Ney Matogrosso - Bloco Na Rua (Deluxe) '2019

Tracks list

Langue disponible : anglais

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 e
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 groups 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. While Matogrosso wanted to
challenge prejudices and preconceptions with his satiric, ironic, and sensuous
performances and choices of repertory, he also wanted to be regarded as a
serious and sensitive interpreter. He tried to gain this respect with his
memorable renditions of songs by complex composers like Chico Buarque: Deixa a
Menina, Tanto Amar, Até o Fim, and the album Um Brasileiro (1996). But he
also wanted to be regarded as an evolving and open-minded artist associating
himself to the nascent Brazilian rock of the 80s, recording Por que a Gente é
assim?, Pro dia nascer Feliz, Fogo e Risco, and Tão Perto. In 1986, with the
show A Luz do Solo,Matogrosso abandoned all fantasies and focused exclusively on
his mature singing, passionately revisiting classics of Brazilian popular music
like Dora, Nem Eu, Retrato em Branco e Preto, Último Desejo, Três Apitos,
Da Cor do Pecado, No Rancho Fundo, Modinha, Autonomia, and Na Baixa do
Sapateiro. Accompanied by the best Brazilian musicians since beginning as a solo
artist, he surpassed all expectations with the show Pescador de Pérolas
(1987), in which he had Raphael Rabello, Arthur Moreira Lima, Paulo Moura, and
Chacal both in the live performances and on the album. In 1992, he also had
splendid accompaniment, this time by the group Aquarela Carioca, in his show and
album As Aparências Enganam (released the next year), where he performed El
Manisero. In 1997, Matogrosso recorded Cair da Tarde, an ambitious project
devoted to the works of Tom Jobim and Heitor Villa-Lobos. Having proven his
point earlier in life, Matogrosso has dedicated himself to his deep renditions
of the classics of Brazilian popular music. This spirit dominates Batuque
(2001), in which he focuses on sambas, choros, and Carnival marchinhas of the
30s and 40s. ~ Alvaro Neder

Tracklist:
01. Ney Matogrosso - Eu Quero É Botar Meu Bloco Na Rua (4:16)
02. Ney Matogrosso - Jardins da Babilônia (3:15)
03. Ney Matogrosso - O Beco (3:48)
04. Ney Matogrosso - Álcool (Bolero Filosófico) (5:48)
05. Ney Matogrosso - Já Sei (4:21)
06. Ney Matogrosso - Pavão Mysteriozo (4:45)
07. Ney Matogrosso - Tua Cantiga (3:56)
08. Ney Matogrosso - A Maçã (3:25)
09. Ney Matogrosso - Yolanda (Yolanda) (4:51)
10. Ney Matogrosso - Postal de Amor (5:03)
11. Ney Matogrosso - Ponta do Lápis (3:43)
12. Ney Matogrosso - Tem Gente Com Fome (2:32)
13. Ney Matogrosso - Corista de Rock (3:25)
14. Ney Matogrosso - Já Que Tem Que (4:19)
15. Ney Matogrosso - O Último Dia (3:42)
16. Ney Matogrosso - Inominável (4:00)
17. Ney Matogrosso - Sangue Latino (2:16)
18. Ney Matogrosso - Coração Civil (2:21)
19. Ney Matogrosso - Mulher Barriguda (2:30)
20. Ney Matogrosso - Como 2 e 2 (4:17)

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