Fagner

Raimundo Fagner stands among Brazil’s most commercially triumphant musicians, having issued multiple gold-certified albums. He laid down tracks in the United States, England, Spain, and France alongside Fito Paez, Astor Piazzolla, Mercedes Sosa, and additional collaborators. Numerous composers subsequently interpreted his material, among them Roberto Carlos, Elis Regina, Nara Leão, Chico Buarque, and Cazuza.

Music entered his life in earliest childhood; at five he claimed victory in a radio competition. In 1968 he triumphed at the IV Festival de Música Popular do Ceará with the composition “Nada Sou,” co-written with Marcus Francisco. Shortly afterward he joined Belchior, Rodger Rogério, Ednardo, and Ricardo Bezerra to form the collective known as Pessoal do Ceará. The following year he introduced “Luzia do Algodão,” again with Francisco, at the Festival de Música Popular da Rádio Assunção Cearense; Orgacine issued the song as his first commercial release. Until 1970 he remained in Fortaleza, Ceará, sharing a weekly radio program with the same circle of musicians.

In 1971 Fagner relocated to Brasília and matriculated in architecture at the University of Brasília, withdrawing after completing only the initial year. Nevertheless, the institution sponsored the Festival do Centro de Estudos Universitários de Brasília, where he submitted three pieces: “Manera, fru-fru, Manera” (with Ricardo Bezerra), which placed sixth; “Cavalo Ferro,” honored for best interpretation and best arrangement and later covered by Elis Regina; and “Mucuripe,” credited jointly with Belchior though the melody had actually been composed seventy years earlier by Henrique Voegeler.

After settling in Rio de Janeiro he formed a duo with Cirino and cut a single for RGE. In 1972 Sérgio Ricardo inaugurated the Disco de Bolso series for the satirical journal O Pasquim; Fagner contributed “Mucuripe” to its second installment. That same year Elis Regina recorded the song, achieving massive nationwide success that markedly advanced his career. He next released a Philips single featuring “Quatro Graus,” written with Dedé and performed at the VII FIC. The following year Pessoal do Ceará—now comprising Ednardo, Rodger Rogério, Teti, and Cirino—recorded “Cavalo Ferro” on the album Meu Corpo, Minha Embalagem, Tudo Gasto na Viagem. Fagner himself issued his debut LP, Manera, fru-fru, Manera, whose title slyly alluded to Caetano Veloso and precipitated an enduring mutual hostility; guest artists included Naná Vasconcelos, Ivan Lins at the piano, Bruce Henry, and Nara Leão. The set contained the major hit “Canteiros,” for which Fagner supplied music to an uncredited poem by Cecília Meirelles, sparking controversy that ultimately led a court to withdraw the album from circulation.

He co-composed the soundtrack, with Chico Buarque, for Cacá Diegues’s film Joana, a Francesa. In Paris he appeared in a collective Brazilian concert at the Olympia before an audience of two thousand and collaborated with Pierre Barroux and Naná Vasconcelos, thereafter terminating his Philips contract. In 1975 he recorded the second LP, Ave Noturna, for Continental, which featured “Fracassos,” later reinterpreted by Cauby Peixoto. The 1976 self-titled album on CBS blended rock and romantic balladry. Orós, released in 1977 with arrangements by Hermeto Pascoal, proved artistically forward yet commercially modest, although “Cebola Cortada” gained broad recognition. Quem Viver Chorará marked his first genuine sales breakthrough, moving 150,000 copies and yielding the hits “Revelação,” Cartola’s “As Rosas não Falam,” another Meirelles setting titled “Motivo,” and “Jura Secreta”; Alceu Valença guested on “Punhal de Prata.”

CBS invited him to establish the Epic imprint devoted to emerging artists, through which he launched Amelinha, Zé Ramalho, Elba Ramalho, Robertinho de Recife, Petrucio Maia, Manassés, the poet Patativa do Assaré, and guitarist Nonato Luiz, among others. The 1979 LP Beleza sold two hundred thousand copies and included “Noturno,” the theme from the telenovela Coração Alado, which enjoyed widespread popularity. A Belo Horizonte presentation of the accompanying show drew sixty thousand spectators to an outdoor venue before fans stormed the stage and forced cancellation. That year he also won TV Tupi’s Festival 79 with “Quem me Levará sou Eu,” written by Dominguinhos and Manduka.

The 1980 self-titled album incorporated poems by Patativa do Assaré, among them the standout “Eternas Ondas.” Traduzir-se, issued simultaneously in Brazil and Spain in 1981, enlisted guest appearances by Mercedes Sosa, Manzanita, Joan Manuel Serrat, and Camarón de la Isla and produced the hit “Qualquer Música”; “Pensamento” later appeared in the telenovela Final Feliz. Palavra de Amor (1983) emphasized romantic repertoire, spotlighting Gonzaguinha’s “Guerreiro Menino” with guest contributions from Chico Buarque and Roupa Nova.

A Mesma Pessoa (1984) received critical praise yet modest sales. The same year he joined Luís Gonzaga for an RCA Victor collection revisiting northeastern classics such as “Boiadeiro,” “Súplica Cearense,” “O Chero de Carolina,” and “Xote das Meninas.” In 1985 Fagner featured guest appearances by Chico Buarque on “Paroara,” Cazuza on “Contra-mão,” and Beth Carvalho on “Te Esperei.” The 1986 RCA release contained the hit “Dona da Minha Cabeça,” co-written by Geraldo Azevedo and Fausto Nilo, with contributions from Gonzaguinha, maestro Isaac Karabtchevisky, and orchestral forces. Romance no Deserto leaned toward commercial balladry, its single “Deslizes” (by Michael Sullivan and Paulo Massadas) achieving major national airplay. In 1987 Fagner acted in the series A Rainha da Vida, whose soundtrack incorporated his compositions “Rainha da Vida,” “Preguiça,” and “À Sombra de um Vulcão.” The following year he recorded a second album with Luiz Gonzaga. O Quinze, released in 1989, included “Amor Escondido,” “Retrovisor,” “Cidade Nua,” and “Oração de São Francisco,” with special appearances by Chico Buarque and Michael Sullivan. Pedras Que Cantam (1991) mixed northeastern material, boleros, and sertaneja styles; its title track served as the theme for the prime-time telenovela Pedra Sobre Pedra, while “Borbulhas de Amor” scored nationwide success, aided by guests Roberta Miranda and Roupa Nova. Demais (1993) explored samba-canção with Roberto Menescal, and the pair later issued a live album recorded in Japan. Caboclo Sonhador (1994) returned to northeastern roots yet enjoyed limited commercial impact, as did the similarly regional Retrato (1995). Bateu Saudade (1996) functioned essentially as a compilation, its title track being the sole new recording; that year also saw the release of another self-titled album. Subsequent projects comprised Terral (1997), Amigos e Canções (1998), and Fagner ao Vivo (2000).