As this is the last BMoF before the summer break, I had hoped to post something cheerful (especially since we are leaving for Brazil tomorrow). But after a week of so much tragedy – the horrific situation in Gaza, the MH17 flight shot down in Ukraine – it is hard to think of anything that might be remotely appropriate to post today. There is however a song by recent BMoF guests Legião Urbana, a beautiful song about death, which might be just right: 'Vento no litoral'. Renato Russo wrote it after his long-time boyfriend had died, a victim of AIDS (which would in turn take Russo’s life a few years later). To be sure, the song does not have a political dimension to go with the deaths in Gaza and in Ukraine, but insofar as these are also private deaths (many people are now mourning the loss of their mother, father, son, daughter, lover, friend etc.), the song is spot-on what it means to still be alive after the death of a loved one. “Where are you now, beside here inside of me?”
[Special edition] After the massacre of yesterday, there is little left to do other than reminding oneself of other, more mutually rewarding Brazilian-German encounters. So here is ‘Garota de Berlin’, the song that owes its existence to the brief but intense encounter between German singer Nina Hagen and Brazilian singer Supla. This happened back in 1985, when Hagen went to Brazil to perform in the first edition of the Rock in Rio festival. At the time, Supla, now also a reality TV celebrity of somewhat dubious reputation (and the son of two influential politicians – quite a mix!), led the post-punk band Tokyo, and so the band ended up recording ‘Garota de Berlin’ with Hagen’s participation.
The video-clip below is almost comic in its badness, and the song is not exactly a high point in Brazilian music. (I didn’t say that this particular Brazilian-German encounter would be rewarding for all the parties involved, including listeners.) But it is a funny episode in the history of Brazil-Germany relations, and in any case way less painful than those depressing 6 minutes in yesterday's match -- which are easily the most painful 6 minutes in the history of the Seleção.
(On the bright side, I get another chance today! The joys of carrying two nationalities…)
It’s Friday evening, so I’m just in time for another BMoF. The reason for the ‘delay’ is that I just came back from Munich, and the notorious paucity of German youtube did not allow for a timely BMoF. But it was also in Munich that I finally got to meet Steven French, who besides being an accomplished philosopher of science and the editor of a ‘small, provincial journal’ (his words), is a big fan of Brazilian music. (He lived in Brazil for some time in the 1980s.) I asked Steven what his request would be for today’s BMoF, and his answer was: ‘Faroeste Caboclo’ (1987). It is an interesting choice: an extremely long song, with even longer lyrics (not a single line gets repeated), by a band that was hugely popular in my youth, Legião Urbana. (I posted a few songs by them a few years ago.) After the tragic death of leader Renato Russo (a victim of AIDS) in 1996, the band ceased to exist, but their music remains immensely popular among successions of younger generations.
‘Faroeste Caboclo’ tells the story of João de Santo Cristo, a criminal who ends up dying as a hero. The story is so elaborate that a whole movie was recently made based on the song. Below I am posting a video of the song illustrated with scenes from the movie, so that gives listeners who do not understand Portuguese at least an idea of what the whole thing is about. So all in all, a terrific suggestion by Steven, who I hope will like the video I'm posting below.
Last week I had a post up celebrating Chico Buarque’s birthday, and among other things I mentioned his relationship with young singer Thaís Gulin (I’m not sure if they are still together or not, but that’s not the point obviously). But it would be utterly unfair to portray her only as ‘Chico Buarque’s girlfriend’, and so to dispel this image of Gulin, here is one of her own songs, ‘Cinema big butts’. It is the strange mix of her own ‘Cinema americano’ interjected with her cover of the 1990s ‘trash-classic’ ‘Baby got back’. The result is at the very least surprising and refreshing. It is the kind of song that provokes reactions of either love or hate, but in any case no indifference; to me, it is strange and compelling at the same time. So, ‘shake that healthy butt!’
The great Chico Buarque joined the club of the ‘over-70’ yesterday (recall Caetano Veloso joining the club last year). Now, while one may speak of a constant stream of talented musicians in Brazilian music, we still haven’t come across anything like the brilliant generation of singers/composers emerging in the later 1960s, including Caetano Veloso, Gilberto Gil, Milton Nascimento and of course, Chico Buarque. They are now all in their early 70s, and alive and kicking. Chico Buarque in particular released an acclaimed new album in 2011 (Chico), and a DVD surveying his whole musical career in 2012. He also continues to pursue a celebrated literary career; in particular, his 2009 novel Spilt Milk has been translated into a number of languages (I very much enjoyed the novel myself).
