The band RAÇA NEGRA was extremely popular in the 90’s. With all the albums awarded, its songs became “hymns” known by everyone who lived between 1990-2003, making Raça Negra the most important band of the history of the Pagode Romântico.
The Raça Negra was also popular in Angola, Argentina, Chile, Paraguay and Uruguay.
In São Paulo, the leader Luiz Carlos idealized a music that could mix different genres like Samba Rock, Sertanejo, the Samba of the Cacique de Ramos, Salsa and Rock; adding simple lyrics inspired by artists such as Roberto Carlos and Tim Maia.
Raça Negra became a classic of the Brazilian music, and motivated Alexandre Pires, Belo and many others Pagode groups.
Pagode x Samba – Before We start, let’s try to fix this issue. Its distinction is basic to create a musical repertoire. This polemic is theme of PHD thesis, discussions in bars, newspapers, TV and so on.
I highly advice You, foreigner, not confuse the classifications: A Brazilian always will correct You, causing an uncomfortable situation.
Before 90’s generation “fazer um pagode” and “fazer um samba” were almost synonyms. The distinction between Pagode and Samba came after the success of groups like Raça Negra, Só pra Contrariar, Razão Brasileira, Exaltasamba, Art Popular, Katinguelê, Soweto and others.
In short, the Pagode broke the samba tradition; and despite having most of the samba instruments (tantã, pandeiro, chocalho, surdo, violão) introduced new instruments and new ways to play and sing. The main difference was the appropriation of techniques typical of genres like Samba Rock, Caribbean Rhythms and more recently, the melisma of the American music and the valorization of high vocal tonalities.
In Rio de Janeiro, the traditional samba walks closer to the “roots”, and does not admit “abusive” uses that can disfigure the samba.
The result was the creation of a music genre classified as Pagode Romântico (Romantic Pagode) or just Pagode . The main center was São Paulo, creating a polemic between the Samba de Raíz (Samba Root) that represented the tradition and the new generation of musicians who brought different influences. In Rio no musician confuse a Roda de Samba with a Pagode. It can cause serious discussions or a bad repertoire.
The name Gigantes do Samba, for the project that joined the Pagode groups Só Pra Contrariar and Raça Negra (as You can see in the songs selected above), was very criticized and became theme of many discussions. Knowing the difference is the best way to avoid it.
Important: Most of the Brazilians older than 50 years (generations that were born before the Pagode Romantic) continue saying Pagode and Samba like synonyms. However, they know very well the difference between one and another.
History: In São Paulo, in the 80’s, a band called A Cor do Samba had to change the name. People called “O Cu do Samba” (The Anus of the Samba). Commercially it was not good, so the leader Luiz Carlos changed to Raça Negra (Black Race), after a fan’s suggestion. Without any political or racial idea in mind.
The samba of Zeca Pagodinho, Jovelina, Fundo de Quintal and others were successful in 80’s, but had many problems. The lyrics were identified with lives of poor people: described feiras, the goat that was robbed, the price of the food that was expensive and so on. The public was limited and many musicians did not like it.
Other problem was the lack of professionalism of many sambistas. Since the Samba de Raíz was born spontaneously, without commercial ideas, the sambistas were not used to the responsibility of the Show Business. They did not respect contracts, missed shows and presentations on radios and TV channels; becoming a problem for everybody.
Luiz Carlos (the leader and main composer) faced the bad reputation of the sambistas, with professionalism. He was fan of the Brazilan Soul, Samba Rock, Pop Rock, Roberto Carlos, the Jovem Guarda movement, Hyldon, trio Mocotó, Jorge Ben, Paulo Diniz, Germano Mathias, Tim Maia... influenced by Cassiano, Originais do Samba and others. All of them became popular with romantic songs and simple lyrics.
He created an original model that mixed different music genres. Motivated by romantic poetry; the rhythm of the guitar of Jorge Ben; the samba instruments; the swing of the bass and the arrangements of trumpet, saxophone, violins, flute, piano and keyboards; this new model was very criticized by musicians, specialists and intellectuals.
He wanted a musicality closer to Jorge Ben than to the Samba, so, the name Samba Romântico was almost a mistake, since He showed a different way make music.
The main records rejected that new and “strange” musicality. In a special situation, a famous music producer said to Luiz Carlos “throw it away! It will never be popular!”
The producer Antônio Carlos de Carvalho bet on the band and they finally recorded an album with the famous RGE Records. The success was immediate! Became so popular that all the musicians started introducing the same instruments and lyrics.
With songs like Caroline, Cheia de Manias, Quero Ver Você Chorar, Cigana, Jeito Felino, Maravilha, Te Quero Comigo and Tarde Demais; The Raça Negra was one of the most successful bands between 1990 and 2003. With all the albums awarded, became “fever” on the radios and TVs in Brazil, Angola, Argentina, Chile, Green Cape, Mozambique, Paraguay, Uruguay and in the USA.
In Argentina, for example, has a public average between 20-30 thousands people, until nowadays. There are groups specialized in Raça Negra’s songs. The fans sing in Portuguese, the same way as if they were in Brazil.
After more than 10 years loyal to the original model, Raça Negra became progressively less popular after the 2000’s. The public needed new sound, but the band rejected to become hostage of the market.
Its success opened the market to the Pagode, the best radio stations and the most famous music venues. Inspired new groups and competed with the best musicians for the 1st position among the most popular hits.
