Memories, Chronicles and Declarations of Love

1	Amor I Love You 3:12
2	Nao Va Embora 3:36
3	O Que Me Importa 3:21
4	Nao E Facil 3:05
5	Perdao Voce 3:30
6	Tema de Amor 3:57
7	Abololo 2:36
8	Para Ver as Meninas 3:52
9	Cinco Minutos 3:55
10	Gentileza 2:47
11	Agua Tambem E Mar 2:44
12	Gotas de Luar 1:52
13	Sou Seu Sabia 2:58

Barnes & Noble

Those who fell under the spell of Rose and Charcoal, the 1994 breakthrough by Brazilian singer Marisa Monte, were largely persuaded by her perfectly matched sultry looks and soft, sexy voice -- an instrument capable of both achingly beautiful bossa novas and unexpected delights like her cover of the Velvet Underground's "Pale Blue Eyes." But surprise! More than merely a captivating singer, Marisa Monte has emerged as a visionary producer and sonic auteur. Her Memories, Chronicles, and Declarations of Love, a mix of songs that oscillate between Brazilian carnival rhythms and '70s-style AM rock, reads like a continuation of Carlinhos Brown's Omelete Man, which she produced. Or better, like the answering voice of a love duet. Taking notes from international avant-gardists such as Arto Lindsay (who produced Rose and Charcoal and co-produced this album) and Andres Levin (who assisted on Monte's A Great Noise) Monte has allowed the almost naïve lilt of her earlier work to go edgy and knowing: Behind the boards and in front of the microphone, she's something of a Brazilian Brian Wilson. Squeals and blips abound, Lindsay's squalling guitar and the basso profundo vocals of Arnaldo Antunes contribute to the intriguingly off-kilter sounds. "Amor I Love You," with its overdubbed choirs, flugelhorns, and complete absence of drums is a home-recording fanatic's dream. When she does let the rhythm hit, Monte favors dank, sluggish drums that sound like rhythm tracks from a lost Wings album. Paired with the occasional fuzzed-out guitar, some of Memories suggests Lenny Kravitz on a tropical vacation. Next to the glitz of most Brazilian pop -- and most American radio fare -- Monte's affecting snapshots of love, muted like Polaroids or super-8 home movies, are intimate declarations one and all. As entrancing as Rose and Charcoal is, Memories hits on something grittier than just another beautiful Brazilian singer's album -- although it is that, too. Taking charge of her sound and material, Marisa Monte aims deeper, finding tiny treasures beneath the already perfect surface. Mark Schwartz

All Music Guide

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

Time Magazine

Considered one of the most accomplished young song stylists in Brazil, [Monte] imbues samba with modern cool...