Search - Lo Borges :: Via Lactea

Lo Borges finally stands out

Paulo Fessel | Sao Paulo, SP Brazil | 01/03/2005

(5 out of 5 stars)

"With "A Via Láctea", Lô Borges has finally the chance to show his talent. Okay, he was credited on the seminal album "Clube da Esquina" and sang some of its songs, either solo or accompanying Milton Nascimento, but he was seen as just a co-singer and composer. In this album, he finally stands out.



The first half of the record (the "Side A") is particularly strong: I dare to say that among the first five songs, it's impossible to name "the best": all of them are great. The maturity of the arrangements and orchestrations revolving around an artist that was just 27 at the time is stunning. Still, "A Via Láctea" always gets me with its mysterious chords and strings.



The second half of the record (the "Side B") is a little bit more relaxed, something that can be listened on the tracks "Equatorial", "Chuva na Montanha" (which has an enchanting guitar solo, a very sweet song) e "Olha o Bicho Livre". There is also a rendition of "Tudo o Que Você Podia Ser" - but alas, the 1972 version of "Clube da Esquina" is better. On the other hand, there is "Vento de Maio" to compensate this, and it's sung both by Lô and Solange Borges, which unfortunately hasn't recorded much since then as she is so gifted as his brother.



In short: for the lovers of brazilian music, particularly those fond of the "Clube de Esquina" artists, this is a no-brainer. Careful if you want to listen to it in your car, though: the CD has been released with "Copy" "Protection" tecnology."

An important work in the Clube Da Esquina canon, but not a c

Jeffrey Bussmann | Warrenton, VA | 03/22/2006

(4 out of 5 stars)

"I was excited about getting this album. Based upon strength of tracks like "Vento de Maio" and "Equatorial" I decided to buy the CD. Having now spent some time with it I can say that I am glad that I had been well-versed in the Clube Da Esquina aesthetic prior to listening. I was able to be a more patient listener; yet I simultaneously had higher expectations of Lo Borges.



In many ways I have found A Via Lactea to be a challenging work. One thing that I appreciate about the collaborations of Milton Nascimento, Lo Borges, Beto Guedes, et al. is that they seem to keep one another focused, evoking stellar and timeless art. However, in this solo project Lo Borges gets a bit indulgent, a bit sloppy. And perhaps that's part of his goal. But a few tracks do suffer from dated-sounding synths or arrangements. On other songs, such as the remake of his own "Tudo Que Voce Podia Ser" and on "Olha O Bicho Livre" he verges on the genre of Forro. I was startled by this choice of his, having a hard time appreciating the merits of the music while trying to reconcile that the songs sounded as if they were sliding into polka.



I really wanted to love the album. It pays off in some ways, in that there are moments where it touches upon greatness. The inclusion of sister Solange acts as a fine complement. If anything, I would say that she is underused, appearing on only two tracks. Her contributions to Clube Da Esquina No.2" and to "Vento de Maio"-unequivocally the apogee of A Via Lactea-are indispensable. Alas, the beauty and energy trails from there, ending with an uptick on the final track "Nau Sem Rumo" which comes off like vintage Clube Da Esquina. Yet when stacked next to his better work I feel that the songs is revealed to be an impostor.



If you are just a dabbler, I would say go for the singles "Clube Da Esquina No. 2," "Equatorial," and "Vento de Maio". These three are all five star affairs. But if you enjoy his solo work from the 1970s or 1980s, then I would say give the whole album a whirl."