To celebrate Chico’s birthday, here is ‘Essa pequena’ from his 2011 album (about his relationship with singer Thais Gulin – here is the two of them in the duo ‘Se eu soubesse’), and a classic, ‘O que será’ (1976), a duo with Milton Nascimento. So here’s to many more productive years for him, from which we all benefit…
Thanks to fellow Brazilian logician Valeria de Paiva, I cam across this amazing video, ‘City of Samba’, created by the multimedia artists Jarbas Agnelli and Keith Loutit. The city of samba is, of course, Rio de Janeiro, a city that is perennially beautiful no matter how you look at it; but through the tilt shift lenses of the artists, it becomes frankly supernatural. The music is also specially composed by Jarbas Agnelli, using non-percussion instruments to recreate the magical drumming of a samba school. (Here is a video where he explains the creative process.)
Many of you may by now be a bit fed-up with the World Cup-induced Brazil frenzy, but I assure you that this video will blow your mind even if you are suffering from Brazil-fatigue.
In less than a week from now, the opening match of the World Cup will take place, between Brazil and Croatia. Inevitably, the World Cup exposes spectators to a variety of national anthems from around the world – many of which we’d be just as well not having to listen to. To be honest, the Brazilian national anthem is not particularly beautiful, especially as the lyrics contain the usual dose of chauvinism; but in an instrumental version, here with the virtuoso mandolin player Hamilton de Holanda, it actually sounds surprisingly good.
Continuing the football-themed series I started last week, today I’m posting ‘Fio Maravilha’ by Jorge Ben(Jor). In January 1972, the iconic team Flamengo was playing a friendly game against the Portuguese team Benfica in the Maracanã, and Jorge Ben, a fanatic Flamengo supporter, was among the spectators. Less than 15 minutes before the end of the game, the score was a frustrating 0 x 0, and so the spectators started to demand that João Batista de Sales, a much beloved player who was benched for that match, be let in the game. Coach Mário Zagallo finally decided to comply, and Sales was brought in as a substitute. In no time he scored an astonishing goal, sadly not immortalized on video. The goal is however immortalized in the song ‘Fio Maravilha’, which was the nickname given to Sales after this match; it was an angel’s goal, according to Jorge Ben. The song became very popular and won a national song festival in 1972, in the voice of singer Maria Alcina.
Jorge Ben recorded 'Fio Maravilha' a number of times: I'm posting here 'Fio Maravilha' on its own, and also a hugely popular medley of this song with two other Jorge Ben classics: 'Taj Mahal' and 'País Tropical'. (And let me say for the 1000th time that Jorge Ben is an effing genius.)
In a few weeks, the football World Cup will start in Brazil, so in the coming weeks I will be posting a few football-themed songs. Don’t worry: I will not be posting the monstrosity that is the official theme song (with Pitbull & co. -- I refuse to put the link up). I will focus instead on some classics about football in Brazilian music.
Some may recall that the World Cup in Brazil has been surrounded by controversy, especially with the truly astonishing amount of money that seems to have gone into the construction of the stadiums. But like it or not, it will happen, so we may as well get ready for it.
Let me start with ‘É uma partida de futebol’ (1996) by the pop/ska band Skank (I’ve posted about them before). Both the song and the video nicely convey the fanatic, euphoric approach to football among fans in Brazil, with lots of footage from actual matches and the supporters; so quite a treat for football fans!
A few weeks ago, the Rainforest Alliance, an NGO whose aim is to "conserve biodiversity and ensure sustainable livelihoods", released a promotional song, ‘I’m alive’, recorded in the Tijuca Forest in Rio de Janeiro, celebrating the wonders of Brazilian rainforests. Some of my favorite Brazilian musicians (Caetano Veloso, Lenine, Criolo) were involved, and the song is inspired by Caetano’s ‘Nine out of Ten’, from his classic 1972 album ‘Transa’. There is a sense in which it is yet another slightly embarrassing attempt by musicians to get involved in a ‘good fight’, but the result is musically not bad at all actually, hence me posting it here at BMoF. But I’m also posting the original ‘Nine out of Ten’ by Caetano Veloso, which, as my friend Jeroen would put it, has a lot more ‘balls’ than this newer version….
