Now it's time for that song...
that aII of BraziI sings with us.
-Now it's your turn to sing. -And we want you...
to sing reaI Ioud.
When we love
Anything can make us reminisce
Now you.
An old dress of the loved woman Has a great value
The remainder of her perfume
Left on the dressing table Shows that the bedroom
Once was the scene Of a great love
And what l found today Made me sadder
A little piece of her that´s still Around, a strand of hair on my jacket
l remembered everything that Happened to us, the love we lived
That long hair was once Stuck in our sweat
Passion!
When we are in love And don´t live with the woman we love
OnIy you now.
Any little thing is enough To make us cry
The lights go out When it´s bedtime
And we wait for the loved one
Hoping for her to come to bed
And what l found today Made me sadder
A little piece of her that´s still Around, a strand of hair on my jacket
l remembered everything that Happened to us, the love we lived
That long hair was once Stuck in our sweat
You want to kiII me, don't you?
The emotion we feeI when we hear you is indescribabIe.
Everything comes from you. Thank you, foIks.
The rains falls outside That's what happens, eventually
lt's always like this Love reminds us
That an empty heart
Hurts too much, hurts too much
Feche os olhos e sonhe E você pode estar comigo
Sob as ondas Pelas cavernas das horas
Há muito esquecidas
Estamos completamente sozinhos Estamos completamente sozinhos
Close your eyes and think We have to face it
Hug me please
That's the only way we can Change the story of this love
Depois que a história é contada Nada resta a não ser envelhecer
Rosas envelhecem, amantes também, Então solte seu perfume ao vento
E abrace-me, querida E abrace-me, querida
Feche as janelas Diminua as luzes
E tudo vai dar certo Não precisa se preocupar agora
Libere tudo Deixe tudo começar
Tudo está esquecido agora
Estamos completamente sozinhos Estamos completamente sozinhos
Close your eyes and think
E tudo vai dar certo
Hug me please
Libere tudo, deixe tudo começar
The story of this love, love
Oh, abrace-me, querida
-What do you think you're doing? -What do you think, Nando?
Stop being ironic, it's impossibIe to taIk to you.
-It's impossibIe to Iive with you! -What?
You heard me very weII.
-You know very weII that I Iove you. -You onIy Iove yourseIf, Nando.
Let me go, Iet me go.
This is our love, love
Estamos completamente sozinhos
José Lima Sobrinho, born in Astorga, the son of Mario Antonio Lima...
-and Araci de Lima. -I, DurvaI de Lima, came 2 years Iater.
Astorga. CoincidentaIIy by the same father.
He was a trucker. He hauIed wood.
We went to Rondon, where we stayed untiI we were 10. There...
-we spent the best of our chiIdhood. We were very poor...
but we had Iots of contact with nature. We swam in rivers, hunted birds.
Our father wrote music. He spent the whoIe week in the woods...
carrying Iogs, from Monday through Saturday, or Friday, I don't remember.
He had neither a tape recorder nor a radio, ours was a very poor house.
We Iistened to the songs he wrote.
My mother wouId do the 1st voice and he'd do the 2nd. They rehearsed at home.
They'd sing the songs a Iot to memorize them: no tape recorder.
They sang the song many times, so that they wouIdn't forget and...
He never imagined that the tape recorder was right there: the two of us.
One day, our kid sister Rosária, tore his notebook to pieces
He asked, ''Where's my notebook?'' Mother, ''Rosária ripped it up''.
He was mad. He wanted a song and we had Iearned it.
''Stay caIm, dad, we can sing it.'' ''Can you sing?!''
Through the road l'm riding my horse
Through the meadows Splashing dew on the way
Through the deserted meadows ln the early morning
What always keeps me alert ls the singing of the parrots
This song brings me warm feeIings. It touches me, it started everything.
He's not with us anymore. But he was aIive when we...
scored the greatest hit of our career, the song that...
changed BraziIian country music: ''Strand of Hair''
In fact we made his dream come true: to be an artist.
Whenever we reIeased a record, he'd Iisten to it and cry.
He was so sensitive. Chitão is just Iike him, and so am I, Iike I just showed.
This song reminds me of aII that, it makes me emotionaI to taIk about it.
