wonders where they are while being surrounded by guns and hostile faces.
The second verse brings in a sense of duty or responsibility as the singer responds to a siren's call to action. The word "duplicatas" (duplicates) may refer to the multiple identities or roles that the singer is forced to assume under the regime. The line "meu senso de humor se perdeu na cidade onde estou" (my sense of humor got lost in the city where I am) seems to imply a loss of individuality and joy in the face of oppression.
The chorus of the song "Viva Zapátria" may be interpreted as a call for resistance and solidarity. The name "Zapátria" may be a reference to Emiliano Zapata, the Mexican revolutionary leader who fought for social justice and land reform. The repetition of "ê, viva Zapátria" may be seen as a chant for the cause of freedom and dignity. The last two lines of the chorus suggest that the city and the continent where the singer is are part of a shared heritage that needs to be defended and celebrated.
Line by Line Meaning
Esse meu sangue fervendo de amor
My blood is boiling with love
Aterrisam falcões, onde estou?
Where am I, that hawks are landing?
Carabinas, sorriso, onde estou?
Where am I, that there are rifles and smiles?
Um compromisso a sirene chamou
A commitment called by the siren
Duplicatas, meu senso de humor
Duplicate bills, my sense of humor
Se perdeu na cidade onde estou.
Lost in the city where I am.
Viva Zapátria, saudou esse meu senhor
Long live Zapátria, hailed by my lord
Beijos, abraços, ano um chegou
Kisses, hugs, year one has arrived
Salve Zapátria, ê, viva Zapátria, ê
Hail Zapátria, oh, long live Zapátria, oh
Esta cidade foi uma herança só.
This city was just an inheritance.
Viva Zapátria, saudando o senhor
Long live Zapátria, saluting the lord
Horizonte aberto onde estou
Open horizon where I am
Esta América mãe onde estou.
This mother America where I am.
Contributed by Nathan H. Suggest a correction in the comments below.