PONTEIO

EDÚ LOBO
COMPOSITORES: EDÚ LOBO & JOSE CARLOS CAPINAM
PAÍS: BRASIL
ÁLBUM: SÉRGIO MENDES PRESENTS LOBO
GRAVADORA: A & M RECORDS
GÊNERO: BOSSA NOVA
ANO: 1971
 
            Eduardo de Góes "Edu" Lobo(born August 29, 1943) is a Brazilian singer, guitarist, and composer.
        He achieved fame in the 1960s as part of the bossa nova movement.
          His compositions include the world-famous Upa Neguinho (with Gianfrancesco Guarnieri), Pra Dizer Adeus (with Torquato Neto; also known in its English version as "To say goodbye"), Choro Bandido, A história de Lily Braun, Beatriz (the latter three songs with Chico Buarque), Arrastão and Canto triste (both with Vinicius de Moraes), and Ponteio (with Capinam). Ponteio won best song at the 3rd Festival de Música Popular Brasileira in the recording by Quarteto Novo in 1967.
       He has worked with, and his songs have been covered by artists like Toots Thielemans, Marcos Valle, Elis Regina, Sylvia Telles, Sergio Mendes, Antonio Carlos Jobim, Milton Nascimento, Maria Bethânia, Gilberto Gil, Gal Costa, Caetano Veloso, Monica Salmaso, Sarah Vaughan, Earth, Wind & Fire, Caterina Valente and others.
           Dos Navegantes, a collaboration album by him, Romero Lubambo and Mauro Senise, won the 2017 Latin Grammy Award for Best MPB Album
          Sergio Mendes Presents Lobo is a 1970 album by Edu Lobo, produced by Sergio Mendes. 
Era um, era dois, era cem
Era o mundo chegando e ninguém
Que soubesse que eu sou violeiro
Que me desse o amor ou dinheiro...
 
Era um, era dois, era cem
Vieram prá me perguntar:
"Ô você, de onde vai
de onde vem?
Diga logo o que tem
Prá contar"...
 
Parado no meio do mundo
Senti chegar meu momento
Olhei pro mundo e nem via
Nem sombra, nem sol
Nem vento...
 
Quem me dera agora
Eu tivesse a viola
Prá cantar...(4x)
Prá cantar!
 
Era um dia, era claro
Quase meio
Era um canto falado
Sem ponteio
Violência, viola
Violeiro
Era morte redor
Mundo inteiro...
 
Era um dia, era claro
Quase meio
Tinha um que jurou
Me quebrar
Mas não lembro de dor
Nem receio
Só sabia das ondas do mar...
 
Jogaram a viola no mundo
Mas fui lá no fundo buscar
Se eu tomo a viola
Ponteio!
Meu canto não posso parar
Não!...
 
Quem me dera agora
Eu tivesse a viola
Prá cantar, prá cantar
Ponteio!...(4x)
Pontiarrrrrrrr!
 
Era um, era dois, era cem
Era um dia, era claro
Quase meio
Encerrar meu cantar
Já convém
Prometendo um novo ponteio
Certo dia que sei
Por inteiro
Eu espero não vá demorar
Esse dia estou certo que vem
Digo logo o que vim
Prá buscar
Correndo no meio do mundo
Não deixo a viola de lado
Vou ver o tempo mudado
E um novo lugar prá cantar...
 
Quem me dera agora
Eu tivesse a viola
Prá cantar
Ponteio!...(4x)
 
Lá, láia, láia, láia...
Lá, láia, láia, láia...
Lá, láia, láia, láia...
 
Quem me dera agora
Eu tivesse a viola
Prá cantar
Ponteio!...(4x)
 
Prá cantar
Pontiaaaaarrr!...(4x)
 
Quem me dera agora
Eu tivesse a viola
Prá Cantar!

SÓ DANÇO SAMBA

TAMBA TRIO
COMPOSITORES: ANTONIO CARLOS JOBIM & VINICIUS DE MORAES
PAÍS: BRASIL
ÁLBUM: TAMBA TRIO CLASSICS
GRAVADORA: UNIVERSAL MUSIC INTERNACIONAL
GÊNERO: SAMBA
ANO: 1997
 
