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word (a word with the stress on the antepenultimate syllable); it is considered by many the album's most poetically and musically complex piece. The subtext of social justice for construction workers (and low-income workers, in general), coupled with "Deus lhe pague", provides a dizzying critique of
29:
218:
was greeted by the regime's opponents as an important cultural and socio-political statement, released as it was during the dictatorship's most repressive period. Because
Buarque couched his criticism in such melodic beauty and lyrical obliqueness, and because of its popularity, the
467:. The magazine also voted its title track as the greatest Brazilian song, stating that it "is still a reference to understand a thorny period of Brazilian society". It also ranks Number 54 in the list of the 100 greatest records of the 20th century by German music magazine
302:
and cautious hopefulness for political change in—and possible return to—Brazil from the perspective of formal- and self-exiled politicians and artists, many of whom lived abroad during much of the military government's twenty-two years in power.
242:"Cotidiano" ("Daily Routine") whimsically chronicles the emotions, behaviors, and daily routine of a couple from the man's perspective, featuring a bluesy trombone, with the syncopated flow of Afro-Brazilian percussion rhythms.
267:
authoritarian societies that devalue the working poor to the point that their tragic lives at a time when labor rights were suppressed, are seen as an inconvenient interruption of daily bourgeoise self-absorbed lifestyles.
238:
The first track, "Deus lhe pague" (literally, "May God pay you back") was arranged with symphonic elements and rings with sardonic criticism of the military dictatorship (1964–1985) and its upper class and US allies.
306:
With "Valsinha" ("A Little Waltz"), the album's eighth song, Buarque again teamed up with
Vinicius de Moraes to compose a delicate love song of courtship with deep stylistic roots in
189:, especially with regard to the censorship imposed by the government at the time. It is widely regarded by music critics as one of the greatest Brazilian albums of all time, and its
185:, released in December 1971. It was composed in periods between Buarque's exile in Italy and his return to Brazil. Lyrically, the album is loaded with criticisms of the
270:"Cordão" ("Cord"), the fifth track, is a defiant and uplifting bossa nova style declaration that opposes efforts to stifle an individual's creativity and freedom.
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860:
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signaled
Buarque's fundamental artistic maturation, both in terms of musical composition and lyrical style, showcasing and transcending his mastery of MPB (
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the same year, provides a thematic interlude in the album's narrative with a tale of a poor
Brazilian boy christened "Jesus" by his unmarried mother.
249:
arrangement, is a confession of shortcomings and a plea for forgiveness and is intentionally unspecific whether the context is personal or political.
1021:
473:. In September 2012, it was elected by the audience of Radio Eldorado FM, of Estadao.com e of Caderno C2+Música (both the latter belong to newspaper
262:, blending bossa nova, MPB, and symphonic musical styles with Afro-Brazilian rhythms to emphasize the 14 syllables verses, each of which ends in a
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214:/Popular Brazilian Music). In addition to its significant aesthetic achievement, the album's implicit criticism of the ruling Brazilian
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The sixth track, "Olha Maria" ("Look, Mary"), is a bittersweet tune recorded and performed with its cowriter,
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The last song, "Acalanto" ("Lullaby"), wraps up the album with a gentle cradle song tinged with sadness.
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The ninth track, "Minha História" ("My Story"), a translation of "4/3/1943", an
Italian song written by
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894:"Spex (1999|2000) die 100 Alben des Jahrhunderts - Kritiker–Rock Pop Musik Bestenlisten"
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655:"Minha História" ("My Story") (Adapted by Chico Buarque, written by
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909:"'Ventura' é eleito o melhor disco brasileiro de todos os tempos"
722:
258:" ("Construction"), the fourth and title track, was arranged by
823:(Concise Fourth ed.). London: Virgin Books. p. 177.
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Buarque composed the seventh track, "Samba de Orly", with
848:(in Portuguese). Vol. 13. October 2007. p. 111.
245:"Desalento" ("Discouragement"), couched in a laid-back,
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was named the greatest
Brazilian song of all time by
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500:
235:ten songs with elements of diverse musical styles.
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861:"As 100 Maiores Músicas Brasileiras -"Construção""
621:"Samba de Orly" ("Samba of Orly") (Chico Buarque,
761:Internet (amdb.com.br), AMDB (9 November 2009).
