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.
Incêndio
Ney Matogrosso Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Incêndio nas ruas
bomba, bomba, bomba, praça
Vielas, ratos, figuras, nuas
Plástico, jornal, rajada
Contagem, atraso
Pânico, pulseira, brinco, colar
Incêndio nas ruas
Incêndio nas ruas
Incêndio nas ruas
Incêndio nas ruas
Fogo, fogo, fogo, água
Incêndio nas ruas
bomba, bomba, bomba, praça
Vielas, ratos, figuras, nuas
Plástico, jornal, rajada
Contagem, atraso
Pânico, pulseira, brinco, colar
Carteira, rádio, anel, sacola
Incêndio nas ruas
Incêndio nas ruas
Incêndio nas ruas
Incêndio nas ruas
Ney Matogrosso's song "Incêndio" is a commentary on the chaos and destruction that can arise in the urban landscape, specifically the streets of Brazil. The repetition of "Fogo, fogo, fogo, água" which translates to "Fire, fire, fire, water" emphasizes the uncontrollable nature of the situation. The lyrics mention bombs, rats, and naked figures, painting a picture of a city in turmoil. The line "Plástico, jornal, rajada" or "Plastic, newspaper, burst" suggests that this calamity has been sparked by something as insignificant as a stray newspaper or piece of plastic, emphasizing the fragility of city life.
The mention of personal belongings such as pulseiras, brincos, colares, radios, and carteiras, which translate to bracelets, earrings, necklaces, radio, and wallet, adds a personal touch to the lyrics. This implies that the destruction caused by the fire is not limited to physical damage but also loss of personal possessions and memories.
Overall, "Incêndio" highlights the chaos and destruction caused by urbanization and emphasizes the importance of paying attention to the fragility of city life.
Line by Line Meaning
Fogo, fogo, fogo, água
There's a fire that needs to be put out as soon as possible.
Incêndio nas ruas
The fire is literally on the streets, causing destruction and chaos.
Bomba, bomba, bomba, praça
The situation is so dire that even the main public square is being targeted with bombs.
Vielas, ratos, figuras, nuas
The fire has spread to the narrow alleys where rats, shady characters, and even naked people can be seen.
Plástico, jornal, rajada
The fire is fueled by plastic and newspaper, and the wind is making things worse.
Contagem, atraso
Time seems to stand still as people count the losses and wonder how they will move forward.
Pânico, pulseira, brinco, colar
People are scared and trying to hold on to their valuables, like bracelets, earrings, and necklaces.
Carteira, rádio, anel, sacola
Other possessions that are at risk include wallets, radios, rings, and bags.
Incêndio nas ruas
Once again, the focus turns back to the fire that rages on the streets.
Incêndio nas ruas
The repetition of this line emphasizes the severity of the situation and the urgent need for action.
Incêndio nas ruas
The song ends with a haunting refrain of the same line, leaving the listener with a sense of unease and uncertainty about the future.
Contributed by Jayce A. Suggest a correction in the comments below.
Paulo Fernando
O que é isso bicho? Ney incendeia palco e plateia. Pedro Luiz e Ney, que fusão magnífica. Que letra explosiva.
Felipe Asevedo
Ney é atemporal. Grandiosa interpretação!
Luis Carlos Mendes
Interpretação maravilhosa ♥
Fernanda Gomes
o Ney não envelhece ! lindo
Cláudio Reis
Essa música é maaaasssaaaaa !!!!
Rockett Aycha
Incrível!
Carmen Conde
ele é fantastico
Luiz Maurício Coelho Lima
Viver é deixar viver.
walquiria santos
Amor Eterno!
Emilia Brasil
Ney Matogrosso maravilhoso! lindíssimo teu Show...em Lynn, Ma. Tens que voltar. Sugestão? Outubro 8, com o Milton Nascimento na Berkeley - em Boston. Outono é lindo em Boston. (Bônus? Novas vacinas para melhor proteção)