Manera Fru Fru, Manera: O Último Pau de Arara
Fagner
1973
Rankings
Why This Album Matters
Manera Fru Fru, Manera or O Último Pau de Arara is the debut album by the Ceará-born singer, songwriter, and instrumentalist Raimundo Fagner, released in 1973. This pioneering work is part of the effervescent 'Northeastern invasion' movement in Brazilian music, marking the arrival of a new generation of artists who would renew the country's cultural scene. The album stands out for presenting Fagner's voice and artistic vision, consolidating a musical style that would become widely recognised. The work features significant collaborations from established names in the Brazilian music scene, such as Nara Leão and Naná Vasconcelos, giving the project considerable artistic weight from its release. The album's sound, a landmark in Fagner's early career, reflects the experimentation and cultural richness that characterised Brazilian popular music of that era.
Context
The album emerged during a period of great cultural effervescence in Brazil, in which the so-called 'Northeastern invasion' was beginning to make its presence felt in Brazilian music. This movement brought to light a series of new talents from the country's Northeast, who, with their roots and innovations, profoundly impacted MPB.
Songs
The tracklist of Manera Fru Fru, Manera is a panorama of Fagner's and his partners' creativity, including notable songs such as "Mucuripe" and "Moto 1", both co-written with Belchior. The album also features "Como Se Fosse", a collaboration with Capinan, and "Sina", created in partnership with Ricardo Bezerra and Patativa do Assaré. Fagner also explores popular song with adaptations of "Penas do Tiê" and "Serenou na Madrugada", the latter from folklore. However, the album's trajectory was marked by significant controversies. The song "Canteiros", credited to Fagner and Cecília Meireles, led to a plagiarism lawsuit brought by the poetess's daughters, which resulted in the seizure of records and tapes and the removal of the track from later editions of the album. In its place, the 1991 edition included "Cavalo Ferro". Another accusation of plagiarism fell upon "Penas do Tiê", with the son of composer Hekel Tavares alleging that the song was not folkloric but rather authored by his father, which led to a demand for compensation.
Legacy
The initial reception of Manera Fru Fru, Manera was modest, selling only 5,000 copies before being withdrawn from catalogue. However, Fagner's rise prompted a re-release of the album in 1976, capitalising on the success of his self-titled album released in the same year. This second edition brought some alterations, such as the mention of Belchior as co-author of "Canteiros", although controversies surrounding the authorship of that track and "Penas do Tiê" have persisted and affected the availability of certain versions. The plagiarism accusations had a lasting impact on the album's legacy. The lawsuit filed by Cecília Meireles's daughters resulted in the seizure of thousands of copies and the exclusion of "Canteiros" from the tracklist in re-editions. Subsequently, the dispute over the authorship of "Penas do Tiê" kept the album at the centre of legal discussions, influencing how the work is perceived and distributed over time.
Tracks
Books
Analyses
Manera Fru Fru, Manera: O Último Pau de Arara – Wikipedia
Wikipedia, the free encyclopaedia
"Manera Fru Fru, Manera" (Philips, 1973), Raimundo Fagner
discosessenciais.blogspot.com
Signed by Philips record label, Fagner released his first studio album on 15 May 1973, which has a somewhat strange title: Manera Fru Fru, Manera.
Manera fru fru, manera - Rádio Batuta
radiobatuta.ims.com.br
In an interview with Joaquim Ferreira dos Santos at the Batuta studio, Fagner recalls his first LP, whose title on the cover became "O último pau de arara", because Philips record label thought the public would find "Manera fru fru, manera" strange.
Aquela Musica Apresenta "Manera Fru Fru, Manera - 1973"
aquelamusica.com
"Manera Fru Fru, Manera" (or "O Último Pau de Arara") was the first studio album recorded by the singer, songwriter and instrumentalist Raimundo Fagner.
Safra 73 sobre o Manera, fru fru, manera, do Fagner
radiodeleite.com.br
In an interview with Joaquim Ferreira dos Santos at the Batuta studio, Fagner recalls his first LP, whose title on the cover became "O último pau de arara", because Philips record label thought the public would find "Manera fru fru, manera" strange.