            O Tamba Trio foi um conjunto musical formado no Rio de Janeiro na década de 1960. Composto originalmente por Luiz Eça(piano, vocal e arranjos), Bebeto Castilho (contrabaixo, flauta, sax e vocal) e Hélcio Milito (bateria, percussão e vocal), o Tamba Trio começou a tomar forma ainda acompanhando a cantora Maysa e depois a cantora Leny Andrade numa temporada na boate Manhattan, atuando ao lado de Luiz Carlos Vinhas (piano) e Roberto Menescal (violão). A partir de 1967, com a entrada do baixista Dório Ferreira, Bebeto passaria a atuar apenas como flautista, transformando assim o trio no quarteto Tamba 4. Dois anos depois, com a saída de Luiz Eça, que formaria o seu grupo "A Sagrada Família", o pianista Laércio de Freitas entrou em seu lugar. O quarteto duraria até 1970.
          O Tamba Trio retornou com os três integrantes originais só em 1971, gravando dois discos pela gravadora RCA. Em 1976 começou mais um hiato e, quatro anos depois, o grupo voltou, fazendo apresentações e gravando o LP "Tamba Trio 20 Anos de Sucessos", lançado em 1982. A partir de 1989, o baterista Rubens Ohana, que já participara do Tamba Trio, reintegrou-se ao conjunto, substituindo Hélcio Milito. O grupo continuou até 1992, quando faleceu Luiz Eça.
           O trio também acompanhou os cantores Carlos Lyra, Edu Lobo, Nara Leão, Sylvia Telles, Quarteto em Cy, João Bosco e Simone, entre outros.
Só danço samba
Só danço samba, vai, vai, vai, vai, vai
Só danço samba
Só danço samba, vai
Só danço samba
Só danço samba, vai, vai, vai, vai, vai
Só danço samba
Só danço samba, vai
Já dancei o twist até demais
Mas não sei
Me cansei
Do calipso ao chá chá chá
Só danço samba
Só danço samba, vai, vai, vai, vai, vai
Só danço samba
Só danço samba, vai
(Várias vezes)
Só danço samba
Só danço samba, vai
Só danço samba
Só danço samba, vai.

BOOGIE WOOGIE BUGLE BOY

THE ANDREWS SISTERS
SONGWRITERS: DON RAYE & HUGHIE PRINCE
COUNTRY: U. S. A.
ALBUM: SELECTION FROM MAFIA 2 ORIGINAL SOUNDTRACK RECORDING
LABEL: ALTEREDEGO
GENRE: SWING
YEAR: 1900
 
           The Andrews Sisters were an American close harmony singing group of the swing and boogie-woogie eras. The group consisted of three sisters: contralto LaVerne Sophia(July 6, 1911 – May 8, 1967), soprano Maxene Anglyn(January 3, 1916 – October 21, 1995), and mezzo-soprano Patricia Marie "Patty"(February 16, 1918 – January 30, 2013). The sisters have sold an estimated 80 million records. Their 1941 hit "Boogie Woogie Bugle Boy" can be considered an early example of jump blues. Other songs closely associated with the Andrews Sisters include their first major hit, "Bei Mir Bist Du Schön (Means That You're Grand)" (1937), "Beer Barrel Polka(Roll Out the Barrel)" (1939), "Beat Me Daddy, Eight to the Bar" (1940), "Don't Sit Under the Apple Tree (With Anyone Else but Me)" (1942), and "Rum and Coca Cola" (1945), which helped introduce American audiences to calypso.
          The Andrews Sisters' harmonies and songs are still influential today, and have been copied and recorded by entertainers such as Patti Page, Bette Midler, Christina Aguilera, Pentatonix, and others. The group was among the inaugural inductees to the Vocal Group Hall of Fame upon its opening in 1998. Writing for Bloomberg, Mark Schoifet said the sisters became the most popular female vocal group of the first half of the 20th century. They are still widely acclaimed today for their famous close harmonies. They were inducted into the Minnesota Rock/Country Hall of Fame in May 2006.
He was a famous trumpet man
From out Chicago way
He had a boogie style
That no one else could play
He was the top man at his craft
But then his number came up
And he was gone with the draft
He's in the army now
He's blowin' reveille
He's the boogie-woogie bugle boy of Company B
 
They made him blow a bugle
For his Uncle Sam
It really brought him down
Because he could not jam
The Captain seemed to understand
Because the next day the Cap'
Went out and drafted a band
And now the company jumps
When he plays reveille
He's the boogie-woogie bugle boy of Company B
 
A-toot a-toot
A-toot diddle-ee-ada-toot
He blows it eight to the bar
In boogie rhythm
He can't blow a note
Unless the bass and guitar
Is playin' with 'im
 
He makes the company jumps
When he plays reveille
He's the boogie-woogie bugle boy of Company B
 
He was a boogie-woogie bugle boy of Company B
And when he plays boogie-woogie bugle
He's was busy as a bzzy bee
And when he plays he makes the company jump
Eight to the bar
He's the boogie-woogie bugle boy of Company B
 
Toot-toot-toot-toot a-diddle-ee-ada-toot-diddle-ee-ada
Toot toot he blows it eight to the bar
 
He can't blow a note
If the bass and guitar
Isn't with 'im
 
A-and the company jumps
When he plays reveille
He's the boogie-woogie bugle boy of Company B
 
He puts the boys to sleep
With boogie every night
And wakes them up the same way
In the early bright
They clap their hands and stamp their feet
Because they know how he plays
When someone gives him a beat
He really breaks it up
When he plays reveille
He's the boogie-woogie bugle boy of Company B
 
dadada-adarada-dada, dadada-adarada-dada
dadada-adarada-dada, dadada-adarada-dada
 
A-and the company jumps
When he plays reveille
He's the boogie-woogie bugle boy of Company B.

