Índia by Gal Costa
- Released in
- 1973
- Genre
- MPB
Right: bag some copies came wrapped in, after the original cover photo was censored by the military dictatorship
Bottom: bag some copies came wrapped in, after the original cover photo was censored by the military dictatorship
Thank you to Sylvan for the opening context and notes on the songs!
Gal Costa was part of the Tropicalismo movement of the late 1960s, which embraced an anarchic, postmodern, global art-pop—merging rock, jazz, soul, funk, psychedelic and avant-garde music along with a variety of Brazilian styles. This made them enemies among both Brazil’s ruling dictatorship, which only wanted patriotic, happy fun-time tunes, and the student revolutionaries, who wanted to keep Brazilian music pure and untainted by Western imperialism.
Gal’s longtime friends and collaborators, Gilberto Gil and Caetano Veloso, spent two years in arrest and then exile. When they returned, the trio came together again for the 1973 Índia stage show and album. Gil served as guitarist and musical director, while Veloso contributed as a songwriter.
Gal Costa performing during the "Fa-Tal - Gal a Todo Vapor" show
In spite of the dangerous political environment, Gal continued to court controversy. She was photographed locking lips with Veloso’s sister, fellow singer Maria Bethania—and chose songs that hinted at her bisexuality. The regime banned one song from the radio for being too subversive, and ordered the scandalous semi-nude album cover be hidden under an opaque wrapper for distribution.
Gal Costa never knew her father, but she had a recording of him singing this
old sentimental song. It’s also the first of several tracks in which the bisexual
Gal conspicuously does not change the gender of the (female) object of the
song’s desire.
00:23
00:31
00:40
00:49
00:56
00:59
01:11
01:30
01:41
01:56
02:04
02:12
02:21
02:28
02:31
02:43
03:03
03:13
(repeats)
A Portuguese folk song insinuating all manner of illicit sexuality.
00:14
00:16
00:19
00:29
00:31
00:34
00:44
00:46
00:49
00:57
01:01
01:04
01:13
01:16
01:19
01:27
01:30
01:34
01:43
01:45
01:48
01:56
02:05
02:08
02:18
02:22
(instrumental)
03:48
03:51
03:54
Banned from Brazilian radio for poking fun at the dictatorship’s economic boasts.
00:08
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00:17
00:22
00:27
00:32
00:38
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00:47
00:52
00:57
01:03
01:12
01:17
01:19
01:25
01:29
01:31
01:38
01:42
01:47
01:51
01:56
02:00
02:05
02:07
02:14
02:16
02:23
02:27
02:31
02:36
02:39
02:46
02:50
02:51
00:03
00:07
00:11
00:14
00:21
00:25
00:30
00:32
00:41
00:44
00:48
00:52
00:59
01:02
01:07
01:11
01:17
01:22
01:27
01:30
01:37
01:41
01:46
01:49
01:57
01:59
02:04
02:08
02:14
02:17
02:22
02:26
02:32
02:35
02:39
02:43
02:50
02:53
02:57
03:02
Pay attention to the original lyrics on the right for this one, and you'll notice that there's a pattern to the way that they are constructed, in the manner of concrete poetry.
00:26
00:35
00:45
00:54
01:03
01:13
01:22
01:32
01:41
01:50
01:59
02:09
02:18
02:27
02:37
02:46
02:56
03:05
03:14
03:24
03:31
03:38
03:45
03:52
03:59
04:06
04:13
04:20
04:27
04:34
04:40
04:48
04:55
00:19
00:24
00:28
00:35
00:42
00:47
00:49
00:56
01:01
01:05
01:10
01:23
01:28
01:31
01:40
01:51
01:56
02:00
02:05
02:13
02:18
02:26
02:32
02:41
02:49
02:59
03:03
03:12
03:19
03:25
03:34
03:43
03:48
03:56
04:09
04:18
04:22
04:26
04:31
04:35
04:42
04:55
04:57
05:01
05:05
00:40
00:46
00:52
00:58
01:56
02:00
02:06
02:12
02:19
02:25
02:31
02:37
02:43
02:49
02:55
03:01
03:07
03:13
03:53
03:59
04:05
04:10
04:17
04:23
04:37
04:42
04:48
00:14
00:17
00:22
00:24
00:27
00:31
00:35
00:40
00:42
00:58
01:02
01:06
01:08
01:12
01:16
01:19
01:24
01:26
01:37
01:46
01:55
02:05
A Bossa Nova standard, kind of the theme song for the whole genre. But in this context, given Costa’s position as a musical, political, and sexual dissident, ending with this defiant declaration to be one of the “out of tune ones” takes on some added dimensions.
00:13
00:20
00:28
00:35
00:43
00:51
00:58
01:06
01:13
01:21
01:28
01:35
01:43
01:51
01:58
02:05
02:13