Marisa Monte Albums (9)
'Universo ao Meu Redor: Samba'
Release Date 4/18/2006
Tracks 14
Label EMI
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What The Critics Say
After four years of silence, Marisa Monte reappeared with two simultaneously released albums, Universo ao Meu Redor and Infinito Particular. On Universo ao Meu Redor, Monte thoroughly explores, and in her own way interprets, the sound of Brazil's most famous music style, samba. This was a much anticipated project, as Monte's few earlier samba recordings turned out splendid. And Universo ao Meu Redor doesn't in any way leave the listener disappointed. Timeless and modern at the same time, it is a mature album of gentle sambas, replete with rare elegance and beauty. The bulk of the CD was composed by the now firmly established and highly acclaimed songwriting trio of Arnaldo Antunes, Carlinhos Brown, and Monte herself. Sprinkled in between though are a couple of older, tastefully reinterpreted samba classics by other composers and there are also two newly written (and inspired) songs by Paulinho da Viola and Adriana Calcanhotto. The soundscape, melodies, and lyrics are all very traditional, but the music has the same soothingly dreamy atmosphere that characterized Tribalistas. Thanks to the excellent production, there is also an ever so slight spark of psychedelia to the album, which helps in creating the general escapist mood. Monte's vocal performance is flawless as ever, with her voice floating effortlessly and in perfect harmony with the rest of the music. Songs such as "Bonde do Dom," "Três Letrinhas," "Vai Saber?," "A Alma e a Matéria," and "Universo ao Meu Redor," all enchantingly beautiful, are as close as you get to perfection in form of samba. A somewhat amusing detail is David Byrne's cameo appearance as vocalist on "Statue of Liberty." Universo ao Meu Redor is Monte's most mature, even, and ultimately impressive album to date. ~ Philip Jandovský, All Music Guide
'Infinito Particular'
Release Date 1/1/2006
Tracks 14
Label Non EMI/EMI
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What The Critics Say
After four years of silence, Marisa Monte reappeared in 2006 with two simultaneously released albums. One, Universo ao Meu Redor, which focuses on samba, and then this, Infinito Particular, which has a more typical MPB sound. Like its twin album, Infinito Particular has that smooth and dreamy atmosphere that became the trademark of Tribalistas from 2002, and that was one of the main factors that elevated that album from the status of simple, well-crafted pop to something, at times, magic. The songwriting trio of Arnaldo Antunes, Carlinhos Brown, and Marisa Monte is also intact since earlier albums. Although it's clearly MPB, stylistically quite similar to what Monte recorded on earlier albums, the music here is not as direct and easy to take in as one might have expected. Instead Infinito Particular is a very calm, meditative, and low-key album that requires focus and attention on behalf of the listener. "Vilarejo" is one of the most radio-friendly tracks of the album, with its beautiful, unrestrainedly escapist lyrics and a lush, free-flowing melody. Released as a single, it is in fact the perfect flagship for a very good album. Other particularly fine tracks are "Levante," "O Rio," "Pelo Tempo Que Durar," and "Infinito Particular." The instrumentation and production throughout is simple, but very elegant and effective in creating the right mood for the music. For all its virtues, though, Infinito Particular doesn't reach the same heights as Universo ao Meu Redor. ~ Philip Jandovský, All Music Guide
'Memories, Chronicles and Declarations of Love'
Release Date 6/1/2000
Tracks 13
Label EMI
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What The Critics Say
On this album, the always correct Marisa Monte preferred to stick to pop grooves, instead of the strong adherence to Brazilian rhythms heard in some of her previous albums. There are exceptions, though. "Abololô" is an exquisite rendition for a beautiful melody in a typical Northeastern modal scale (Lydian b7), which sounds pretty exotic, haunting in a sad piano backing, and shocking with the expectation of a full-steam percussive regional, representing a welcome expansion of the tradition. Also in the same vein, "Para Ver As Meninas," a wonderful samba by Paulinho da Viola, receives a treatment where typical cavaquinhos and cuícas coexist with Jaques Morelembaum's cello and a stylized percussion. Nelson Cavaquinho/Guilherme DeBrito's "Gotas de Luar" gets a straightforward samba rendition where Monte's sensitive voice is backed simply by a traditional samba violão and jazzy guitar counterchants. In an album dedicated to love, accordingly, one can find the romantic ballads "Amor I Love You," which has an excerpt of Primo Basílio (Eca de Queiroz) read by the former Titãs Arnaldo Antunes, "O Que Me Importa," and her "Gentileza." Also, the romantic song "Perdão Você" and the romantic Olodum (is there such a thing?) "Tema de Amor." The rest of the 13 songs are in medium tempo funk/soul or Olodum-like. ~ Alvaro Neder, All Music Guide