PeopIe aIways invited us to sing in the cIassroom, at schooI parties...
and at church. We'd aII go to church on Sundays. At those festivities at church,
they aIways asked Marinho's sons to sing.
AII those festivities... We became famous in our area.
On Sundays, we went to the movies, when we had money for the tickets.
-Tarzan or CantinfIas. -What did you watch?
-CantinfIas and Tarzan. -And westerns.
We were at the movies, our father wouId come:
''Come on, you have to sing in such and such pIace.'' We cursed, we cried...
but it was part of the game. In Rondon it was Cine Ouro Verde''.
It was in Rondon that we started to feeI the pIeasure of being appIauded.
Every Sunday, we sang in this show. It became a habit.
-They had this contest. -It was caIIed ''Ripa do Cererê''.
-I don't know why it had this name. -I don't know what it...
means. We'd have to research. We sang there and aIways...
won first prize.
What did we get? A trophy sometimes and there was aIways a IittIe money.
A IittIe, but enough for the tickets and the popcorn.
Sundays were the best. We'd go to the mass. Take a Iook at our scheduIe!
The radio show and then the movies.
And when the circus arrived in town we had to go. We Ioved it; we had to see...
the show. What did we do? We heIped carry water, heIped put up the circus...
to earn the tickets. We did this many times.
We aIways went to the opening night, but we wanted to see the show afterwards.
-Sometimes we were gatecrashers. -We even saw Jacó & Jacozinho...
our favorite duo and we saw Zico & Zeca, our father's idoIs.
We remember their cIothes: shiny green shirt.
-And bIack pants. -The circus was our schooI.
Then we came to São PauIo, where we started our career, but the...
-circus was our stage for 10 years. -The same kind of circus that...
we frequented in our chiIdhood.
We'd keep an eye on the kids who tried to gatecrash. To keep the receipts high.
At that time they were showing the soap opera ''Irmãos Coragem''. No TV set.
we Iived in a very poor house. We watched TV at the neighbors.
It was a Iandmark, we wiII never forget the scenes, the strong character of...
-the BraziIian cowboy... -With his beautifuI horse.
We ended up knowing that the horse beIonged to Tarcisio.
The scene with him riding that restIess horse is strong.
The scene of the beII faIIing on the ashes and he grabs the beII and...
smashes the diamond. It's very strong, that soap opera was wonderfuI.
In Paraná, our father hated the music of that time: the iê iê iê.
It was the hiIIbiIIy BraziIian country music. ''I don't Iike this music!''
It was Roberto CarIos, Roni Von, that Iong-haired guy.
Our father didn't Iike the hair.
''Long-haired guys are aII gay, I'm not gay...'' WeII, he changed his mind.
When we came to São PauIo, we aII Iet our hair grow, and so did he.
-And then it changed. -Roberto CarIos's music...
everybody sang it. ''The BeatIes?!'' He hated it when he heard The BeatIes.
We Iistened to those beautifuI songs.
In our adoIescence we dug The BeatIes EIton John, Roberto CarIos.
The Jovem Guarda movement. In the end of the 60's. In the 70's we enjoyed rock.
The Iong hair. But BraziIian country music was aIways in our bIood.
''No, Iet's sing this kind of music''. We can make it more modern, make this...
-kind of music for more peopIe.'' -Mr. Marinho worked very weII.
We were born with it. It was in our bIood. Singing BraziIian country music,
at that time caIIed hiIIbiIIy music, during our chiIdhood was very hard.
The other kids didn't Iet us pIay soccer with them because we sang...
hiIIbiIIy music. The kids wouId say, ''Don't Iet the hiIIbiIIies in.''
If there were a brawI, it was him.
And our father, ''You'II have to be BraziIian country music singers.''
But our probIems with the other boys was a Iesson for us.
We started singing professionaIIy and reIeased our first record.
On the second one we wanted to make BraziIian country music for the young.
We wanted the young to enjoy our music as weII.
An oIder man and two kids Iooked for me in my office...
and Iater in the Nove de JuIho radio station.
And we had an audition. We sang for him and he said, ??you're reaIIy taIented''.
-But you know what he said? -''Take these songs of yours...
throw them away, Iearn new ones and improve you diction.''
Go home, take this penciI, put it in your mouth for 15 minutes a...
day, read the paper, a magazine in a Ioud voice.
-We'd go... -Then come back here to record and...
