The Lyrics

    The Lyrics

    A good partnership is everything.
    By Jefferson de Souza, critic

    Mona Gadêlha’s cradle was Ceará (A state in the Northeast of Brazil. In Brazil, the
    Northeast is a cultural melting pot similar to the Mississippi delta, with strong
    grassroots music and a rich folk tradition, that has had considerable influence upon
    Brazilian culture). But that does not matter at all. Her music is not the kind that can be
    bound by geographical locations. It is hardly—or even not at all—regional.
    Which, let us say, cannot be but on the positive side when we take it into account.

    Mona, as she became known at first among friends and soon in the music and show
    business environment, is rather an urban, cosmopolitan artist that reaches beyond
    boundaries. Perhaps this explains her earlier involvement with rock music in the mid-70s
    in Fortaleza (capital of Ceará state), then a stronghold of the most traditional kind of
    mainstream MPB (Brazilian Popular Music).

    Mona had her debut at the First Rock Festival of Ceará in 1974. She was the only
    female performer at the event and right away became the muse of Ceará rock music. The
    fact is that she made it to the local scene and formed the groups Kaleidoscópio and
    Emoções Perigosas (The translation would be "Cheap Thrills" although the word
    "Perigosas" means `Dangerous’).

    In 1979 she was featured in the Massafeira collection, a double album featuring
    20 artists that brought together two generations of Ceará musicians. The recording of the
    blues that Mona had written and was included in that collection, "Cor de Sonho",
    had the participation of well-known and widely respected musicians Robertinho do Recife
    (guitar) and Túlio Mourão (piano). Curiously enough, this track became a hit on local
    radio stations in her native Fortaleza. The collection Massafeira also served the
    purpose of bringing Mona to the south of Brazil.

    After her trip to Rio de Janeiro—where the recordings were made—during which
    she took advantage of the opportunity and recorded backing vocals for Ednardo (local
    Ceará artist who achieved nationwide success) in the album that takes his name for a
    title, she realized that her career as an artist would have to take place in the south,
    mainly around the Rio-São Paulo axis. Nevertheless, it took her six years to pack up for
    good. Before that, she successfully pursued a bachelor’s degree in Social Communication
    Science at the Federal University in Ceará. Meanwhile, she was featured in several
    collections and performed in many shows. One of these shows, entitled Emoções Perigosas,
    was staged all over the Northeast in `84, with successful reviews and billings.

    Ten years after arriving in São Paulo, Mona has finally made it to her solo album by
    Movieplay. The long wait was worthwhile. Produced by Alexandre Fontanetti, Mona
    Gadêlha, the album, features special guest appearances by such great musicians that
    clearly state the respect that the artist has won along this decade in the São Paulo
    music and show business scene. It is easy to understand why a debut album can rely on the
    `little help’ of so many good friends: Mona is an accomplished songwriter and a mature
    singer. Her album is a well-balanced mix of pop and MPB (Brazilian Popular Music)—in
    case we are allowed to say there is any kind of difference between them. Mona Gadêlha is
    a great promise for Brazilian music. Let no one say they have not been warned.

    Jefferson de Souza is a music critic.

    Bluesy Mona
    A good partnership is everything.

    The meeting of composer and interpreter Mona Gadêlha with musicians André Magalhães
    and Álvaro Faria resulted in a series of involving songs tied together by a subtle
    intentional concept that defines the new album of the artist from Ceará. Not that they
    have composed something together, but that they have worked around a vibrant singularity
    in the production and arrangements of this new album.

    Mona Gadêlha is releasing her second album, Cenas & Dramas, filled with
    electronics intervention combined with simple and relaxed rhythms. Cenas & Dramas is
    trip hop, distorted and melody guitars with tons of ballad, blues and vaudeville. It is a
    pure reflex of the consistent life of this singer who was born in Ceará and lives in São
    Paulo.