What The Critics Say
Complete with racy cover art, A Great Noise is, so far, Marisa Monte's best record. Featuring seven new studio tracks and 11 live recordings, this is a dizzying collection of material, from the seductive funk-pop and roll of Gilberto Gil's ebullient "Cérebro Electrônico" to an earnest, and surprisingly affecting, rendition of George Harrison's "Give Me Love (Give Me Peace on Earth)." Arto Lindsay is once again producing (with Monte listed as co-producer), and the results are extraordinary -- Monte has rarely sounded better or more self-assured. Of special merit is "Blanco," a moody Octavio Paz poem set to music. Clearly, this is the Marisa Monte record to own if you only want one. Then again, after hearing this, you'll undoubtedly want to hear the rest of her output. ~ John Dougan, All Music Guide
What The Critics Say
In the 21st century mainstream pop scene of Brazil, Marisa Monte is one of the few young successful artists concerned with delivering music based in the rich culture of that country, which has yielded her an unwanted "cult" tag. While most pop productions overflow with electronic drum machines and keyboards, taken from the beginning to the end by American grooves, this album evidences a search for a personal synthesis of the required elements for a successful commercial career together with a respectful treatment to the Brazilian music richness. One of the discs of this double-album release was recorded live during her Northeastern tour Cor-de-rosa e Carvão from 1994; it is no surprise that she included several Northeastern instruments (like accordion and percussion) and grooves, which add to the album's interest. The songs cover two hits from the tropicalia times, "Panis Et Circensis" (Caetano Veloso/Gilberto Gil) and "Cérebro Eletrônico" by Gilberto Gil (her vocal delivery here is clearly inspired by Gal Costa's). Also deserving mention is a beautiful samba by the authentic composer Paulinho da Viola, "A Dança da Solidão," which was again a big hit in her interpretation. The rest of the 16 songs are divided between Monte's originals, hits by the latest generation of Brazilian pop composers, and other hits, including George Harrison's "Give Me Love" (the only foreign composition). ~ Alvaro Neder, All Music Guide
'Rose and Charcoal'
Release Date 10/18/1994
Tracks 13
Label Blue Note
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What The Critics Say
Marisa Monte is one of the best figures of today's Brazilian pop (a category that does not comprise pure samba, choro, canção, baião, and other Brazilian popular musics). While most new bands and interpreters center their work on futile material and focus on easy formulas and clichés, she is concerned in really adding something to the superb tradition of MPB, which is quite a challenging task. This is her third album, where, with special guests Philip Glass, Laurie Anderson, Gilberto Gil, Paulinho da Viola, Velha Guarda da Portela, Época de Ouro, Naná Vasconcelos, Carlinhos Brown, and others, she delivers some of her hits: "Maria de Verdade," "Na Estrada," "Segue o Seco," "Dança da Solidão," "De Mais Ninguém," "Bem Leve," and "Balança Pema." One of the best pop albums from the '90s, she makes clear that she is after a new language in which the respect for the rich musical tradition of Brazil is evident. ~ Alvaro Neder, All Music Guide
What The Critics Say
Marisa Monte, a very warm, charismatic, and vulnerable artist, turned out to be one of Brazil's top female vocalists of the 1990s. Mais proves that her popularity is well deserved. Most of the songs on this CD, which did a lot to establish her success, are quite memorable -- including the humorous "Diariamente," the charming "Rosa," and Caetano Veloso's playful "De Noite Na Cama." Drawing on both Brazilian and American influences, Monte is someone who, with the right exposure, could easily become as prominent in the U.S. as she is in Brazil. The thing that's kept this from happening is the assumption that English-speaking audiences won't be receptive to Portuguese lyrics. But whether or not one understands the lyrics, this is an album to savor. ~ Alex Henderson, All Music Guide