-you'II see the difference. -We came back a week Iater.
''Now you can sing... ''There we were invited for the movie...
-''No Rancho Fundo''. -The first was ''O Homem Lobo''.
We sang a song. The werewoIf movie.
The guy saw us on TV and wanted us in his fiIm. We couId never see it.
It was forbidden for minors and we were just kids.
Then came ''No Rancho Fundo'', with severaI country music artists.
This was not our debut aIbum, the first aIbum of our career.
GeraIdo got mad when he knew we sang foIkIoric songs.
We made fun of the characters, of the hiIIbiIIies in the movie.
-It's the movie soundtrack. -''This is against my pIans.
-I want you to sing modern music. -You can't mispronounce words.
You have to sing BraziIian country music speaking weII.''
It was ??you ain't, I ain't'' And we knew better. There was no reason for that.
We made a IittIe money, reIeased that record... and that was it.
Then we went to ??BeverIy''. Our first recording company...
Later it became ''Copacabana''. They signed us for one record, as a test.
They accepted GeraIdo's request. They did one record.
We did this eIaborate aIbum, groovy. That was when our career started, in 70.
Then we became Chitãozinho & Xororó.
I gave them this name because they Iooked Iike birds.
Athos & Serrinha ceded the name. Then I registered it because it's a good name.
We found it awfuI.
We want to make more modern music, this name is too rustic.''
-We were kids. We didn't want it. -We were teenagers.
GeraIdo introduced us: and now the duo Chitãozinho & Xororó!
We got in, ''is it reaIIy us?''
I scheduIed them on the ''Seabra Consorte'' caravans that...
toured BraziI featuring big stars, and they were the mascots.
-We opened the show aII over BraziI. -GeraIdo was the host...
MeireIIes. We were the country music duo.
Saracura was the comedian. There was an American: Ted Lee, he sang in...
EngIish. And other singers: MarceIo Costa, NaIva Aguiar...
ViIma Bentivenha, SaIomé Parizze. Susi DarIin...
and the accompanying band. Every Saturday and Sunday, each...
weekend in a different city.
We were paid monthIy, we were hired.
-It was a great schooI. -We started to get aIong with...
musicians and with bands, just Iike we saw on TV.
You know, The BeatIes, we used to see these bands.
Roberto CarIos. There was this band. 4 musicians who accompanied the singers...
in the outdoor concerts. And it was reaIIy cooI. Because...
In the first week that we opened the show, just the two of us...
we had acoustic guitars. The sound was Ioud and strong.
We grabbed the guitar and did the soIo on the mike. He did the base...
And I, the soIo. We had to bend to sing.
The quaIity was disproportionate. Then we said, ??this is wrong''.
They did the opening.
In an open square with
Then the two of us wouId go in with our acoustic guitars and it wouId go down.
''What the heck! This is not right.'' On the second show we said, ''GeraIdo...
we need a BraziIian country guitar and a smaII guitar.'' We can pIay them...
both.'' You are right!''
-''You know what you are taIking about.'' -He went to an instrument factory...
and ordered a BraziIian country guitar and a reguIar guitar, both eIectric.
We were the first. We were in Veja magazine. They were just beginning then.
PeopIe started to Iike us, and we picked a more adequate repertoire.
-''Do the bass together with us.'' -Then we had bass, drums...
We traveIed for 4, 5 years. We pIayed in Rio Grande do SuI, São PauIo, Minas.
On our second aIbum we aIready had this image, eIectric guitars...
and our hair was starting to grow. That hair styIe.
I remember the extinct duo Cascatinha & Inhana.
Inhana toId us, ''You are very good, you need to traveI...
around BraziI, Ieave São PauIo, show your work more.
It's OK to be here with GeraIdo, but you won't go very far.''
TV didn't reach very far.
Then we hit the road with nothing to back us up.
Our first car. We bought it in monthIy instaIIments.
-We were boId. -We moved to the city...
to improve our conditions. I was fifteen.
Our father aIready had heaIth probIems. We were supporting our other brothers.
When we stopped getting that fixed money, we went through some...
hard times. 7 4, 75 untiI 79, 80, when we started to be successfuI.
We feIt Iike stopping. We drove from circus to circus.
As we were not known, we onIy went to the smaII ones.
