Brilliant collection of musical happenings
David Kaminsky | Edmonton, Alberta Canada | 06/14/2003
(5 out of 5 stars)
""Acontecimentos" translates as "happenings" or "events," and most of the songs on this collection are indeed "happenings" as sung by Marina Lima. The songs on this diverse collection span the years 1991 to 1996. The first track, entitled "Acontecimentos," is mid-tempo and has an anthemic feel to it. It manages to be simultaneously understated and powerful. "Gravida" is a cool, jazzy number co-written by Marina Lima and Arnaldo Antunes. "O chamada" has a similarly jazzy feel to it, but is punctuated with subtle strings and squealing electric guitar solos. The fourth track, "Criança," reminds me of her big hit (in Brasil) "Pierrot." It is an intense and funky invocation to a child to find his place in the world. This is followed by the smooth, smart-sounding Rita Lee song "Nem luxo, nem lixo," which translates as "Neither luxury nor trash." Marina's voice sounds playful and fun in this track, and the organ-like background adds to the joy of the song. Rita Lee has been a big star since her days with Os Mutantes, and Marina's version of this song is a wonderful tribute. "Eu vi o rei," the sixth track, maintains the upbeat momentum. "Beija-flor" ["Hummingbird," but more literally "flower-kisser"] has a more experimental sound than the previous tracks, fitting for an artist who has explored many musical styles in her long and eventful career. "Admito que perdi" continues the experimentation and genre-mongering, with a sound evocative of American R&B and jazz. Track nine is Marina's wonderful, touching cover of Paulinho da Viola's "Para um amor no Recife." Unlike Paulinho's spare, whispery version, Marina makes the sound bigger and more orchestral, yet sacrifices none of the emotional intimacy of the song. It's no wonder this track was released as a single in Brasil--it's got such a pure and powerful emotion underlining every note. The song is an eloquent plea to a distant lover to not forget about their love. Track ten, "Não estou bem certa . . . " is Marina's reworking of Terence Trent D'Arby's "Sign Your Name Across my Heart." Terence Trent remains a popular artist in Brasil to this day. Next is the funky, too-cool "Fullgas," which is laden with soul and funk touches. Lots of "wah wah wah" guitars, blaring horns, and dazzling string solos. "Pessoa" slows down the pace, with a simpler musical map and a wonderfully-moving vocal. The next track, "Não sei dançar," reminds me a bit of Elton John's "Rocket Man," but the lyrics are much darker, hinting of exploding passions. The fourteenth and final track is "Mesmo que seja eu," a long, orchestral-sounding track co-written by two musical legends, Erasmo Carlos and Roberto Carlos. The tempo changes subtly throughout, elements of jazz, pop, folk, rock, and salsa are heard, the vocals drop in and out of the scene, half-sung and half-spoken, and instruments appear and just as quickly disappear. By the end of the song, listeners feel they have charted a complicated musical landscape, with Marina Lima leading the tour. The music of Marina Lima is very sophisticated, thus not always easily accessible, but well worth the intellectual and emotional investment required."
