Gilberto Gil, along with his good friend and sometimes collaborator Caetano Veloso managed to fit being a TV talent show contestant and a political prisoner onto his CV in the same year. That itself is an achievement (and BTW he required stitches- after appearing in the TV talent show). Mind you that was in 1968 – a bit of a crazy year in Gil’s long and esteemed career.
Gilberto’s lyrics are witty and intelligent and discuss issues such as the role of the artist in society and African-Brazilian identity. Check Geleia Geral for a seriously funky exploration of Brazilian society and it’s inequalities. He has collaborated with peers such as Jorge Ben Jor and Chico Buarque (check the footage of the Brazilian military police cutting Buarques microphone while they were performing Buarques anti censorship classic ‘ Chalice) written songs for the Elis Regina and Gal Costa and been covered by many of his compatriots not least Sergio Mendes. But his most losest musical relationship is with Caetano Veloso. They were guiding lights of the Tropicalia movement which brought western rock to the Brazilian music and also helped show that other regions of Brazil (namely Bahia) had something to offer Brazilian music. The movement also challenged Brazilian notions of gender, race and sex roles. What is amazing that this was done in the very populist arena of TV talent shows! Gil and Veloso broke through in the 1967 Rede record festival. On his song ‘Domingo No parque’ Gil was joined by the group Os Mutantes. Despite its happy tune it is about the aftermath of a crime of passion. Check out the two versions of ‘procissão’ (the first sweetly acoustic, the next a manic piece of psychedelic rock courtesy of Os Mutantes) to witness what dramatic changes Tropicalia and its adherents had on Brazilian music.
But there is so much more to Gil’s career than Tropicalia. Gil has incorporated Soul, Funk and hip hop along with other genres into his music and championed obscure Brazilian musical In particular Gil got interested in Reggae while forcibly exiled in Notting Hill, London in the early 1970’s. He brought his interest with him when he returned to Brazil. He also supported the afoxe group Filhos de Gandhi.
Gil has been at the forefront of the Black consciousness movement in Brazil since the 1970’s, along with Jorge Ben Jor and continues to explore the links between Brazil and African and their peoples. He is also a proud resident of Bahia (a largely African Brazilian state). His paean to its womenfolk ‘Todo Menina Baiana’ is a song I remember with great fondness from my childhood (thanks to the mighty Peter Young)
One of Gils’ most beloved songs is Aquele Abraco which he wrote as a farewell to Brazil when he knew he was going to be exiled. It is filled with Joy and love rather than sadness and bitterness. It is a song which deliberately works best live with an audience response. Ironically It was used as a theme song for the successfully Rio de Janeiro Olympic bid!
Gilberto served as Minister of Culture under Luiz Inácio Lula da Silva between 2003-2008.
He still tours regularly and I have had the pleasure of seeing him twice in concert in the last two years (and will do again soon) He is able to play a set of over two hours more or less by himself (with his son and a Cellist accompanying him)and keep the audience completely enthralled. He still plays a .set several hours long at the Salvador Carnival! He is also a rather fine looking man!
Gilbert Gil has a great website at http://www.gilbertogil.com.br/ where most of his recorded output is available for listening to. He has written and recorded hundreds of song and you will be richly rewarded by investigating his output.
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