Marcos Kostenbader Valle (born September 14, 1943 in Rio de Janeiro ) is a … Read Full Bio ↴Marcos Kostenbader Valle (born September 14, 1943 in Rio de Janeiro ) is a Brazilian singer, songwriter and record producer. His work has found success across many musical styles both within Brazil and in the rest of the world, including bossa nova, samba, incidental music for drama, and fusions of American/European rock and dance music with Brazilian styles. His brother is Paulo Sérgio Valle, with whom he composed many songs. From the younger Bossa Nova generation, as well as Bebel Gilberto and others, made a large part of his career abroad.
Valle's precocious talent was evident from his high school years, which coincided with the height of the Bossa Nova movement in Rio. His classmates included future legends like Edu Lobo and Dori Caymmi, and his composition Sonho De Maria was included on the Avanço album by the highly influential Tamba Trio in 1963. With his brother Paulo Sérgio Valle as his lyricist, he had already built an impressive portfolio of songs, prompting the Odeon label (a subsidiary of EMI) to sign him to a recording contract. His debut album Samba Demais was released early in 1964. His reputation quickly spread, and his contemporaries on the music scene (including Wilson Simonal, Elis Regina, Nara Leão and many others) lined up to record his songs. A second album, O Compositor e o Cantor, followed in 1965, and featured the debut of what would become his most recognizable song, Samba De Verão (known in English as "So Nice (Summer Samba)"), as well as other instant classics as Deus Brasileiro, Gente and A Resposta.
1966 brought Valle's first trip to the U.S., where he and his then-wife Anamaria teamed up with the also recently-emigrated Sérgio Mendes briefly in an embryonic version of what would later become the latter's hugely successful Sérgio Mendes & Brasil '66. The threat of being drafted and sent to Vietnam caused him to return quickly to Brazil, however, although the following year saw him return and have a more positive experience which included his debut American release Braziliance! on Warner Bros. Records, several appearances on the Andy Williams TV show. Following session work on Verve records releases by compatriots Walter Wanderley and Astrud Gilberto, the label released Valle's Samba '68 album featuring English-language versions of assorted songs from his earlier Brazilian releases.
Shortly thereafter, feeling homesick, Valle returned to Brazil and entered a new creative phase in his career. 1968's Viola Enluarada album was a more introspective affair, with Valle's songwriting attaining a more mature and reflective tenor far removed from the frothy and lighthearted feel of the "Samba '68" album. The title track became one of Valle's signature compositions and was a duet with the up-and-coming future icon Milton Nascimento. It also featured a surprising political bent previously absent in Valle's work, and the album as a whole pointed to a broader range of musical influences that moved him out of the box marked "bossa nova artist".
This process continued on 1969's Mustang Cor De Sangue, another leap forward that incorporated rock, soul and pop styles, all stamped with Valle's unmistakable melodic style. His work here reflected the sophisticated pop approach of American songwriters such as Jimmy Webb and Burt Bacharach as well as the inescapable influence of The Beatles.
Around this time, Valle was tapped to create theme music for assorted TV programs and "novelas" (soap operas), which over the next few years would become one of the main outlets for his work, along with advertising jingles. 1970's Marcos Valle (often referred to as "The Bed Album" due to its cover shot of Valle in bed) was his most adventurous effort to date as well as his most rock and psychedelic-influenced music up to that point. Backed by Milton Nascimento's backing band Som Imaginário, Valle explored a more eccentric approach, with a number of futuristic tracks and an extended instrumental suite not unlike the work of U.S. composer/producer David Axelrod. 1971's Garra was a career highpoint, a pop masterwork that summed up his music and still stands as one of the finest pop albums of the era, Brazilian or otherwise. Its effervescent pop/jazz/soul/bossa/film soundtrack musical stylings were matched by lyrics that attempted to reconcile Valle's hippie leanings with his status as a wealthy young musician who was also a successful businessman because of his successful novela soundtracks and corporate advertising accounts. Tele-novelas he provided some or all of the music for during this period included O Cafona, Minha Doce Namorada, Pigmalião 70, Os Ossos Do Barão and, most prominently, Selva De Pedra.
