Most Helpful Customer Reviews
4 of 4 people found the following review helpful:
4.0 out of 5 stars
Great CD on its own, June 14, 2000
This review is from: Omelete Man (Audio CD)
This is a great CD on its own merits. Although not the classic that "Alfagamabetizado" was, it's also not the same beast. This time, Carlinhos used more orchestration, pop sensibilities and less tribal percussion. Overall, I'd have to say the production was much nicer on "Alfa", but this CD has many bright spots. As far as the polyglot references, I'd have to say Caetano, Gil and Tom Zé have also been guilty of this, although not to the oddball extreme of Carlinhos. Despite his strange word-wranglings, Carlinhos is a strong lyricist with inventive, off-the-beaten-path ideas.
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4 of 4 people found the following review helpful:
3.0 out of 5 stars
So-So Followup To His Great First Album, July 17, 1999
By A Customer
This review is from: Omelete Man (Audio CD)
I was a little disappointed in this work, which is pleasant to listen to but nowhere near as interesting as his remarkable solo debut, Alfagambetizado. That album is highly recommended. There is also background material about Brown and the whole Bahian music scene in the book "The Brazilian Sound," of great use in understanding this music.
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4 of 4 people found the following review helpful:
3.0 out of 5 stars
Frustrating, enjoyable, and thought-provoking - as usual, May 24, 1999
This review is from: Omelete Man (Audio CD)
This new album by Brown drops some of the needless Ur-speak lingual complexity of ALFAGAMABETIZADO, as well as the massed drums of that album, in favor of an approach that seems more pop on the surface. Some Chic-styled funk, uptempo reggae accented by Bernie Worrell's keyboards, lush orchestrations reminiscent of Nelson Riddle's work with Sinatra, Carnaval-meets-Sepultura, various older Brazilian traditions...If nothing else, the disc is a marvel of continuity despite its eclectic nature. Brown's lyrics should have been translated to English (ditto for the last album)because, despite his occasional polyglot excesses, he is a strong, original writer, capable of dipping into Greek mythology, the wide basin of Brazilian idiomatic speech, and the onomatopeic possibilites of mixing English, French, Spanish, and Portuguese. U.S. critics should by all means be more aware of this when they pan his albums.
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