Customer Reviews

Os Sonhos Mas Lindos

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The diminutive dynamo Elis Regina was the first Brazilian artiste to exceed Carmen Miranda's domestic record sales. Born poor, she was a child prodigy with a `stage mother' and remained deeply driven throughout her short life (1945-1982). A dramatic festival debut in 1965 propelled Regina into the limelight at light speed, and she went on to become something of a national heroine when one of her songs gave momentum to the downfall of a repressive military junta that ruled Brazil in the 1960s and `70s.

Os Sonhos Mais Lindos (The Prettiest Dreams) serves as a tasty snack from Regina's musical menu. Material here from 1969 through 1977 features her strong, pure voice in various musical moods of the catch-all genre called MPB (Brazilian Popular Music) that she defined more than anyone. Among the attractions: a lively rendering of Gilberto Gil's "Amor Até O Fim" and sensitive readings of Pixinguinha's "Carinhoso" and Nelson Cavaquinho's "Folhas Secas". The production on the English "These Are the Songs" comes off as a grungy time capsule (wah-wah rhythm guitar, Farfisa organ and an annoying wail of a background vocal straight out of the cast of Hair), yet fans of the late Susannah McCorkle will raise an eyebrow here at the similarity of approach. There's also a blues (Sueli Costa's 20 Anos Blue), a haunting version of Baden Powell's "Canto de Ossanha" and a final medley including the famous "Aquarela do Brasil".

Whatever else she was, Elis Regina was quite diverse in the feel she could put into a song. She lived hard every day and reflected that emotion in her art (as she put it, "between the wall and the sword, I am drawn toward the sword"). That dexterity is what's best reflected in Os Sonhos Mais Lindos. Her impact on her own country can only be felt by those who lived through it, but here is a fine exposition of the powers of her performance.

I don't know a whole lot about Brazilian music, but I really enjoy Elis. Since I don't live in a very diverse place like say New York City, I am happy with whatever Brazilian music I can come across. But the Pacific Northwest is becoming more diverse. Having said that, I think this greatest hits is a great way to sample the Billie Holiday of South America. She is so intense and emotional in a way that fills you with awe at how somebody can open their hearts so much to the public. They used to call her the little hurricane and it wasn't for nothing. It is a shame that Elis' career was cut short because of a drug overdose, but her musical legacy still lives on. May Elis rest in peace.

I agree witht he reviewer that says that "these are the songs" is not at the level of the other songs of this CD. He graciously calls it a "time capsule". If anything, this ugly piece shows clearly that "that kind of song" is way below the average of brazilian music. Sure Elis can pull it off, but then, what for? who wants to listen to this when there is so much more in the other songs in terms of sophistication and real expression challenges for the singer? Maybe having this kind of contrast in one CD helps as a reminder that "these is the song" to get over with, and break off from preformatted emotions. Maybe Elis wanted this hard reminder there, to show what the market prefers to beauty...