-We didn't attract pubIic. -In 75 we went to the area of...
Foz do Iguaçu, Rio de Janeiro. What is it up there? Southeast?
Paraná. It got better. We pIayed for a month, it was reaIIy good.
-A coupIe of dances. -We made some money.
HeIped out back home and went back for more shows. A terribIe frost came in 75.
-It overran Paraná -Yes, and we were there.
That was when I saw snow for the first time. We feIt what it was Iike to sIeep
in a IittIe hoteI, a boarding house. A thin bIanket, feeIing coId.
And the money was over. Then there was A fact that made an impression on us.
For one month we didn't send any news home: no caIIs, no message, nothing.
No Ietters. We were out for a month. They thought something had happened.
And they were starving. There was no food, it was hard.
After aII that, when we got to São PauIo we had decided to stop...
singing, find jobs. It wasn't working.
Debts, the rent was Iate, our brothers in need.
We were in deep troubIe.
I remember we were in São PauIo, I turned the radio on.
We were deciding, ''Are we going to quit? Let's find a job?''
RauI Seixas had just reIeased an aIbum. They pIayed ''Try Again''.
GirI, that song... We Iooked at each other.
''No, this is our path.'' We didn't know how to do anything eIse.
Don't say The song is lost
Have faith in God Have faith in life
Try again Go...
In São PauIo in aII this troubIe, we had reIeased ''Doce Amada''.
Someone toId us, ''In Rio Preto, you are on every radio station.''
At this time we pIayed on the coast, in IIha BeIa, a Iot and it was very good.
When the circus was packed we made three thousand, cruzeiros.
In Rio Preto, the first gig paid us seven, the circus was kind of big.
We fiIIed the pIace, and we thought, ''We found the map to a mine''.
We created a pIay to attract more pubIic.
A western, I pIayed the Ieading roIe, Xororó pIayed the bar owner that...
-drank aII the booze. -I've never drunk anything.
We did everything in the show, the first part was...
the pIay, this theater of ours. There was a IittIe break of...
15 minutes. It was enough time for us to wash our faces, remove the makeup.
I wore this IittIe moustache, just Iike CantinfIas, that I Ioved so much...
a gun hanging from my Ieg, stinking cIothes...
not on the first gig. But when the show was over we were covered with sweat...
we threw those cIoses inside a bag and headed to the next show with them.
-We onIy washed them on Mondays. -And it was reaIIy hard because we sang
and did the pIay, a two-hour pIay. After the pIay, at Ieast...
an hour and haIf, our whoIe show was... three hours Iong, we washed our faces...
put some perfume on, sIipped into our stage cIothes and we were back on stage.
The mike hung from the top of the circus...
from the pieces of canvas of the very top.
When the wind bIew and the circus was poor, if it rained hard, nothing worked.
A few peopIe in the audience. Then the mike wouId sway and we had to sing...
finding our baIance, running after the mike. It was kind of funny.
But then came the time when peopIe didn't want the pIay...
they wanted to hear us sing.
Let me teII this part. We got to this pIace on a Saturday, staged our drama...
with Iots of effort. During the pIay they asked for ''Sixty Days in Love''...
''Nobody Wanted to SIeep'' and others songs. We hadn't even finished...
the pIay and the crowd was asking for songs. ''We are acting Iike fooIs...
-Iet's stop this theater thing.'' -PeopIe are coming to hear us sing.
Travelling to Mato Grosso Aparecida do Tabuado
There l met this brunette That really got a hold of me
l had to leave this beautiful girl
And l confess, oh, God l was heartsick
l changed my ways
Drinking to forget her 60 days in love
''Take the biIIboard off the streets - we won't do the pIay anymore.'' ''Crazy!
-The crowd wiII destroy everything.'' -''Last Saturday...
in another city, they asked for music...
we couId hardIy finish the drama...'', we toId him:
''Yesterday it was Iike this. Keep cooI, we can take it.''
''They'II break everything.'' ''No, they won't.''
It was a big hit. And we never stopped.
GaI reIeased ''FoIhetim''. That wonderfuI song.
Then I went to Darci Rossi and said, ''GaI reIeased...
this song that teIIs of the Iife of a prostitute...
they suffer a Iot and they've aIways Iiked BraziIian country music...
it's something that teIIs of daiIy Iife.
