Brega (Tacky)
A fun challenge to good taste
Silvio Essinger
11/10/2000
The origins aren’t clear: some might say that the name comes from northeastern brothels, where the style would provide the soundtrack for rented romance. The fact is that, since the early 80s, the word brega (tacky) has been used to denominate bad music, usually made for the poorly educated, with big amounts of drama and/or stupidly puerile lyrics. The origins of this undesirable branch of Brazilian music, currently regarded as almost a style, date back to the 30s, with Vicente Celestino and his tragic tunes like O Ébrio (or The Drunkard).
In the following decades, samba-canção and bolero would push that aesthetics ahead, specially when interpreted by the classically trained voices of Orlando Dias (a widower who would let go of his grief on stage), Nelson Gonçalves, Altemar Dutra, Waldick Soriano, Agnaldo Timóteo and many others.
Inadvertently, Brazilian rockers in the early 60s instigated the birth of musical fashions that defied the boundaries of good taste. In Recife (Pernambuco, NE), Reginaldo Rossi started out a very successful career, which rendered him with a tribute album by the mangue beat generation: ReiGinaldo Rossi (1999)
Great record sellers
Besides Reginaldo Rossi, other artists were after their share of the audience in the 70s, especially Odair José, who, oddly enough, recorded a song with Caetano Veloso in 1973.
The joys and mishaps of northeastern immigrants were current themes within the style. A more updated version of what would be regarded as brega would come up in the late 70s, commanded by Sydney Magal and Gretchen. Disco and pop replaced early rock echoes, emphasizing sex-appealing dances. Romantic outbursts were also highly appreciated, as sung by Perla (Paraguayan singer who made Brazilian versions of Abba songs) and Jane & Herondy (a married couple singing about love).
In the 80s, pop brega’s biggest names were Michael Sullivan (former member of early BRock band The Fevers) and Paulo Massadas, who produced instant radio hits for the likes of Gal Costa, Tim Maia and Fagner. On the other hand, young artists in the southeast were having insights about how that style could be used politically in their music. This metabrega trend (actually launched by Raul Seixas in the 70s) revealed some respectable acts, like singer Eduardo Dusek and the band Língua de Trapo.
Playful tendencies
The style went on through the 90s, with bands that specialized in re-creating brega standards for educated audiences. New composers emerged, like Falcão and Mamonas Assassinas. In 1999, brega culture was already so incorporated in the country’s culture that Universal released a 6-CD box set, featuring the best of the worst in Brazilian music from the 70s. Meanwhile, brega’s more authentic roots were becoming trendy in Belém do Pará (capital of Pará, in the North), fomenting the appearance of a profitable local market.
Songs
Coração Materno – Vicente Celestino
Sonhar Contigo – Adilson Ramos
A Volta do Boêmio – Nelson Gonçalves
Mon Amour, Meu Bem, Ma Femme – Reginaldo Rossi
Fuscão Preto – Almir Rogério
Eu Não Sou Cachorro Não – Waldick Soriano
Cadeira de Rodas – Fernando Mendes
Sorria, Sorria – Evaldo Braga
O Meu Sangue Ferve por Você – Sidney Magal
Brega-Chique – E o Vento Levou Black – Eduardo Dusek
Holiday e Foi Muito – Falcão
In the following decades, samba-canção and bolero would push that aesthetics ahead, specially when interpreted by the classically trained voices of Orlando Dias (a widower who would let go of his grief on stage), Nelson Gonçalves, Altemar Dutra, Waldick Soriano, Agnaldo Timóteo and many others.
Inadvertently, Brazilian rockers in the early 60s instigated the birth of musical fashions that defied the boundaries of good taste. In Recife (Pernambuco, NE), Reginaldo Rossi started out a very successful career, which rendered him with a tribute album by the mangue beat generation: ReiGinaldo Rossi (1999)
Great record sellers
Besides Reginaldo Rossi, other artists were after their share of the audience in the 70s, especially Odair José, who, oddly enough, recorded a song with Caetano Veloso in 1973.
The joys and mishaps of northeastern immigrants were current themes within the style. A more updated version of what would be regarded as brega would come up in the late 70s, commanded by Sydney Magal and Gretchen. Disco and pop replaced early rock echoes, emphasizing sex-appealing dances. Romantic outbursts were also highly appreciated, as sung by Perla (Paraguayan singer who made Brazilian versions of Abba songs) and Jane & Herondy (a married couple singing about love).
In the 80s, pop brega’s biggest names were Michael Sullivan (former member of early BRock band The Fevers) and Paulo Massadas, who produced instant radio hits for the likes of Gal Costa, Tim Maia and Fagner. On the other hand, young artists in the southeast were having insights about how that style could be used politically in their music. This metabrega trend (actually launched by Raul Seixas in the 70s) revealed some respectable acts, like singer Eduardo Dusek and the band Língua de Trapo.
Playful tendencies
The style went on through the 90s, with bands that specialized in re-creating brega standards for educated audiences. New composers emerged, like Falcão and Mamonas Assassinas. In 1999, brega culture was already so incorporated in the country’s culture that Universal released a 6-CD box set, featuring the best of the worst in Brazilian music from the 70s. Meanwhile, brega’s more authentic roots were becoming trendy in Belém do Pará (capital of Pará, in the North), fomenting the appearance of a profitable local market.
Songs
Coração Materno – Vicente Celestino
Sonhar Contigo – Adilson Ramos
A Volta do Boêmio – Nelson Gonçalves
Mon Amour, Meu Bem, Ma Femme – Reginaldo Rossi
Fuscão Preto – Almir Rogério
Eu Não Sou Cachorro Não – Waldick Soriano
Cadeira de Rodas – Fernando Mendes
Sorria, Sorria – Evaldo Braga
O Meu Sangue Ferve por Você – Sidney Magal
Brega-Chique – E o Vento Levou Black – Eduardo Dusek
Holiday e Foi Muito – Falcão