Gilberto Gil - Table Tennis Table - Ping Pong Song

Kaya N'Gan Daya Gilberto Gil - Table Tennis Table - Music - mp3 - (4 Mbtes, Duration 4:30)

Ping Pong Music

Gilberto Gil: Kaya N'Gan Daya

Kaya N'Gan Daya

Gilberto Gil

Table Tennis Table

by Gilberto Gil




Gilberto Gil

Table tennis table
I and I
Play to show we are able
Not to die

Small and light white ball
Forth and forth
All is irie and irie is all
Love is worth

Don稚 think I知 trying to make another I
One is enough
I知 just expanding to overstand a cry
As well as a laugh

Don稚 think I知 lieing to fake another me
One is too much
I知 just extending the shores of my sea
Beyond any reach, beyond any touch

See, on the opposite side as if we look on a mirror
The other, the same
See, on the table tennis table I知 killing the killer
Is this me/we game

This me/we game
This me/we game
Oh! Me/we
Yes, me/we
The shortest poem in all poetry
Oh! Me/we
Yes, me/we
The poem Cassius Clay declamed
Like I and I
The same I and I
Identical to I and I
The pray that rastamen proclaimed
To say that we are never alone in this world
Me/we, I and I
To state that state of togetherness
The oness that means not to die

Table tennis table
Ping-pong, ping-pong, I and I
Play to show we are able
Not to die, not to die
Small and light white ball
Forth and forth and so forth
All is Irie, Irie is all
Love is worth, love is worth,,1712218,00.html

kaya n'gan daya - album reviews

Perhaps no one in the world outside Jamaica is better equipped to perform a Bob Marley tribute than Gilberto Gil. The two are very nearly equals; Gil meant as much to residents of Brazil as Marley did to Jamaicans -- even though popularity in Brazil means competing in a very crowded field. Gil is also an exact contemporary of Marley's (he is three years older, but began recording at the same time) and, like Marley, arrived at a distinctive sound only after years of working in the local vernacular. (For Marley it was ska and rocksteady, while for Gil it was bossa nova and samba.) He does owe a debt of gratitude to Bob Marley, however, for it was Marley's global stardom during the '70s that enabled Gil to begin making an impact overseas (especially in Africa). For Kaya N'Gan Daya, his second tribute album in two years (after the Luiz Gonzaga songbook Me, You, Them), Gil astonishingly supplants the formidable personality of Bob Marley and interprets his songs with a strength and vitality that would've found any of his contemporaries lacking. Though he traveled to Tuff Gong studios and worked with the seminal backing vocal group the I-Threes (including Marley's wife, Rita), Gil kept his own band, and they prove their resilience by never deserting their Brazilian focus. Bassist Arthur Maia has a command of the low frequencies that certainly evokes the rocksteady rhythms of reggae, but there isn't much else that sounds Jamaican, besides a sense of space and swing to the arrangements common to many South American forms. The only caveat to Kaya N'Gan Daya is Gil's inability to summon the rebel authority necessary for the classic protest songs "One Drop," "Them Belly Full (But We Hungry)," and "Rebel Music." He certainly makes up for it, though, on his versions of lighter material like "Positive Vibration," "Three Little Birds," and the title track (each of which could easily be a Gil composition). In the end, it's largely because Gilberto Gil and Bob Marley meet as equals that Gil is able to take on the difficult task of paying tribute to one of the most important artists of the 20th century. ~ John Bush, All Music Guide



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