1972's Vento Sul album found Valle long-haired and bearded, and backed by the progressive rock band O Terço. His most experimental and left-field effort to date, it was something of a sales flop, although it has accumulated many admirers over the ensuing decades. The following year's Previsão do Tempo fared better and was an innovative effort made in conjunction with the band who initially formed to back Valle at live shows and named themselves after one of his songs, Azimuth (soon to change the spelling to Azymuth). This album had a notable jazz fusion influence due to Azymuth keyboardist José Roberto Bertrami's expertise on the Fender Rhodes keyboard and assorted synthesizers such as the Mini-Moog and the ARP Soloist. This sound would later prove a decisive influence on the Acid Jazz scene in Europe twenty years later.
In 1974 Valle provided the music for "Vila Sésamo", Brazil's version of "Sesame Street". He also released his final album on EMI, another self-titled effort. This album differed yet again from its predecessors in pursuing a piano pop sound reminiscent in turns of Elton John, Todd Rundgren and Bread, and replete with elaborate vocal arrangements. At this point, Valle had grown tired of the strictures of living and working under Brazil's military dictatorship, then in its darkest and bleakest phase. He therefore decided to return to the U.S., where he spent the rest of the decade. Settling in Los Angeles, he entered into collaborations with artists as diverse as Sarah Vaughan, Chicago and rnb singer and songwriter Leon Ware. Valle and Ware found themselves especially compatible, and wrote many songs together, Valle appearing on several of Ware's Elektra album releases.
Valle's precocious talent was evident from his high school years, which coincided with the height of the Bossa Nova movement in Rio. His classmates included future legends like Edu Lobo and Dori Caymmi, and his composition Sonho De Maria was included on the Avanço album by the highly influential Tamba Trio in 1963. With his brother Paulo Sérgio Valle as his lyricist, he had already built an impressive portfolio of songs, prompting the Odeon label (a subsidiary of EMI) to sign him to a recording contract. His debut album Samba Demais was released early in 1964. His reputation quickly spread, and his contemporaries on the music scene (including Wilson Simonal, Elis Regina, Nara Leão and many others) lined up to record his songs. A second album, O Compositor e o Cantor, followed in 1965, and featured the debut of what would become his most recognizable song, Samba De Verão (known in English as "So Nice (Summer Samba)"), as well as other instant classics as Deus Brasileiro, Gente and A Resposta.
1966 brought Valle's first trip to the U.S., where he and his then-wife Anamaria teamed up with the also recently-emigrated Sérgio Mendes briefly in an embryonic version of what would later become the latter's hugely successful Sérgio Mendes & Brasil '66. The threat of being drafted and sent to Vietnam caused him to return quickly to Brazil, however, although the following year saw him return and have a more positive experience which included his debut American release Braziliance! on Warner Bros. Records, several appearances on the Andy Williams TV show. Following session work on Verve records releases by compatriots Walter Wanderley and Astrud Gilberto, the label released Valle's Samba '68 album featuring English-language versions of assorted songs from his earlier Brazilian releases.
Shortly thereafter, feeling homesick, Valle returned to Brazil and entered a new creative phase in his career. 1968's Viola Enluarada album was a more introspective affair, with Valle's songwriting attaining a more mature and reflective tenor far removed from the frothy and lighthearted feel of the "Samba '68" album. The title track became one of Valle's signature compositions and was a duet with the up-and-coming future icon Milton Nascimento. It also featured a surprising political bent previously absent in Valle's work, and the album as a whole pointed to a broader range of musical influences that moved him out of the box marked "bossa nova artist".
This process continued on 1969's Mustang Cor De Sangue, another leap forward that incorporated rock, soul and pop styles, all stamped with Valle's unmistakable melodic style. His work here reflected the sophisticated pop approach of American songwriters such as Jimmy Webb and Burt Bacharach as well as the inescapable influence of The Beatles.