Let's write a song just Iike GaI's 'FoIhetim'''.
Then we wrote ''Nobody Wanted to SIeep''.
l pity the life You´ve been leading
ln so many nights of false warmth
You give your body To unknown men
That come so crazy So thirsty for love
But if you need love, You suffer
Because they want you Only for a few minutes
And then they leave, satisfied
But you never got true love
You cry sadly Missing someone
The night is so cold
The house is empty Nobody stayed
To remember the past
You try to escape
But you are alone, because nobody Wanted to sleep with you
This song was a big boom in 80. It was a big hit of ours.
''Strand of Hair'' soId 1 .5 miIIion copies.
-There was no media, no TV. -We sang...
in the MeireIIes show, the onIy one on TV, Iate at night...
at night on AM stations. That was the onIy time for promotion.
We visited friends. We'd go to the radio station and do the show Iive.
We took the record to pIaces that not even the recording companies reached.
''Strand of Hair'' was a breakthrough, a bIockbuster hit, 1 .5 miIIion copies.
It was pIayed where they never pIayed BraziIian country music before.
-Barros de AIencar show. -Broadcast during the day.
A show of popuIar music started to pIay our music, in São PauIo, in Rio...
We heard that they were pIaying ''Strand of Hair'' in Rio.
This song surpassed everything, broke every barrier and prejudice.
That's why we say this song changed the history of BraziIian country music.
From 500 thousands to 1 .5 miIIion with no media, it's a phenomenon.
Today it wouId be Iike seIIing
Darci is the composer. He wrote ''Nobody Wanted to SIeep''.
He became our composer. Everything he wrote, we recorded and it was a hit.
And then Darci wrote ''Strand of Hair''. His story, the thing he made up...
and wrote the song. And it aII happened and the song stiII sounds contemporary.
After ''Strand of Hair'' in 1982, we sing it in every concert.
He was our first producer...
he invested in our taIent.
He beIieved in us. He produced the record.
After our success we opened an office to seII concerts.
And his father pIayed our songs on the radio.
It was aII interconnected, we did the record...
Zé Bétio pIayed it on the Record radio station...
and we started seIIing on the spot.
The radio was very important for BraziIian country music.
To promote a record in Zé Betio's show is as important as...
doing it on Faustão or Gugu's TV shows. On Monday the whoIe country...
knew that we had a new record out.
The success was reaIIy intense, the Record radio station.
We sing what we feeI...
what hits our feeIings reaIIy hard.
Our big infIuence was Tonico & Tinoco.
Then came Jacó & Jacozinho, more modern...
Then BeImonte & Amaraí, a modern duo with infIuences of boIeros...
of the Mexican rancher.
We traveIed around Mato Grosso a Iot...
and Rio Grande do SuI, which has a fantastic cuIture.
If you think of pIaces, Southern Minas Gerais, Mato Grosso, Goiás...
São PauIo, as far as a part of Santa Catarina...
we traveIed a Iot.
This is part of what we've been through, we know this kind of music.
We were the first to record American country music in BraziI, the reaI thing.
PeopIe here aIways sang it more Iike Mexican music, with nyIon string guitar.
The Mexican is hasty. Country is around here.
The beat is the same, but it's pIayed a IittIe bit different.
l´m a trucker And l live on the road
Far from someone Who loves me so much
And thinking of her l always long
For the weekend To come soon
When l close my eyes lt seems that l can see
My sweetheart hugging me And saying this:
Three nights only ls too little
For someone who loves you so much They are not enough
l want you Every night for me
And there was that IittIe refrain: My friends
And then And then she cries cries cries
And tells me nothing
And at this moment l feel happy
When l see her crying Because of so much love
This was recorded with eIectric guitars, emuIating cowboys.
The American country was our first song. And it worked.
Barretos has been the most traditionaI festivaI...
for the Iast 45 years and it aIso started Iike this,
with peopIe getting together. It was a city...
where the herds were taken, where everybody met. It was an axis...
that Ied to many other cities where the herds passed by.
They didn't have anything to do on the...
weekend, they started riding their horses.
-A party they had for themseIves. -That attracted peopIe.
They buiIt the arena and the...
''Festa do Peão de Barretos'' was created.
Thank you, Barretos!
The rodeo started to grow, and it became a stage for the artists...
and they began to Ieave the circus.
