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Brazil
Jun 14, 2004 1:06:01 GMT
Post by brillo69 on Jun 14, 2004 1:06:01 GMT
Brazil When hearts were entertained in June We stood beneath an amber moon And softly whispered 'some day soon'
We kissed and clung together Then Tomorrow was another day The morning found me miles away With still a million things to say
Now When twilight beams the skies above Recalling thrills of our love There's one thing I'm certain of
Return I will To old Brazil
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Brazil
Jul 4, 2004 15:14:57 GMT
Post by Al Truest on Jul 4, 2004 15:14:57 GMT
What's the point?
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Brazil
Apr 7, 2005 20:11:10 GMT
Post by Pete on Apr 7, 2005 20:11:10 GMT
This version of the song is just mesmerising - of that there can be no doubt. To really appreciate this version I think it's worth looking at some of the context. The song itself is an old big band number, popularised at dances, about somebody rejoicing in their holiday romance and yet lamenting the fact that it has to come to an end. It's a fairly light, disposable song and it's no surprise that when Sinatra was shopping round for songs for his landmark travel themed 'Come Fly With Me' album, this one made it into the shopping basket. I daresay that the Sinatra rendition is the one most people are likely to have. Sinatra does a workmanlike job with it, and Billy May does a good job arranging the tune to its usual latin rhythm. Fast forward then to 1985 and Terry Gilliam's bleakly dystopic black comedy of the same title. In the film 'Brazil' a strange bureaucratic future is interspersed with intensely vivid and surreal dream sequences, set to variations of the melody of Brazil. The song features in an incredibly powerful closing scene in which the light melody is used to make a huge statement about the fickleties of mind control. To get away with that needs some fairly special orchestration and I think this is truly Michael Kamen's finest work. He takes a thin dance number and gives it lush drama, authority and meaning. He does things with the brass that transcend 'flourishes and accents' and become hugely powerful. The arrangement is just...WOW! How do you add a lyric to that? How do you sing over it without lessening its impact and also maintaining the ethereal quality of the visuals? You get Kate to sing it. And doesn't she do an amazing job. She doesn't try to outsing the orchestra, Tom Jones style. Instead she gently breathes over the gushing strings to give the wistful realisation of beautiful fantasy over grim reality a total believability. Absolutely outstanding and I utterly love it. A triumph by everyone concerned. I bow in humility.
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Brazil
Apr 7, 2005 21:05:08 GMT
Post by Al Truest on Apr 7, 2005 21:05:08 GMT
Damn, Pete. I didn't realize why I liked this piece so much until now. 'Wonderful commentary, and vivid imagery. Thanks.
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Brazil
Jul 9, 2005 15:07:39 GMT
Post by brisbanekatefan on Jul 9, 2005 15:07:39 GMT
Can someone please explain the whole "Brazil" situation? I mean, did she write this song for the film and then it was rejected? The melody is heard CONSTANTLY throughout the film. Where was Kate's voice dammit!?
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Brazil
Feb 21, 2009 0:00:32 GMT
Post by tannis on Feb 21, 2009 0:00:32 GMT
Return I will To old Brazil...Brazil: Kate recorded a dark, ominous version of this classic standard, over an orchestral score by Michael Kamen, for the soundtrack album of the film Brazil (1985), a fantasy about a nightmarish Orwellian society directed by Terry Gilliam. Her version of the song is not heard in the movie.
Brazil was developed under the titles The Ministry and 1984 1/2, the latter a nod not only to Orwell's original 1984 but also to Federico Fellini's 8 1/2, a director which Gilliam often cites as one of the defining influences for his stunning and visionary visuals when it comes to directing. During the film's production, other working titles floated about, including The Ministry of Torture, How I Learned to Live with the System - So Far, and So That's Why the Bourgeoisie Sucks, before settling with Brazil relating to the name of its escapist signature tune.
[But also note Brazil (mythical island): Brazil, also known as Hy-Brazil or several other variants, is a phantom island which features in many Irish myths. It was said to be cloaked in mist, except for one day each seven years, when it became visible but could still not be reached. It probably has similar roots to St Brendan's Island. The names Brazil and Hy-Brazil are thought to come from the Irish Uí Breasail (meaning "descendants (i.e., clan) of Breasal"), one of the ancient clans of northeastern Ireland.]
Ary Barroso's 1939 song "Aquarela do Brasil" ("Watercolor of Brazil", often simply "Brazil") is the leitmotif of the movie, although other background music is also utilized. Michael Kamen, who scored the music, originally recorded "Brazil" with vocals by Kate Bush. This recording was not included in the actual film or the original soundtrack release; however, it has been subsequently released on re-pressings of the soundtrack.
"Aquarela do Brasil" is one of the most popular Brazilian songs of all time, written by Ary Barroso on a pluvious night in 1939. It was first recorded by Aracy Cortes later that year. This song marked the creation of a new genre, the samba-exaltação (Exaltation Samba), which was looked upon favorably by the nationalist dictatorship of Getúlio Vargas."Brazil"
Brazil When hearts were entertained in June We stood beneath an amber moon And softly whispered 'some day soon'
We kissed and clung together Then Tomorrow was another day The morning found me miles away With still a million things to say Now When twilight beams the skies above Recalling thrills of our love There's one thing I'm certain of
Return I will To old Brazil Kate Bush - Brazilwww.youtube.com/watch?v=a_aCA45f25s
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