Heavily
influenced by his tenure at the University of Coimbra, José Afonso began his musical
career playing fado typical of that Portuguese city. The fado from Coimbra
informed Afonso’s early guitar playing and singing style, as well as some of
the topics that he addressed in his songs. However, Afonso eventually
emancipated from the rather strict conventions of the fado from Coimbra, and
developed into a folk singer in his own right that would become one of the most
vehement voices against the Portuguese dictatorial regime. Afonso has a vast
body of work and my favorite period of his discography ranges from 1970 to
1974, starting with Traz Outro Amigo
Também. While this record still displays many characteristics of the fado
from Coimbra, there are already hints of a break from that music genre. The
record starts with “Traz Outro Amigo Também” and “Maria Faia”, both fine
examples of the fado from Coimbra. “Canto Moço” appears to be a call to arms mobilizing
youth against the regime. Afonso’s lyrics are most caustic in “Os Eunucos (No
Reino da Etiópia)”, a harsh denouncement of those who betray freedom and other
fundamental values. “Carta a Miguel Djeje” is a tribute to a former servant of
Afonso’s during his stay in Africa, and constitutes the most accentuated
departure from traditional fado in the record. “Epígrafe para a Arte de
Furtar”, a harrowing piece about humanity and identity based on a poem by the
oft-neglected Portuguese writer Jorge de Sena, is for me the best track in Traz Outro Amigo Também:
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