Just Iike us. They started to hire peopIe. What's a rodeo?
A big, giant circus...
where, instead of singing for 1000 peopIe Iike we did...
the big circuses had room for 300, 400 up to 2000 peopIe.
We started to sing for 20, 30 thousand peopIe in the rodeos.
They hired us for shows in the rodeos...
and we attracted crowds, an immense audience.
We wanted to stage a show in these fairs with a good sound equipment.
''No, you're crazy, nobody wants that.''
''PeopIe just want to see the duos.'' ''No, we have to put on a quaIity show.''
We had aIready seen shows of Roberto CarIos, Rita Lee...
Ney Matogrosso. We'd go watch their shows to see what they did.
''The sound has to be different. In the record, the sound is good...
we want it to be the same on stage.'' And what did we do? We went to Assis...
and bought a big set up.
Then we bought a bus, a big truck and had a stage made.
''Since we're on this shopping spree, Iet's buy everything.''
We bought Iighting equipment.
Then we took it aII to the rodeos, for free, to those that opened space for us.
We wanted to do it right.
For three years, we took aII this equipment to our concerts for free.
and that gained us respect. When somebody taIked about us, they knew...
there was a show coming... our stage was Iike a fence.
We saw them in rock concerts, Kiss, Pink FIoyd, smoke coming out.
We put a fence on the stage, our monitors were buiIt-in.
When the smoke was out, we got in, the overture sounded.
And we came from beneath the stairs and stepped up. It was reaIIy cooI.
This was around 1983.
And things started to change. Three years Iater...
when somebody wanted to hire us...
we'd say: ''the sound is this guy, the Iight is that other.'' A nice show.
We did it. We started to take to the stage the sound we had in our records.
-A quaIity show. -A quaIity show.
-We've aIways had this... -We've aIways been boId.
-We were never afraid of daring. -Afraid of the new.
-We recorded a song caIIed ''The Lover''. -A more orchestraI, sophisticated thing.
On the romantic side, Iike JuIio IgIesias, Roberto CarIos.
-But sung by a duo. -With drums. That didn't exist before.
The drums in BraziIian country music was onIy the snare, the bass drum.
The snare carrying the rhythm onIy. We added fiIIs...
we put synthesizers, and then eIectric guitars, they bashed us.
The conservative wing said we were disfiguring the music...
We soId 1 .5 miIIion copies.
We reIeased something super modern. What a shock!
But it soId, it was a big hit again. The manager Tom Gomes said,
''I'm taking you to the PaIace.'' Nobody wanted, they were afraid.
The owner of the PaIace was afraid. He said, ''for God's sake! BraziIian...
country music here in my house'', the PaIace was a point of urban music.
A week before the first show, the whoIe season...
was soId out. On the opening night there was a riot at the door.
-Car accidents... the TV there... -It was our first press conference.
AItério opened the champagne. When the show was over he was drunk.
He Iiked BraziIian country music.
-It was a big ceIebration. -You wiII see, quaIity...
BraziIian country music can be successfuI in the city.
PeopIe can admit they Iike it, without being ashamed.
There are no borders for the conception of a song.
This kind of music goes from guarania to rock.
Take a Iook at our repertoire. It's got it aII.
''This is cooI, it fits our music.'' We are not afraid of using it.
We've aIways been sensitive enough not to hurt our oIder pubIic.
What's the tradition we keep? Our characteristic vocaIs...
that wiII never change.
We Ieft Mauá, we waIked 20, 30 minutes carrying our guitars.
-40 minutes by train. -I was 10, 1 1 .
Chitão is a IittIe bit more than 2 years oIder than I am.
We waIked, then we caught the train...
to the Estação da Luz, 20 minutes more on the bus... a three-hour...
trip to sing Iive on Fridays...
-on the Nove de JuIho radio station. -And now the fabuIous...
Chitãozinho & Xororó - Friday feature attractions.
That train jammed with peopIe going to São PauIo, baIancing the guitar, crazy!
For a house in the city Not even if it were a bungalow
l live in a desert With no neighbors, l live alone
The only joy l have is the chirps Coming from afar
lt´s the lnhambu-xintã And the Chororó
lt´s the lnhambu-xintã And the Chororó
BeautifuI, isn't it?
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