    More cosmopolitan, she comes with her second album, maturing the ideas of the first
    one, Mona Gadêlha, which brought songs like "Cinema Noir", broadcast in
    some national radio stations and MTV. The video clip debuted in other countries like
    Mexico, Spain and Portugal, confirming the versatility of the artist.

    It’s natural to expect this album to be more successful than the first one; Mona is
    singing and composing better than ever. The compositions depict facts of life: home
    desertion, passion, disillusionment, and loneliness. Such themes match perfectly with the
    "bluesy" voice of Mona.

    Cinema is another motive of her songwriting. Songs like "Cine Insane Blues",
    "Mais um Romance" and "Johnny Vai pra Guerra?" suggest short movie
    stories. By the way, "Crepúsculo de uma Deusa" is a suggestive song that mixes
    trip hop and pop with a Brazilian stress. The songs on the album have many accents, as
    well as scenes and drama; they are destined to become hits. In a productive scene of
    Brazilian female voices, Mona Gadêlha is an artist who deals in a way not orthodox to
    MPB, pop rock, and blues. Although these are her influences, Mona has her own unique
    style.

    Produced by André Magalhães (Aquilo Deu Nisso’s drummer) and Álvaro Faria (awarded
    VU studio producer of publicity soundtracks), the new album has the special participation
    of Lelo Nazario, Toninho Ferragutti, César Maluf, Maurício Pereira, Paulo Padilha,
    Cláudio Faria, Emerson Vilani and Ricardo Cunha. Besides her own songs, Mona sings the
    compositions of Edvaldo Santana and Lobão, and new talents like Fernando Pereira, Marcos
    Andrada e Wilson Ferreira (Vultos, a band from São Paulo in the 80’s), the fellows Lúcio
    Ricardo and Siegbert Franklin (author of the album cover & partner of Mona Gadêlha.)

    Sérgio Barbo is a critic and music researcher.

    Mona Gadêlha’s comments about the songs on the album Cenas
    & Dramas:

    1. Crepúsculo de uma Deusa (Mona Gadêlha)—When I watched Sunset Boulevard
    (Crepúsculo dos Deuses, Gods’ Twilight in Portuguese) I was very impressed with
    the interpretation of Gloria Swanson as Norma Desmond. I started thinking about fame and
    decadence. I wrote the song almost like a lullaby to "put stars to bed".

    2. Mais um Romance (Mona Gadêlha)—Born with a nostalgic intendment of "disco
    music," but the arrangement of Álvaro Faria brought another language and more
    sensuality.

    3. Johnny Vai pra Guerra? (Mona Gadêlha)—A dialogue with teenagers. I made it
    thinking of a 17-year-old friend who wanted to leave his parents.

    4. O Amante (Mona Gadêlha)—A joke with infidelity—this feeling that
    sometimes assaults all of us human beings.

    5. Farsantes Amantes (Marcos Andrada/Wilson Ferreira) Music from the time of the band
    Vultos, pioneer of rock music in São Paulo in the ’80s. It was released in a Vultos LP
    and we decided to record it again with another arrangement. I even went to one of their
    concerts when I first arrived in São Paulo in ’86.

    6. Bem-Me-Quer (Onde Você Anda?) (Siegbert Franklin/Mona Gadêlha)—This is one of
    my partnerships with the singer, guitarist, and designer Siegbert Franklin from Ceará.
    When we were teenagers in Fortaleza, we created the rock band "Kaleidoscópio".
    That was the end of the ’70s and we were having fun being rebels in Ceará.

    7. Ouvindo o Coração (Edvaldo/Gildo Passos)—Edvaldo is one of my favorite
    composers. When I made my first album he prepared a cassette with several songs I liked.
    The first one I recorded was "Sinal". This is blues, absolutely impassioning.

    8. Duro (Fernando Pereira)—Fernando is another composer I adore. This is the first
    time he has recorded and I feel honored by that. I had a cassette with many of his songs,
    but "Duro" was suggested by Álvaro Faria. These are lyrics I would like to have
    written.