Yesterday the great singer Jair Rodrigues passed away at age 75; he was healthy and musically active until the end of his life (performing an average of 15 concerts per month), and died of an acute, violent heart attack. He is one of the lesser-known but very talented singers to have emerged in the 1960s, known for his samba interpretations, but in fact very versatile as a singer. In the 1960s, he hosted a very popular weekly show on TV with Elis Regina, in which many memorable duets with both were recorded.
I’m posting here the song that Jair Rodrigues is perhaps best known for, the classic ‘Deixa isso pra lá’ (1964) (a surprisingly modern proto-rap), and one of his medley duos with Elis Regina – this one with lots of Bossa Nova classics. He will be missed.
This week I am posting ‘Palco’, a 1981 song by Gilberto Gil. The other day I was reminded of this song and then showed it to my daughters; they now love it, especially the part at the beginning that goes ‘my soul smells like talcum power, like a baby’s buttocks’ (‘minha alma cheira a talco, como bumbum de bebê'). It’s a great song, even if betrays its 1980s-ness in the instrumental overproduction. But it’s upbeat and lively, so perfect to put ya’ll in the mood for the weekend.
I’m in San Diego at the moment for the Pacific APA. Naturally, California rhymes with sea and sun, and in the absence of a California-themed Brazilian song worth posting (of course, there’s this silly one by Lulu Santos), I had to think of the classic ‘Wave’, composed by Tom Jobim and perhaps best known in the João Gilberto version. But I’m also posting it in the original instrumental version, by Jobim himself, and a live version with Jobim and Herbie Hancock. In other words, plenty of choice for picky ears...
BMoF's guest of this week is Luciana Souza, a Brazilian singer who is surprisingly little known in Brazil, having been based in the US for many years now. (Indeed, I discovered her recently thanks to the recommendation of a BMoF reader.) And yet, she has been receiving wide recognition for her work, including a number of Grammy nominations. One of the remarkable features of her career is that she continues to record classics from Brazilian music, while also making quite a splash in the more ‘traditional’ jazz scene. I’m quite impressed with how versatile Luciana is proving to be, being such an accomplished interpreter both of American standards and Brazilian classics.
Indeed, last year she released TWO albums (check here for a promotional video of both): one is the third installment of her Duos series, all of which containing nothing but Brazilian songs; the other is called The Book of Chet, and includes classics of the ‘Chet Baker sings’ repertoire. (Having spent a considerable portion of my youth listening to these Chet Baker recordings, I was particularly pleased to discover the Chet album…) Both albums received Grammy nominations, in different categories (Latin jazz and jazz vocal, respectively).
From Duos III, I’m posting ‘Doralice’, made famous through the João Gilberto classic version, and 'Lamento Sertanejo' (the very same song of last week's BMoF) in a medley with Djavan's beautiful 'Maçã do rosto'; from The Book of Chet I’m posting ‘The thrill is gone’ (my favorite from the album is ‘I get along without you very well’, but sadly I couldn’t find it on youtube). This should be more than enough to convince everyone of Luciana's exceptional talent.
The episode of this week in the web-series Dominguinhos+ has an unbelievably beautiful version of ‘Lamento Sertanejo’, one of Dominguinhos’ classics (also famous in the Gilberto Gil version). It is an amazing collaboration between singer Mayra Andrade, mandolinist Hamilton de Holanda, and guitarist Yamandu Costa, two of the most talented musicians currently in activity in Brazil. Dominguinhos’ accordion itself is not heard here, but the virtuosity of the two musicians combined with Mayra Andrade’s limpid voice is an absolute killer.
Still on time for a BMoF today, and here is a recently released video clip/short film by rapper Criolo (that I'm a bit of a fan is no secret to anyone) of two tracks, 'Duas de Cinco' and 'Cóccix-ência'. Hope ya'll in the mood for rap on Fridays today!
This week we had the pleasure of welcoming Jerrold Levinson for a workshop in Groningen. I had never met Jerry in person before, but I had anticipated great conversations on music, given his influential work on the aesthetics of music. Well, as it turns out, it was even better than expected (and would have been better only if we had had more time to talk). It involved in particular some brief duets at restaurants in a variety of languages (English, Portuguese, French, even a bit of Spanish).