Around this time, Valle was tapped to create theme music for assorted TV programs and "novelas" (soap operas), which over the next few years would become one of the main outlets for his work, along with advertising jingles. 1970's Marcos Valle (often referred to as "The Bed Album" due to its cover shot of Valle in bed) was his most adventurous effort to date as well as his most rock and psychedelic-influenced music up to that point. Backed by Milton Nascimento's backing band Som Imaginário, Valle explored a more eccentric approach, with a number of futuristic tracks and an extended instrumental suite not unlike the work of U.S. composer/producer David Axelrod. 1971's Garra was a career highpoint, a pop masterwork that summed up his music and still stands as one of the finest pop albums of the era, Brazilian or otherwise. Its effervescent pop/jazz/soul/bossa/film soundtrack musical stylings were matched by lyrics that attempted to reconcile Valle's hippie leanings with his status as a wealthy young musician who was also a successful businessman because of his successful novela soundtracks and corporate advertising accounts. Tele-novelas he provided some or all of the music for during this period included O Cafona, Minha Doce Namorada, Pigmalião 70, Os Ossos Do Barão and, most prominently, Selva De Pedra.
1972's Vento Sul album found Valle long-haired and bearded, and backed by the progressive rock band O Terço. His most experimental and left-field effort to date, it was something of a sales flop, although it has accumulated many admirers over the ensuing decades. The following year's Previsão do Tempo fared better and was an innovative effort made in conjunction with the band who initially formed to back Valle at live shows and named themselves after one of his songs, Azimuth (soon to change the spelling to Azymuth). This album had a notable jazz fusion influence due to Azymuth keyboardist José Roberto Bertrami's expertise on the Fender Rhodes keyboard and assorted synthesizers such as the Mini-Moog and the ARP Soloist. This sound would later prove a decisive influence on the Acid Jazz scene in Europe twenty years later.
In 1974 Valle provided the music for "Vila Sésamo", Brazil's version of "Sesame Street". He also released his final album on EMI, another self-titled effort. This album differed yet again from its predecessors in pursuing a piano pop sound reminiscent in turns of Elton John, Todd Rundgren and Bread, and replete with elaborate vocal arrangements. At this point, Valle had grown tired of the strictures of living and working under Brazil's military dictatorship, then in its darkest and bleakest phase. He therefore decided to return to the U.S., where he spent the rest of the decade. Settling in Los Angeles, he entered into collaborations with artists as diverse as Sarah Vaughan, Chicago and rnb singer and songwriter Leon Ware. Valle and Ware found themselves especially compatible, and wrote many songs together, Valle appearing on several of Ware's Elektra album releases.
Seu encanto
Marcos Valle Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Você é tanto que na vida nada tem o seu encanto
E nem, mesmo a luz do dia tem toda a sua alegria
Nem a primavera tem tanta espera
Como se espera você vir chegando
E por isso vamos a cantar e ver que o povo também canta
Que já chega de ser triste é porque o amor existe
É só se entregar, se deixar amar
Depois tudo vem
E nem, mesmo a luz do dia tem toda a sua alegria
Nem a primavera tem tanta espera
Como se espera você vir chegando
E por isso vamos a cantar e ver que o povo também canta
Que já chega de ser triste é porque o amor existe
É só se entregar, se deixar amar
Depois tudo vem
The lyrics of Marcos Valle's song "Seu Encanto" speak of the overwhelming effect that one person can have on an individual. The first line translates to "You are so much that in life nothing has your charm" which denotes the unmatched allure of the person in question. The following line "and not even the light of day has all of your happiness" reiterates the idea that this person is the source of joy in the singer's life, and without them, life loses its vibrancy. The chorus of the song is an exhortation to celebrate this love and share the joy that comes with it with others. The line "It's time to stop being sad, because love exists. Just give yourself over, let yourself be loved, and then everything else will come" is an ode to the transformative power of love and the happiness that it can bring. The song's lyrics are an ode to the power of love, and the way it can fill life with joy and meaning.