SMALL CIRCLES

THE RAINMAKERS-(FEAT. JO NESBØ)
SONGWRITER: BOB WALKENHORST
COUNTRY: U. S. A. X NORWAY
ALBUM: TORNADO
LABEL: MERCURY
GENRE: POP ROCK
YEAR: 1987
 
         The Rainmakers are a Kansas City, Missouri-based original rock band, fronted by Bob Walkenhorst, which had a small string of hits in the late 1980s and early 1990s in the United States and Europe, especially Norway
          The Rainmakers were formed in 1983 as a three-piece bar band called "Steve, Bob and Rich", which "quickly became popular throughout the Midwest," according to one Amazon review. They released one album, Balls, under this name. The addition of drummer Pat Tomek allowed Walkenhorst to switch to guitar and assume the role of frontman. The band changed their name to The Rainmakers when they were signed to PolyGram by A&R man Peter Lubin.
          The band's self-titled 1986 debut album received good reviews in the U.S. entertainment media (Newsweek magazine dubbed it "the most auspicious debut album of the year") and reached No. 87 on the U.S. Billboard album chart. The band made a fan of horror author Stephen King, who quoted the band's lyrics in his novels The Tommyknockers and Gerald's Game. The album, however, achieved its greatest commercial success overseas. In the United Kingdom, the single "Let My People Go–Go", (a song based on the American Negro spiritual anthem "Go Down Moses"), broke into the Top 20 in the UK Singles Chart.
Their follow-up album, 1987's Tornado, peaked at #116 on the U.S. chart. The Rainmakers released one more studio album, 1989's The Good News and The Bad News, and one live album, 1990's Oslo-Wichita Live, which were successful in Europe, but did not chart in the U.S. The band broke up after the release of the live album, which was only issued in Europe.
         Scandinavian interest in their music remained high, and they reformed and released a new album, Flirting with the Universe, in 1994. The album achieved the equivalent of gold record status in Norway in one month. Ruth left the band and was replaced by new bassist Michael Bliss, and one more album, Skin, followed in 1996. The band issued one further track in 1998, a collaboration with Brewer & Shipley in a new version of "One Toke Over the Line", before they broke up again.
       In 2011, the Rainmakers reformed, with bassist Rich Ruth returning to the group in place of Bliss, while longtime guitarist Steve Phillips was replaced by Jeff Porter. On March 5, the band was inducted into the Kansas Music Hall of Fame, with a ceremony and concert at Liberty Hall in Lawrence, Kansas. The following week, the band's album, 25 on, was released on March 14. At the end of March, the band returned to Norway for a two-week tour. The band played two shows (May 14–15) at Knuckleheads Saloon in Kansas City.
   In 2014, the Rainmakers released the álbum Monster Movie. In June the same year, they performed at the Sweden Rock Festival.
          In 2015 they released the álbum Cover Band.
     Steve Phillips died in 2020 after contracting Covid-19
  Tornado is the second studio album by The Rainmakers, produced by Terry Manning and released in 1987. It reached #116 on the Billboard 200.
       A remastered version of the album was released in 2012 with 8 additional bonus tracks.
She reached out and touched my hand
And made me dance to some local band
But the beat was slow so there we stand
As we move in small circles
 
We cut out before the night was through
Start my car and we drove the Loop
Talked about the things we were going through
As we move in small circles
We move in small circles
 
She said she didn't know the ways of love
I said neither do I, I thought you'd show me some
We dilly-dallied like that for six or eight months
As we move in small circles
 
A couple of times she stayed with me
And we worked it out on a single sheet
I can hear every painful squeak
As we move in small circles
We move in small circles
 
Then she grew up and I grew up
And she got tough and I got tough
So much for love, so much for love
As we move in small circles
 
Now we make money and we're all right
And we drive cars and wield our might
We make love to people that we don't even like
As we move in small circles
 
And I don't even think about her now
I just said all this to be working my mouth
I wish I cared but I don't know how
As we move in small circles
We move in small circles.