![]() ![]() The São Paulo I frequent so much today was a distant destination back then. In 1997 I was still not free to go alone to a concert outside my city, and who knows why my father went to the one in Niterói without me. There, I already knew that we were fellow countrymen, both born in Niterói, and I started to follow “ZD” – nickname given by her fan clubs – and to buy her records from before and after, to go to her concerts and, when I became a journalist, to look for reasons to do good interviews with her. With its clear folk and rock influence, Intimidade swept the whole family off their feet with a sound that contained something of the Beatles and/or something of the Byrds. Zélia Duncan’s deep voice, which I already knew from a soap opera soundtrack, came into my house when I was about to turn 16, on a CD brought by my father and autographed by her for both of us. On the eve of my 14th birthday, a new record by Marisa Monte took me to other universes, like samba, and allowed me to recover references that came from my grandmother’s record player and piano. ![]() Rita Lee was soon elected the tropicalist with whom I most identified common characteristics. When I was 12, a Caetano Veloso record had introduced me to Tropicália, its exponents and the sound that had much of the rock I had heard at home through my father and brother. In 1997, I was just a 16- to 17-year-old rocker teenager who loved Beatles, Rolling Stones, Bob Dylan and The Byrds and had just discovered MPB. Entitled Relicário: Zélia Duncan (Ao Vivo no Sesc 1997) (Sesc Label, 2023), the album gathers songs from two of the records Zélia Duncan had released until then. This is clear in the record that, in 2023, the Sesc Label, through the Relicário project, transforms into another live work by the artist. In it, the singer-songwriter had the opportunity to show that her different voices were already consolidated and powerful: the one that sings (low), the one that composes (sweet) and the one that speaks (witty). In 1997, about to turn 33, she was celebrating the Golden Disc for the first 100 thousand copies sold of the album Intimidade (Warner Music, 1996) when she went on stage at Sesc Pompeia, in São Paulo, for a show of the project Ouvindo Estrelas. From the age of 30 to 40, Zélia Duncan went from an unknown singer with a low timbre to one of the most acclaimed, sweet and witty representatives of Brazilian culture. ![]()
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