As is often said, her voice is unusually deep for a woman’s, but you can say a whole lot more about it. It’s a solid album on which a handful of collaborations stand out, above all the soulful lead single, “Entreolhares (The Way You’re Looking at Me),” a bilingual duet with American R&B singer John Legend. Traição (Carolina, Spalding, Jobim) © Phillip Kay (phillipkay) and Bestquest, 2009-2016. I started to write about the lyrics of Ana Carolina’s songs and ended up listening to most of them in the process. In contrast, there’s nothing superfluous or especially awe-inspiring about N9ve.
For those not familiar with the music, Cassia Eller, like Janis Joplin, had the ability to move easily between raw blues and tender love songs; Bebel Gilberto can use sophisticated jazz phrasing to put over a complicated bossa nova tune and make it all sound like a catchy pop song; Ivete Sangalo is a soul singer and extraordinary performer whose shows are really exciting; and Zeila Duncan is a great Brazilian songwriter whose songs just work. On account of all the downtempo songs on N9ve — practically every other track — the livelier moments tend to be highlights, for instance the tango eletrônico of “10 Minutos (Dimmi Perché),” the electric guitar bursts of “Era,” and the Gilberto Gil-penned “Torpedo.” Every song counts on an album this brief, and “Tá Rindo, É” is perhaps the best of all, a light samba-funk song with horns and talk box that is perfectly sequenced just before “Entreolhares.” Indeed, there are plenty of standout songs on N9ve, the entire album written by Carolina with co-writing credits for longtime collaborator Antônio Villeroy and others. Entreolhares (Way You’re Looking At Me) (Villeroy) 5.
But the voice: like a mixture of brandy and honey; like a fire burning in the sun (as Bob Dylan might say). Alê Siqueira produces three of the songs, and Mário Caldato and Kassin in tandem produce the six others.
Technically, she has a limited range, especially in the upper register, but makes good with a really exciting falsetto. I don’t understand Portuguese and yet can be deeply moved by some of her songs. In spite of N9ve’s considerable strengths, however, the modest ambitions of the album are a disappointment after the grandness of Dois Quartos, which found Carolina branching out in different directions and experimenting as never before with her music.
Her tone is warm, and puts a lot of life into her songs. But in my opinion she excels as a writer and singer of ballads, and this gift has bought her enormous popularity in Brazil, where it seems everybody knows her words. I’ve chosen some sad love songs to look at, but Ana Carolina is also a percussionist who lives in a society dominated by African rhythms; a performer from the land of the carnival (think Paul Simon’s Rhythm of the Saints – The Obvious Child if you want a familiar analogue); a rock star in the Northern American style; and a writer in a field dominated by Chico Buarque and Caetano Veloso, poets who have put their inspiration into popular music just as Bob Dylan has. With Dois Quartos, of course, critics grumbled that it would have been a better album if it had been parred down to one disc rather than two.
To round off her accomplishments, Ana Carolina often arranges and produces many of her songs. O Beat da Beata (Carolina, Jorge) Dois Quartos 2006 Review by Jason Birchmeier Sprawling across two discs and comprising 24 songs that range stylistically from forceful rockers to moody instrumentals to heartfelt ballads, Dois Quartos is a bold statement of artistic expression by Ana Carolina, who was one of Brazil’s most celebrated MPB superstars at the time of the album’s 2006 release. La Critique [instrumental] (Carolina, Dunga, Romero …) 14. This time, it’s the fans who might find themselves grumbling about the slight offering of new material to devour, especially in the wake of all the tenth-anniversary fanfare leading up to the release of N9ve.
Three of her eight CDs have sold over a million copies (diamond in Brazil) and the others all over half a million (platinum); 15 singles have reached top 20 sales, including five at no. Popularity doesn’t always mean quality, but here it might. She was also the subject of controversy at the time, as she’d recently gone public as a bisexual.
Although I know nothing about Brazilian culture and little about Brazilian music, perhaps there is a difference between women writers and male writers here, as there is in Japan; males using a more formal, elaborate, ‘rhetorical’ to Western ears, style, females a more intimate, contemporary one. This revelation lends an air of curiosity to some of the lyrics of the album, which is tagged with a parental advisory warning about the adult-oriented content. Eu Comi a Madona (Carolina, L., Melo, Villeroy) 10.
Probably the best introduction to Ana Carolina is the 2003 CD , also her biggest seller. Yet while there’s plenty to consider from a lyrical standpoint on Dois Quartos, the scope of the album is most noteworthy. Um Edíficio No Meio Do Mundo (Carolina, Vercillo) 7.
Every album so far has produced a no.1 single, and there is a large range of different styles on each CD as Ana Carolina struggles not to be typecast and forced to turn out the same thing again and again. is the story of a love affair that just didn’t work. Two uptempo songs (“Nada Te Faltará,” “Tolerância”) get the album off to a rousing start before “Ruas de Outono,” the first of many heartfelt ballads, slows down the proceedings to a meditative lilt that is periodically disrupted by energetic songs such as “Rosas,” the album’s biggest hit single, and “Eu Comi a Madona,” one of several atmospheric mini-songs clocking under three minutes.
expresses the regret that everyone feels after it’s over, the amazement that someone so close has become a stranger. What’s remarkable about it is that it doesn’t deal in platitudes, love, heartbreak, bring on the violins; but attempts to chart the shifting and ambiguous mess of feelings that arise when people foist their expectations on one another when they aren’t very clear what those expectations are. The second disc of Dois Quartos offers fewer highlights than the first, but beginning with the very first track, a five-minute instrumental, “La Critique,” it’s more daring, showcasing some of the most experimental music of Carolina’s career to date (alongside plenty of ballads, including the single “Carvão”).
And it accepts the fact that the end of an affair can be both a relief and the start of a greater knowledge of yourself and of the world. The song heard at the wrong moment – and I who thought I knew everything – when it came to you I knew nothing at all. Me Sento Na Rua (Carolina, Da Mata) Estampado 2003 Review by Norman J Clarke on Amazon I’m always surprised at how little exposure Brazilian artists get in the USA, but most especially so for Ana Carolina. Uma Louca Tempestade (Carolina, Alves, Villeroy) 8. Fans of Carolina will find plenty to enjoy on Dois Quartos, which not only runs long but sheds new light on the MPB superstar, who either writes or co-writes most of the songs.