One of these songs was the bossa nova classic ‘Desafinado’: me in Portuguese, Jerry in English. And so the choice of what to post here at BMoF this week was pretty obvious: here is ‘Desafinado’, in the classic version from the Getz/Gilberto album, and the English version, ‘Slightly out of tune’ with the incomparable Ella Fitzgerald (live at a TV show). Incidentally, I find that the English lyrics, and Ella’s interpretation, give the song an ‘upbeat-ness’ that is extraneous to it, as it is basically a melancholic song about somebody who is accused of singing out of tune by his lover (and this causes him ‘immense pain’). Still, perhaps the way to think about it is of ‘Slightly out of tune’ as almost like a different song altogether, and a great one at that.
(And here is to hoping for more such duets involving Jerry and me in the future.)
Dominguinhos was one of the greatest Brazilian accordionists of all times, and musical heir of Luiz Gonzaga – second only to Gonzaga in the pantheon of Brazilian northeastern music. Sadly, he passed away last year in July. In the year before his death, a documentary on his life and oeuvre was filmed and is now completed. The documentary itself will be released in May (though it will be competing in a number of film festivals the coming months), but as a prelude to the documentary a webseries of 8 short episodes is being posted online, a new episode every Wednesday. Each episode focuses on musical encounters of Dominguinhos with other musicians: the first episode is with Gilberto Gil, second with João Donato, and third with Djavan, among other illustrious guests. I’ve been enjoying each of them tremendously, and look forward to the remaining 5 – and of course, to the documentary!
I’m posting here ‘Abri a porta’, with Gilberto Gil; ‘Minha saudade’, with legendary jazz pianist João Donato; 'Retrato da vida' with Djavan and Mayra Andrade . In all tracks, the magical accordion of Dominguinhos shines. (You can follow the next episodes on Facebook or the Youtube channel.) Brazilian music lovers are unbelievably lucky that all this wonderful material was recorded just before Dominguinhos' death, as this means there is more of him still around for us to enjoy.
As many readers will have seen, the great Paco de Lucia passed away last week. So to honor him, here is the (to my knowledge) only song recorded by him with a Brazilian musician, namely Djavan. The song is ‘Oceano’ of 1989, and to be honest it is not among my favorite Djavan songs (it doesn’t help that it was the main theme of the ‘love story’ between the protagonists of a soap-opera, so we all got over-exposed to it back in the day). But there is a beautiful solo by Paco de Lucia between 2.30 and 3.00 mins., which already makes it all worth it. I’m also posting one of the many breath-taking duos of Paco de Lucia with the equally great (and also prematurely deceased) Camarón de la Isla, simply because one can never get enough of these two; here, 'Tu cariño es mi castigo'.
Carnival has already started in Brazil. The internationally most famous carnival celebration is the parade of samba schools in Rio, but two equally strong carnival traditions thrive in Salvador (Bahia) and Recife/Olinda (Pernambuco) – democratic, street carnival in both cases. What the samba school is for carnival in Rio (and a few other places, like São Paulo), the ‘bloco’ is for street carnival. Blocos are (more or less) organized groups with their own music band and participants who dance along. In Bahia, the most famous bloco is probably Ilê Aiyê, created in 1974 as an affirmation of black pride and a celebration of the Afro cultural heritage in Bahia and in Brazil more generally. When it first came into existence, it was viewed as ‘racist’ given its emphasis on the value of African-Brazilian culture, and to this day only blacks are allowed to parade with the group. Ilê Aiyê remains one of the symbols of the strength of the Afro-Brazilian culture – here is a song by Caetano Veloso celebrating their existence.
In their first carnival, in 1975, Ilê Aiyê paraded with a song that remains emblematic for the black pride movement in Brazil: ‘Que bloco é esse - Ilê Aiyê’. And so to join the carnival spirit this week I’ll be posting numerous versions of this song. It’s really a great song, and here is a bit of the lyrics translated (as usual, very hard to come up with a decent translation):
Ok, so today is my birthday (yes, somehow every year it coincides with Valentine's day), and most of it will be spent packing and then in the car, driving to the mountains. So not exactly the best birthday ever, but with a nice reward to come after: a week of vacation. (So no BMoF next week.)
Anyway, to congratulate myself I'm posting the Brazilian version of 'Happy birthday', 'Parabéns pra você', quite possibly the most often sung song in the whole history of Brazilian music (damn, not an original Brazilian song!). So here it is, sung by soulman Ed Motta, who already made an appearance here at BMoF a while back.
