An uncommon artist with an uncommon sopranino voice, Ney Matogrosso fell in the Brazilian popular music scene like a bomb in the '70s aboard the Secos & Molhados. The end of the group marked the beginning of a fertile and successful solo career in which he began exploring his sensuous and charismatic persona through satiric and ironic repertories. As time passed, he substituted self-contained and deeply sensitive interpretations of classics for the popular and classical Brazilian music. Along with his representative and prolific solo discography, for which he received three platinum and three gold records, Matogrosso recorded in Itália with Astor Piazzola, performed in Argentina, Uruguay, participated in two Montreux Jazz Festivals (Switzerland), and toured Portugal several times. He also performed in Israel and the U.S., but always refused invitations to develop an international career. Matogrosso also worked as an actor in Sonho de Valsa (by Ana Carolina, the director, not the singer/composer) and Caramujo Flor (short subject by Joel Pizzini), and directed shows by RPM, Cazuza, and Simone.
Arriving in Rio de Janeiro in 1966, Matogrosso became a hippie leather artisan and divided his time between Rio, São Paulo, and Brasília, where he was a close friend of singer/composer Luli. Through her he met João Ricardo, who had a vision for a groundbreaking group and was searching for a high-pitched male voice. Invited by Ricardo, Matogrosso moved to São Paulo where he spent one year dedicating himself to exhaustive rehearsals, artisanship, and theater plays. With the explosive success of Secos e Molhados and the group's final dissolution, Matogrosso started his solo career exploring his unusual voice timbre, his mesmerizing scenic persona, and his androgynous visuals, enhanced by innovative and exotic costumes. A second solo album, Água do Céu - Pássaro, was supported by the show Homem de Neanderthal, in 1975, with which Matogrosso opened in Rio de Janeiro, drawing both raves and packed houses. "Barco Negro" and "Homem com H" appeared amongst considerable polemics aroused by the usual conservatives on duty. In that period, he worked with Astor Piazzola in Milan, Italy, where he recorded a double single with the Argentinean composer. A cleaner Matogrosso recorded Bandido in 1976, having his first national hit as a solo artist with "Bandido Corazón," written especially for him by Rita Lee.
Doce De Coco
Ney Matogrosso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Pra você repensar em nós dois
Não demolir o que ainda restou pra depois
Sabes que a língua do povo
É contumaz traiçoeira
Quer incendiar, desordeira, atear fogo ao fogo
E os punhais cravados pela ingratidão
Sabes também quanto é passageira essa desavença
Não destrates o amor
Se o problema é pedir, implorar
Vem aqui, fica aqui lalá
Pisa aqui, neste meu coração
Que é só teu, todinho teu
Escurraça, faz dele de gato e sapato
E o inferniza e o ameaça
Pisando, ofendendo, desconsiderando
Descomposturando com todo vigor
Mas se tal não bastar
O remédio é tocar
Esse barco do jeito que está
Sem duas vezes se cogitar
Doce de côco, meu bombocado
Meu mau pedaço de fato és um esparadrapo
Que não desgrudou de mim
Se o problema é pedir, implorar
Vem aqui, fica aqui fica aqui
Pisa aqui neste meu coração
Que é só teu, todinho teu
Escurraça, faz dele de gato e sapato
E o inferniza e o ameaça
Pisando, ofendendo, desconsiderando
Descomposturando com todo vigor
Mas se tal não bastar
O remédio é tocar
Este barco do jeito que está
Sem duas vezes se cogitar
Doce de côco, meu bombocado
Meu mau pedaço de fato és o esparadrapo
Que não desgrudou de mim
Venho implorar
The song "Doce De Coco" by Ney Matogrosso is a plea to reconsider a relationship that has been damaged. The singer implores the other person to not demolish what is left between them, emphasizing that the words of people can be treacherous and incite chaos and destruction. He acknowledges the wounds inflicted by ingratitude and highlights the fleetingness of their disagreement, urging them not to undermine love.
The lyrics express a mix of desperation, vulnerability, and a desire for reconciliation. The singer is willing to endure mistreatment and degradation if it means holding onto the relationship, but also suggests that if all else fails, they will let the situation be and accept it as it is.
Line by Line Meaning
Venho implorar
I come begging
Pra você repensar em nós dois
For you to reconsider us
Não demolir o que ainda restou pra depois
Not to demolish what is left for later
Sabes que a língua do povo
You know that the people's tongue
É contumaz traiçoeira
Is persistently treacherous
Quer incendiar, desordeira, atear fogo ao fogo
It wants to set fire, cause disorder, ignite fire on fire
Tu sabes bem, quantas portas tem meu coração
You know well, how many doors my heart has
E os punhais cravados pela ingratidão
And the daggers stabbed by ingratitude
Sabes também quanto é passageira essa desavença
You also know how temporary this conflict is
Não destrates o amor
Do not mistreat the love
Se o problema é pedir, implorar
If the problem is to ask, to beg
Vem aqui, fica aqui lalá
Come here, stay here lalala
Pisa aqui, neste meu coração
Step on here, on this heart of mine
Que é só teu, todinho teu
That is only yours, completely yours
Escurraça, faz dele de gato e sapato
Drive it away, make it your slave
E o inferniza e o ameaça
And torment and threaten it
Pisando, ofendendo, desconsiderando
Stepping on, offending, disregarding
Descomposturando com todo vigor
Disrupting with full force
Mas se tal não bastar
But if that is not enough
O remédio é tocar
The remedy is to play
Esse barco do jeito que está
This boat as it is
Sem duas vezes se cogitar
Without thinking twice
Doce de côco, meu bombocado
Sweet coconut, my special treat
Meu mau pedaço de fato és um esparadrapo
My bad piece is indeed a Band-Aid
Que não desgrudou de mim
That hasn't come off from me
Lyrics © O/B/O APRA AMCOS
Written by: Herminio Bello De Carvalho, Jacob Pick Bittencourt
Lyrics Licensed & Provided by LyricFind