Raça Negra represents for sure one of the greatest bands of the Brazilian popular music. A reference of professionalism, bravery and originality.
The Raça Negra was also popular in Angola, Argentina, Chile, Paraguay and Uruguay.
In São Paulo, the leader Luiz Carlos idealized a music that could mix different genres like Samba Rock, Sertanejo, the Samba of the Cacique de Ramos, Salsa and Rock; adding simple lyrics inspired by artists such as Roberto Carlos and Tim Maia.
Raça Negra became a classic of the Brazilian music, and motivated Alexandre Pires, Belo and many others Pagode groups.
Pagode x Samba – Before We start, let’s try to fix this issue. Its distinction is basic to create a musical repertoire. This polemic is theme of PHD thesis, discussions in bars, newspapers, TV and so on.
I highly advice You, foreigner, not confuse the classifications: A Brazilian always will correct You, causing an uncomfortable situation.
Before 90’s generation “fazer um pagode” and “fazer um samba” were almost synonyms. The distinction between Pagode and Samba came after the success of groups like Raça Negra, Só pra Contrariar, Razão Brasileira, Exaltasamba, Art Popular, Katinguelê, Soweto and others.
In short, the Pagode broke the samba tradition; and despite having most of the samba instruments (tantã, pandeiro, chocalho, surdo, violão) introduced new instruments and new ways to play and sing. The main difference was the appropriation of techniques typical of genres like Samba Rock, Caribbean Rhythms and more recently, the melisma of the American music and the valorization of high vocal tonalities.
In Rio de Janeiro, the traditional samba walks closer to the “roots”, and does not admit “abusive” uses that can disfigure the samba.
The result was the creation of a music genre classified as Pagode Romântico (Romantic Pagode) or just Pagode . The main center was São Paulo, creating a polemic between the Samba de Raíz (Samba Root) that represented the tradition and the new generation of musicians who brought different influences. In Rio no musician confuse a Roda de Samba with a Pagode. It can cause serious discussions or a bad repertoire.
The name Gigantes do Samba, for the project that joined the Pagode groups Só Pra Contrariar and Raça Negra (as You can see in the songs selected above), was very criticized and became theme of many discussions. Knowing the difference is the best way to avoid it.
Important: Most of the Brazilians older than 50 years (generations that were born before the Pagode Romantic) continue saying Pagode and Samba like synonyms. However, they know very well the difference between one and another.
History: In São Paulo, in the 80’s, a band called A Cor do Samba had to change the name. People called “O Cu do Samba” (The Anus of the Samba). Commercially it was not good, so the leader Luiz Carlos changed to Raça Negra (Black Race), after a fan’s suggestion. Without any political or racial idea in mind.
The samba of Zeca Pagodinho, Jovelina, Fundo de Quintal and others were successful in 80’s, but had many problems. The lyrics were identified with lives of poor people: described feiras, the goat that was robbed, the price of the food that was expensive and so on. The public was limited and many musicians did not like it.
Other problem was the lack of professionalism of many sambistas. Since the Samba de Raíz was born spontaneously, without commercial ideas, the sambistas were not used to the responsibility of the Show Business. They did not respect contracts, missed shows and presentations on radios and TV channels; becoming a problem for everybody.
Luiz Carlos (the leader and main composer) faced the bad reputation of the sambistas, with professionalism. He was fan of the Brazilan Soul, Samba Rock, Pop Rock, Roberto Carlos, the Jovem Guarda movement, Hyldon, trio Mocotó, Jorge Ben, Paulo Diniz, Germano Mathias, Tim Maia... influenced by Cassiano, Originais do Samba and others. All of them became popular with romantic songs and simple lyrics.
He created an original model that mixed different music genres. Motivated by romantic poetry; the rhythm of the guitar of Jorge Ben; the samba instruments; the swing of the bass and the arrangements of trumpet, saxophone, violins, flute, piano and keyboards; this new model was very criticized by musicians, specialists and intellectuals.
He wanted a musicality closer to Jorge Ben than to the Samba, so, the name Samba Romântico was almost a mistake, since He showed a different way make music.
The main records rejected that new and “strange” musicality. In a special situation, a famous music producer said to Luiz Carlos “throw it away! It will never be popular!”
The producer Antônio Carlos de Carvalho bet on the band and they finally recorded an album with the famous RGE Records. The success was immediate! Became so popular that all the musicians started introducing the same instruments and lyrics.
With songs like Caroline, Cheia de Manias, Quero Ver Você Chorar, Cigana, Jeito Felino, Maravilha, Te Quero Comigo and Tarde Demais; The Raça Negra was one of the most successful bands between 1990 and 2003. With all the albums awarded, became “fever” on the radios and TVs in Brazil, Angola, Argentina, Chile, Green Cape, Mozambique, Paraguay, Uruguay and in the USA.
In Argentina, for example, has a public average between 20-30 thousands people, until nowadays. There are groups specialized in Raça Negra’s songs. The fans sing in Portuguese, the same way as if they were in Brazil.
After more than 10 years loyal to the original model, Raça Negra became progressively less popular after the 2000’s. The public needed new sound, but the band rejected to become hostage of the market.
Its success opened the market to the Pagode, the best radio stations and the most famous music venues. Inspired new groups and competed with the best musicians for the 1st position among the most popular hits.
Raça Negra represents for sure one of the greatest bands of the Brazilian popular music. A reference of professionalism, bravery and originality.