    9. Cine Insane Blues (Lúcio Ricardo)—Lúcio Ricardo is a singer and composer from
    Ceará. Together with Siegbert Franklin they were the legend rock group "Perfume
    Azul" in Fortaleza. We did many shows together and I am happy for being able to
    record him. That’s my homage to the generation that initiated a pop-rock scene in Ceará.

    10. Por Tudo Que For (Lobão/Bernardo Vilhena)—I adore the songs of Lobão and
    this is one of my favorites. I played this song for André on a cassette—just voice
    and acoustic guitar. He suggested doing this, with fewer instruments and in a lower tune.

    Mona’s Webpage: http://www.uol.com.br/monagadelha

    How to contact Mona: outubro@uol.com.br  
    or Tel:(+5511) 5584-8108 (talk to Silvânia Barbosa).

    All this material was translated from the Portuguese and organized by
    Marcos Borges, a Brazilian screenwriter/designer graduated in journalism. He lives in the
    Black Forest in Germany, where he works in the Media Village design studio. Some of his
    screenplays can be found in his homepage: http://mborges.homepage.com. Or you can get in
    touch with him at marcosborges@hotmail.com

    The Lyrics


    Crepúsculo de uma Deusa

    (Mona Gadêlha)

    Quem vai te acalentar
    Nessa noite fria?
    Quem vai te beijar
    Nessa cama vazia?

    Eu nunca te disse sim
    Eu nada te prometi
    Eu só estou aqui de passagem
    Eu tenho que cuidar de mim
    Não me olhe com esse olhar estranho
    Não me chame, não diga meu nome
    Não adianta, eu não vou te ouvir
    Não faça cena, não

    Não faça drama
    Não me chame, não me telefone
    Já percebi que é hora de sumir

    Quem vai te acalentar
    Nessa noite fria?
    Quem vai te beijar
    Nessa cama vazia?

    Eu nunca te disse sim
    Eu nada te prometi
    Eu só entrei na tua história
    Como quem veio pra se divertir
    Vim conhecer o teu olhar noturno
    Mas tuas fotos me chamaram
    mais atenção
    Veja, o mundo gira, o mundo é cruel
    Quem vai guardar agora
    Aquele velho troféu?

    Quem vai te acalentar
    Nessa noite fria?
    Quem vai te beijar
    Nessa cama vazia?

    Twilight of a Goddess
    (Mona Gadêlha)

    Who is going to warm you
    in this cold night?
    Who is going to kiss you
    In this empty bed?

    I never said yes
    I never promised anything
    I’m here just passing by
    I have to take care of myself
    Don’t look at me with this strange look
    Don’t call me, don’t say my name
    Don’t try, I won’t listen to you
    Don’t make a scene, don’t

    Don’t make a drama
    Don’t call me, don’t phone me
    I realized it’s time to disappear 

    Who is going to warm you
    In this cold night?
    Who is going to kiss you
    In this empty bed?

    I never said yes
    I haven’t promised anything
    I only entered into your story
    Like somebody who came to have fun
    I came to know your nocturnal look
    But your photos called
    my attention more
    Look, the world turns, the world is cruel
    Who’s going to keep
    That old trophy?

    Who is going to warm you
    In this cold night?
    Who is going to kiss you
    In this empty bed?

     

    Bem-me-quer (Onde Anda Você?)
    (Siegbert Franklin/Mona Gadêlha)

    Onde você anda?
    Meu coração fica louco
    Se não respira teu olhar

    Onde você anda?
    Minha voz se acaba
    Se não fala o seu nome

    E quanto tempo você vai ficar longe?
    Os amigos dizem que eu
    Já não sou a mesma
    Na fotografia beijo seu rosto
    Do quarto imagino sua voz
    na sala
    E toda manhã eu penso
    Que vou te encontrar
    Na rua, num lugar qualquer
    Quando volto
    Tudo é tão vazio
    Só a flor ainda insiste em dizer
    que você
    Me quer