Line by Line Meaning
Você é tanto que na vida nada tem o seu encanto
You are so much that nothing in life holds your charm
E nem, mesmo a luz do dia tem toda a sua alegria
Not even the daylight can match your happiness
Nem a primavera tem tanta espera
Not even spring has such anticipation
Como se espera você vir chegando
As we wait for you to arrive
E por isso vamos a cantar e ver que o povo também canta
And that's why we sing, to see that people also sing
Que já chega de ser triste é porque o amor existe
That enough of sadness, because love exists
É só se entregar, se deixar amar
Just surrender, let yourself be loved
Depois tudo vem
Then everything comes
Contributed by Mia I. Suggest a correction in the comments below.
To comment on or correct specific content, highlight it
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
Paula Priscila
Você é tanto
Que na vida nada tem o seu encanto
E nem mesmo a luz do dia
Tem toda sua alegria
Nem a primavera tem tanta espera
Como se espera você
Vem chegando
Por isso, vamos a cantar
E ver que o povo também cante
Que já chega de ser triste
E porque o amor existe
É só se entregar, se deixar amar
Depois tudo vem!
Composição: Marcos Valle / Paulo Sérgio Valle
Mariana de Oliveira
Seu encanto
(Marcos Valle/Paulo Sérgio Valle/Pingarilho)
Você é tanto
Que na vida nada tem
O seu encanto, e nem mesmo
A luz do dia tem toda a sua alegria
Nem a primavera tem tanta espera
Como se espera você vir chegando
Por isso, vamos a cantar
E ver que o povo também cante
Que já chega de ser triste
E porque o amor existe
É só se entregar, se deixar amar
Depois tudo vem
Nem a primavera tem tanta espera
Como se espera você vir chegando
Por isso, vamos a cantar
E ver que o povo também cante
Que já chega de ser triste
E porque o amor existe
É só se entregar, se deixar amar
Depois tudo vem
Astorte
You're so much to me
That nothing in life
Holds your charms; not even
The light of day holds all its joy
Nor is there such hope for the arrival of spring
As I have for yours
And so let's sing
And see that the people sing, too
That's enough of sadness
And since there is love
Just give yourself over to it, let yourself be loved
The rest will follow
Paula Priscila
Você é tanto
Que na vida nada tem o seu encanto
E nem mesmo a luz do dia
Tem toda sua alegria
Nem a primavera tem tanta espera
Como se espera você
Vem chegando
Por isso, vamos a cantar
E ver que o povo também cante
Que já chega de ser triste
E porque o amor existe
É só se entregar, se deixar amar
Depois tudo vem!
Composição: Marcos Valle / Paulo Sérgio Valle
Rijalul Muttaqin
Obrigado
Antonio Fernandes de Queiroga
Uma das mais belas músicas brasileiras...inspiração total.
ELSA GRANADOS
Todo mi cariño y admiración al Gran Marcos Valle...Te quiero mucho, mucho!!
Rafael Joseph
Que maravilha! Ficou linda a versão em inglês cantada por Stacey Kent e Marcos Valle. https://www.youtube.com/watch?v=m02rylSTMJw
Moyses Serfaty
Amo essa música. Parabéns Marcos, Paulo Sergio e Pingarilho !!
Mariana de Oliveira
Amo essa música.
am74343
This tune is also on the "Samba '68" album, entitled: "The Face I Love".
Fausto de Souza Nascimento
A MINHA AMADA E SAUDOSA MÃE ADORAVA ESSA LINDA COMPOSIÇÃO MUSICAL E CITANDO NA BATERIA O GRANDE MESTRE WILSON DAS NEVES .SAUDADES DESSA ÉPOCA MARAVILHOSA,UM BRASIL DIFERENTE,A SAUDADE É O AMOR QUE FICA.
Yara Correa Caio
encanto essa musica e um encanto linderrima