And yes, I'm happy to accept congratulations in comments.
Yesterday (February 6th) would have been Bob Marley’s 69th birthday. As it so happens, I spent a huge portion of my adolescence and early adulthood listening to Bob Marley. In fact, it is difficult to express how much his music has always been and still is an integral part of my life. Reggae in general, and Bob Marley in particular, is extremely popular in Brazil, and I’ve posted before some samples of Brazilian reggae (here, here, and here). But today, to celebrate Bob’s birthday, it is time to post a few songs from the 2002 tribute album to him by Gilberto Gil, Kaya N’Gan Daya (which phonetically reads as ‘Caia na gandaia’, something like ‘Go party’, and is of course a reference to Bob Marley's song 'Kaya'). Gil is a long-time Marley fan; his version of ‘No woman no cry’, ‘Não chore mais’ is a classic from his Realce album (1979), and received a new version in the 2002 album (I like the older version better).
It is hard for me to choose which songs from Kaya N’Gan Daya to post, simply because I’m such a huge fan of pretty much every existing Bob Marley song (and possibly the non-existing ones as well), but I’ll go with ‘Waiting in vain’ and ‘Positive vibrations’. Fellow Bob Marley fans, feel free to post your favorites in comments below!
There have been quite a few musically relevant events this week. Most important of all, Pete Seeger left this world. But on a more down-to-earth dimension, the Grammy earlier this week had a few memorable moments, including the Daft Punk-Stevie Wonder performance of ‘Get lucky’. At the same Grammy, but receiving much less publicity, a Brazilian trio, Trio Corrente, won the Latin Jazz Grammy award for their album Song for Maura, a collaboration with iconic Cuban saxophone player Paquito D’Rivera. So here is the beautiful eponymous song from the album. (It’s not like I had heard about Trio Corrente before, so thanks Grammy for calling my attention to this beautiful gem.)
Rolling Stone Brasil announced their ‘Best of 2013’ lists. Topping the list of best Brazilian songs of the year, a curious item: ‘Problema seu’, by Felipe Cordeiro, a singer from the northern state of Pará. In Pará, the genre ‘brega’ (initially a pejorative word, something like tacky/distasteful/cheap, originating from a term for 'brothel') is particularly popular, with its over-the-top aesthetics and ultra-mellow lyrics, but in Pará mixed with local sounds and with a splash of Caribbean influences thrown in.
Brega, like funk carioca, was for a long time considered to be ‘cheap music’ and frowned upon by the intellectual and cultural elite, while being widely popular with the masses. The fact that a song with a clear brega inspiration makes it to the top of Rolling Stone Brasil’s list of best songs of the year is remarkable (though in previous years brega diva Gaby Amarantos had also scored well on the RS lists), but for this song in particular, it is not that surprising considering the groovy guitar riffs, a high danceable factor, and catchy lyrics (Você pra mim/é problema seu…). So yes, a rather good song!
Big pile of exams to mark here today, so this will be a short post. I’m going with an unchallenged classic: ‘Fé cega, faca amolada’, from Milton Nascimento’s 1975 album Minas (one of the albums I listened to over and over again as a child), in a duo with Beto Guedes. Besides the awesomeness of the song and of Milton’s voice, I really like the instrumental arrangement: it mixes jazzy undertones with some psychedelic distorted guitars, and the overall result is quite unexpected -- and quite something!
This week, a friend reminded me on FB of this song from Marisa Monte's second album, Mais (1991), which I listened to a lot back in the day. (It has some other great songs, like 'Ainda lembro' and 'Ensaboa'.) The song itself is beautiful (and beautifully sung), but what makes it really cool is the accompanying video-clip and how it matches the lyrics. Here is the text in Portuguese, and you can try your luck with google translate; my favorite line: "Para dias de folga: namorado" (For your days off: a boyfriend). I was watching it with my kids this morning, and they loved it; indeed, the song has a lullaby ring to it, and the animation in the clip is simple and yet clever. I hope you'll enjoy it as much as we did!
I’m still waiting for Rolling Stone Brasil to publish their ‘Best of 2013’ lists, which often give me good ideas of music to post here at BMoF. But for now, let me post a 2013 song by one of the most experimental of all experimental musicians in Brazil, Tom Zé. He is relatively well known outside Brazil in alternative, world music circles, after having become of one of David Byrne’s protégés in the 1990s (he was an iconic figure in the Tropicália movement in the 1960s, but was then by and large ‘forgotten’ for many years). But one of the remarkable things about Tom Zé is that he continues to make music exactly as he sees fit, completely ignoring any ‘market pressure’ and not trying to please anyone with facile tricks.
