Follow Linha Campeira: Instagram: /linhacampeiraoficial Website/Podcasts: https://linhacampeira.com/ Facebook: /linhacampeira Youtube: /linhacampeira Timbre de Galo is a song that was born to be by Pedro Ortaça. There's no way we can imagine another singer singing it... the way he sings it and with the representation he brings to it. This song is a collaboration with Apparício Silva Rillo, who wrote the verses especially and gave them to his friend Pedro Ortaça to set to music, who says he picked up the guitar, gave it a few beats and chords and made the melody into a song. It appeared for the first time on the album Timbre de Galo, by Pedro Ortaça in 1989. It was the number 1 song on Side A. Originally this poem had the title “Como sou”, but after Pedro Ortaça read it, perform and play music, he suggested to Rillo that he change the name to Timbre de Galo. And it seems that Rillo accepted the suggestion and it worked. Rio Grande, bellowing of a bull / Four legs of a horse Who didn't live in that time / Live that time singing And I sing because I like it / In my rooster timbre This verse already opens by presenting that poetry set to music is nostalgic and remembers how great part of the history of Rio Grande is based on the bellowing of a bull and the hoof of a horse. Whoever sings this song, in a way, goes back to living and feeling those times of primitive Rio Grande. And he sings with a rooster tone, because one of Pedro Ortaça's nicknames is Missionary Rooster. It is true that some say / That today's times are different That the countryside is almost the city / And the chiripás are broken That the spurs have silenced / In the dead flesh of the foals The countryside is almost the city, it is a consideration that today the Life has become urbanized and even those who live in the countryside no longer have the fullness of living outside. This song was written in the late 80s. The chiripás are broken. The clothes of the ancient gauchos are already torn, that is, damaged, tattered... unused. The silent spurs in the dead flesh are why people no longer ride horses, they no longer have the trim of spurs to support the ranches. Everyone says what they think / That's what I learned as a child But never forget the heretic / That important cities were built on the foundations / Of forts and resorts Everyone saying what they think is a very strong mark of missionary music. A style, a way of singing with an opinion. See the other missionary trunks. Heretics here are called those who deny their origins and do not worship our history. So we always have to remember that the great cities of Rio Grande do Sul were built on the foundations of rural properties. Don't forget, on the other hand / To honor the descendants That everything that changes / Changes only in appearances And even in a square bronze / Lives the root of desire Here is a chasque to gauchada that no matter how much time changes, our essence remains the same. The appearance changes, but the core, the blood is the same. And even a bronze in a square is a reference to the statues and plaques of the heroes and great personalities of our land that are spread across squares in different cities. When we come across one of these bronzes, we have to be aware that there is an immortalized history there and needs to be preserved. I was born at the wrong time / Or I walked too fast I said “Hey from home!” in tapera / I owed a promise But if I could I would go back / Where the Rio Grande begins I was born at the wrong time or I walked too quickly, the gaucho is wondering where his place is in the world. Feel lost. Calling from house to house is calling without being answered or talking without anyone listening. Taperas are the abandoned houses in the corners and leaving the house there doesn't do any good. Going back to where the Rio Grande begins is going back to your homeland, in the case of Ortaça it is going back to the missionary land where you came from. And if they call me thick / Not even the bird beats me The clay of the new world / It doesn't have the mix of my Sovada with bull's hoof / With carquejinha waters What a gaucho who was never called thick, right!? ahahah But we don't let that bother us, in other words... beating the bird is being bothered by the situation. Clay is our core, what forms us. From which we are molded. Punched with a bull's hoof, it shows that he has brutality and strength. And carquejinha water, which is a medicinal plant, used for digestion and has a bitter taste. Rio Grande, bellowing of a bull / Four legs of a horse Who didn't live in that time / Live that time singing And I sing because I like it / In my rooster timbre