219:regime—surprisingly—neither banned nor censored
844:"Os 100 maiores discos da Música Brasileira".
819:Larkin, Colin, ed. (2002). "Buarque, Chico".
8:
424:
386:
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785:
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479:) as the sixth best Brazilian album ever.
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465:100 greatest Brazilian albums of all time
821:The Virgin Encyclopedia of Popular Music
568:
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870:(in Portuguese). Spring. Archived from
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539:"Desalento" ("Dismay") (Chico Buarque,
16:1971 studio album by Chico Buarque
640:"Valsinha" ("Waltz") (Chico Buarque,
333:
7:
977:statistics, tagging and previews at
907:Bomfim, Emanuel (7 September 2012).
517:"Deus Lhe Pague" ("May God Pay You")
419:Virgin Encyclopedia of Popular Music
763:"Rolling Stone · Nº 1 - Construção"
728:Paulinho Jobim – Guest artist
685:Credits adapted from AllMusic and
143:Chico Buarque de Hollanda (Vol. 4)
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737:Toninho Barbosa – Technician
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308:Portuguese folk traditional music
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187:Brazilian military dictatorship
181:by Brazilian singer-songwriter
697: – Primary artist, vocals
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296:, and it is infused with both
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915:(in Portuguese). Grupo Estado
602:"Olha Maria" ("Look Maria") (
791:"Construção - Chico Buarque"
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859:Cavalcanti, Paulo (2009).
488:All tracks are written by
769:(in Brazilian Portuguese)
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212:Musica Popular Brasileira
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740:Aldo Luiz – Artwork
528:"Cotidiano" ("Everyday")
231:Buarque expertly imbued
159:Quando o carnaval chegar
1017:Philips Records albums
670:"Acalanto" ("Lullaby")
731:Marco Mazzola –
216:military dictatorship
1012:Chico Buarque albums
725: – Guest artist
719: – Guest artist
492:, except where noted
476:O Estado de S. Paulo
329:Professional ratings
275:Antonio Carlos Jobim
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967:(list of releases)
707:, studio direction
659:, Paola Pallotino)
642:Vinicius de Moraes
627:Vinicius de Moraes
608:Vinicius de Moraes
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558:" ("Construction")
541:Vinicius de Moraes
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459:ranks Number 3 on
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324:Acclaim and legacy
294:Vinicius de Moraes
203:Historical context
874:on 7 January 2014
799:All Media Network
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606:, Chico Buarque,
591:"Cordão" ("Cord")
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483:Track listing
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52:December 1971
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42:Chico Buarque
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917:. Retrieved
913:Combate Rock
912:
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876:. Retrieved
872:the original
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802:. Retrieved
771:. Retrieved
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233:Construção's
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179:studio album
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37:Studio album
1007:1971 albums
687:Construção'
657:Lucio Dalla
463:'s list of
383:Music Story
315:Lucio Dalla
191:title track
1001:Categories
986:Construção
973:Construção
960:Construção
939:Construção
919:28 January
830:1852279230
804:January 6,
773:2020-04-27
749:References
733:Technician
556:Construção
457:Construção
283:Zimbo Trio
256:Construção
247:bossa nova
221:Construção
208:Construção
174:Construção
151:Construção
133:chronology
100:Portuguese
22:Construção
878:6 January
717:Tom Jobim
681:Personnel
604:Tom Jobim
199:in 2009.
937:(1971).
795:AllMusic
705:Producer
703: –
623:Toquinho
570:Side two
496:Side one
348:AllMusic
290:Toquinho
119:Producer
96:Language
49:Released
39: by
979:Last.fm
965:Discogs
299:saudade
162:(1972)
155:(1971)
146:(1970)
868:Brasil
827:
583:Length
509:Length
342:Rating
339:Source
80:Length
580:Title
506:Title
227:Music
107:Label
71:samba
58:Genre
921:2016
880:2014
825:ISBN
806:2017
723:MPB4
673:1:40
662:3:05
647:2:00
632:2:40
613:3:57
594:2:35
561:6:30
546:2:50
531:2:50
520:3:20
470:Spex
292:and
281:and
990:at
963:at
667:10.
576:No.
502:No.
310:.
285:.
66:MPB
1003::
911:.
863:.
797:.
793:.
782:^
765:.
652:9.
637:8.
625:,
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223:.
89:10
85:31
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