The song below is ‘Tribunal do Feicebuqui’ (‘Feicebuqui’ being a transliteration of ‘Facebook’), a song that shows not only that Tom Zé keeps up with current social phenomena (recall that he is 78 years old), but also that he looks at these phenomena with astute, critical eyes. I’m also posting ‘Curiosidade’, from his great 1998 concept album ComDefeito de Fabricação. There is much more memorable music by Tom Zé one should listen to, but these two give at least an idea of the work of one of the most creative, independent musicians currently in activity in Brazil.
A few weeks ago I posted ‘Sua estupidez’, sung by Gal Costa but composed by Roberto Carlos and Erasmo Carlos. Roberto Carlos is known in Brazil as ‘The King’, that is the king of folk music, and is immensely popular especially among the less economically favored segments of the population. He is known in particular for his ultra-romantic, ultra-mellow songs – yes, ‘tacky’ would be an appropriate description for lots of it…
But the duo Roberto/Erasmo Carlos has also produced some real gems, such as ‘Sua estupidez’ of a few weeks ago, ‘Debaixo dos caracóis dos seus cabelos’, ‘Fera ferida’, and ‘Cachaça mecânica’, which I am posting below: the first two sung by Caetano Veloso, and the third by Erasmo Carlos. (It turns out that Roberto Carlos’ versions themselves are usually not that good, not because he is not a good singer, but because of tacky arrangements…) The first two are real classics known by everyone; the third one is much less known, but possibly the best among the three: a wonderful, sad samba. So start with the third!
This week’s post is again not entirely Brazilian, technically speaking: today we have Cape Verdian young singer Mayra Andrade, who some of my friends have been raving about for a while (Jeroen and Rafa, that's you!). What justifies her inclusion among the BMoF guests is not only the fact that most of her songs are sung in Cape Verdean Crioulo, a variation of Portuguese; Mayra herself claims to have been highly influenced by Brazilian music. In fact, the first song she recalls singing as a child is the beautiful lullaby ‘Leaozinho’ by Caetano Veloso (equally popular among Brazilian children at large). Mayra often collaborates with Brazilian musicians and records Brazilian songs, and while not yet very widely known in Brazil, she is definitely a rising star worldwide. Her newly released album Lovely Difficult moves away from world music and towards something that can be described as ‘universal pop’, including songs in English (such as the single ‘We used to call it love’), while retaining the freshness and innovation she is known for.
I’m posting here some of Mayra’s versions of Brazilian songs, but music lovers should really also check her ‘non-Brazilian’ music, including her interpretation of Cape Verdean mornas but also her more recent work. So here is her version of 'Berimbau' (classic by Baden Powell and Vinicius de Moraes) with Trio Mocotó, featured in the Red, Hot + Rio 2 album, and a live version of ‘O que será’ (classic by Chico Buarque), a duet with French singer Benjamin Biolay. And I couldn’t resist posting a duet with the marvelous Cesária Évora, ‘Petit Pays’ – Cape Verde, that is (such a beautiful line: ‘Petit pays, je t’aime beaucoup…’) (See here for more of her songs, and a short interview with Mayra (in Portuguese).)
BMoF today could not but honor Nelson Mandela, without a doubt one of the greatest humans in the 20th century and possibly of all times. There is probably no better way to honor him than with music – a man who once said “it is music and dancing that makes me at peace with the world and at peace with myself”. There is much in common between the place that music occupies in people’s lives in South Africa and in Brazil, and this statement by Mandela encapsulates how many Brazilians feel about life, music and dancing (that's certainly the case for this particular Brazilian…).
I found this 1990 video of the pop band Paralamas do Sucesso performing ‘Free Nelson Mandela’, where they reveal their roots as a ska/reggae band. They appeared in the 1980s, and provided much of the soundtrack for my childhood and early teens. They continue to play and record to this day, despite some set-backs (in particular the ultra-light accident of the band leader Herbert Vianna in the early 2000s, which killed his wife and left him paraplegic).
So let’s all get up and sing for (and with) Mandela, and thank him for all he’s done to make this world a better place. (The music itself starts at 1.10.)