    He Loves Me (Where Are You?)
    (Siegbert Franklin/Mona Gadêlha)

    Where are you?
    My heart gets crazy
    If it doesn’t breathe your look

    Where are you?
    My voice fails
    If it doesn’t speak your name

    And how long are you going to stay far off?
    The friends say
    I’m not the same anymore
    On the photo I kiss your face
    From the bedroom I imagine your voice
    in the living room
    And every morning I think
    I’m going to meet you
    In the street, in any place
    When I come back
    Everything is so empty
    Only the flower still insists to say
    that you
    Love me

     

    Por Tudo Que For
    (Lobão/Bernardo Vilhena)

    E depois, a luz se apagou
    E eu não consigo mais ficar
    sozinho aqui
    Sem você é tão ruim
    Não tem sentido, prazer,
    não há nada
    Por favor, não me interprete mal
    Eu não queria e nem devia te magoar
    O tempo vem , o tempo vai
    Passa por mim meio assim,
    meio assim devagar
    Vou dormir sentindo
    O que a solidão pode fazer
    A um coração ferido
    Por saber que o erro era meu , só meu
    Já passou, agora já passou
    Mas foi tão triste
    Que eu não quero nem lembrar
    Ver você, ter você
    E querer mais de nós dois
    Não tem nada demais
    E pensar, você aparecer pela janela
    Tão bonita de manhã
    Vem pra mim e não vai mais
    Me abraça, me abraça, me abraça
    Por tudo que for

    For Everything
    (Lobão/Bernardo Vilhena)

    And afterwards, the lights went off
    And I cannot stay here
    alone anymore
    Without you it’s so awful
    It doesn’t make sense, there is no pleasure,
    there is nothing
    Please don’t get me wrong
    I didn’t want to hurt you and I shouldn’t
    Time comes and goes
    Passing me slowly
    so, so
    I’m going to sleep feeling
    What loneliness can cause
    To a hurting being
    For knowing that the fault was mine only mine
    It’s already over, it’s over now,
    But it was so sad
    That I don’t even want to remember
    To see you, to have you
    And to want more of the two of us
    That’s not too much
    And thinking of you to appear at the window
    So beautiful in the morning
    Come to me, and don’t leave anymore
    Hold me, hold me, hold me
    For everything

     

    Ouvindo o Coração
    (Edvaldo Santana/Gildo Passos)

    Não há jeito de esquecer a dor
    De se perder alguém
    Não há vento que espalhe as cinzas
    Do que se gosta ainda
    Quando chega a hora de ir embora
    Não importa
    Me bate um frio febril
    Embriagado eu estou

    Não importa quanto tempo essa vida
    Me lançou na solidão
    Vadiando pelas ruas, pelas bocas,
    Pelos bares
    Sem destino
    Procurando uma emoção

    Se um dia você ouvir
    Essa voz ao meio-dia
    Vai saber que há em mim
    Um sonho onde mora você

    Pra quem correu atrás
    E já passou muito sufoco
    Amar é muito mais
    Só cama é muito pouco
    Amor é paciência
    Carinho, atenção
    Amor é como um blues
    Ouvindo o coração

    Listening to the Heart
    (Edvaldo Santana/Gildo Passos)

    There is no way to forget the pain
    Of losing someone
    There is no wind that spreads the ashes
    Of what one still likes
    When the time comes to go
    Doesn’t matter
    A feverish cold hits me
    Drunk I am

    It doesn’t matter how much time this life
    Threw me into loneliness
    Idling through the streets, through the ghettos,
    Through the pubs
    Without destination,
    Looking for emotion

    If one day you hear
    This voice at noon
    You will know that there is
    A dream in me in which you live

    For somebody who fought
    And who already suffered a lot
    To love is much more
    Only bed is not enough
    Love is patience,
    Caress, attention
    Love is like a blues
    Listening to the heart.

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