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.
Fratura Exposta
Ney Matogrosso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
À luz do dia
A posta em prática
No final da noite
Sorteio sul e norte
O desnorteio
Perigo à vista
Queima roupa sem dor
Fratura exposta
Check-up sentimental
Fratura exposta
Strip-tease radical
Fratura exposta
Tirando a roupa devagar
Fratura exposta
Carne morta de amor
Fratura exposta
Na porta dos açougues
Pra quem não sabe
Tive vários amores
Esses anos todos
Guardei fotos à cores
Pra quem não sabe
Já parti corações
É a minha vez
De ser jogado aos leões
À arena, à sorte, à morte
Ao desnorteio
Perigo à vista
Queima roupa sem dor
Perigo à vista
Queima roupa sem dor
Fratura exposta
Na porta dos açougues
Pra quem não sabe
Tive vários amores
Esses anos todos
Guardei fotos à cores
Pra quem não sabe
Já parti corações
É a minha vez
De ser jogado aos leões
À arena, à sorte, à morte
Ao desnorteio
Perigo à vista
Queima roupa sem dor
Perigo à vista
Queima roupa sem dor
Perigo à vista
Perigo à vista
Queima roupa sem dor
The song "Fratura Exposta" by Ney Matogrosso is a poetic exploration of the emotional trauma caused by love and heartbreak. The title and repeated refrain, "Fratura Exposta", which translates to "exposed fracture", serves as a metaphor for the raw emotional pain that is revealed in the aftermath of a failed relationship. The imagery in the opening lines of the song, "À luz do dia/Aposta em prática/No final da noite" ("In the light of day/ The bet put into practice/At the end of the night"), suggests that the singer is engaging in risky behavior in order to numb their pain and escape the reality of their broken heart.
Throughout the song, there is a sense of recklessness and danger, as the singer describes a "check-up sentimental" and "strip-tease radical" as ways of exposing their emotional wounds. The line "Queima roupa sem dor" ("Burn at close range without pain") lends a sense of brutality to the situation, suggesting that the pain is intense and unavoidable. The chorus, which repeats the refrain "Fratura Exposta" several times, serves to reinforce the central metaphor and emphasize the depth of the singer's emotional injury.
Overall, "Fratura Exposta" is a poignant exploration of the pain and vulnerability that can accompany love and heartbreak. The lyrics use striking imagery and metaphor to convey the intensity of the singer's feelings, and the repeated refrains create a sense of emotional urgency and intensity.
Line by Line Meaning
Fratura exposta
Raw, exposed wound
À luz do dia
In broad daylight
A posta em prática
Put into practice
No final da noite
At the end of the night
Sorteio sul e norte
A lottery of ups and downs
O desnorteio
The confusion
Perigo à vista
Danger ahead
Queima roupa sem dor
Close-range shots without pain
Check-up sentimental
Emotional check-up
Strip-tease radical
Radical strip-tease
Tirando a roupa devagar
Taking off clothes slowly
Carne morta de amor
Dead flesh of love
Na porta dos açougues
At the butchers' door
Pra quem não sabe
For those who don't know
Tive vários amores
I had several loves
Esses anos todos
All these years
Guardei fotos à cores
I kept color photos
Já parti corações
I have broken hearts before
É a minha vez
It's my turn
De ser jogado aos leões
To be thrown to the lions
À arena, à sorte, à morte
To the arena, to fate, to death
Contributed by Elliot L. Suggest a correction in the comments below.