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Canibalia Import

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Product Details

  • Audio CD (Oct. 15 2009)
  • Number of Discs: 1
  • Format: Import
  • Label: Sony Import
  • ASIN: B002QK01J2
  • In-Print Editions: Audio CD
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Customer Reviews

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Most Helpful Customer Reviews on (beta) 3.7 out of 5 stars 15 reviews
8 of 9 people found the following review helpful
4.0 out of 5 stars An Album of Deceptive Depth Sept. 14 2011
By elemcivs - Published on
Format: Audio CD
Now that this album has been released in North America I offer the following:

This is an extremely sophisticated album given the very important premise that Daniela Mercury is in essence making a huge declaration by entitling the work Canibalia.

Canibália's "mission" according to press, is to reach into the future by traveling through the continuum of two significant upheavals that marked Brazilian culture forever: The Brazilian Modernist Movement spawned by the Oswaldo Andrade's 1928 Manifesto Antropófago, the 1968 Tropicalia Movement launched by Gilberto Gil and Caetano Veloso's recording Tropicália: ou Panis et Circensis.

Andrade's manifesto argues that based on the premise that the history of Brazil has, as its greatest strength, the power to cannibalize others and simultaneously plays with the idea of cannibalism as a modern primitivism; like a presumed tribal rite. Cannibalism then, becomes a way for Brazil to reaffirm itself against the cultural domination of Post Colonial Europe.

The NY Times/ Jon Pareles nails it:"The Brazilian songwriter and singer Daniela Mercury titled her latest album, "Canibália" ("Cannibalism"), to allude to the 1928 "Manifesto Antropófago" ("Cannibal Manifesto"), a defining work of Brazilian modernism by the poet Oswald de Andrade, which praises Brazilian culture for devouring and digesting other cultures. That's a declaration of serious ambition that the album lives up to."
and " "smart, euphoric, time-tangling Brazilian pop: as traditional as a samba band or a carnival beat at one moment, an excursion into electronics, hip-hop or jazz the next."
8 of 10 people found the following review helpful
3.0 out of 5 stars nothing new on this CD Jan. 11 2010
By kakalada - Published on
Format: Audio CD Verified Purchase
I've been a Daniela Mercury fan since 1992 and this offering is close to her worst. The only songs worth listening are:
O Que É Que a Baiana Tem
Sol do Sol
A Vida É Um Carnaval
Bênção do Samba

And these are the standard fare that Daniela has offered us over the years.

Probably the worst song on the CD is Oyá Por Nós which features Margareth Menezes who co-wrote the song with her. Tico-Tico No Fubá is just as bad.

I don't see anything new with the music offered on this CD either. It's basically the standard Daniela offering plus elements of Carnaval Eletrônico and Sou de Qualquer Lugar thrown in for good measure.

With 5 good songs out of 14 which equals a 2.8 rating, I'll have to give it 3 stars.

You can listen to the whole album via this link (if I'm allowed to display it here???)
4 of 5 people found the following review helpful
4.0 out of 5 stars Bold move as always Dec 17 2009
By Plays with fire - Published on
Format: Audio CD
Daniela Mercury has always been ahead of her time and this album, Canibalia, is no different.

While I completely agree that the production values are completely out of control - there are five producers! - The essence of the album nonetheless, is a forward and cohesive move by the artist who has never been satisfied with repeating herself nor her past successful formulas. This is a study of antropofagia in 21st century music from Brazil. All of Mercury's albums have been ecclectic and while some have been definite masterpieces, her entire discography has much to offer.

In this album, the stand outs are: Trio em Transe,Oya por Nos, Preta, Castelo Imaginario, Bencao do Samba and O Que Sera. Secondary to these: O Que e Que a Baiana Tem and A vida E Um Carnaval (a gorgeous translation of Celia Cruz's mega hit)and Tico Tico no Fuba.

The rest are just short of "on the mark": Sol do Sul (too simplistic but catchy), Dona Desse Lugar (too anthemic and grandiose), This Life is Beautiful (too complicated and not cohesive), Cinco Meninos (great but progressively sappy) and One Love (great retro version of Sara Tavares' original but belongs on club dance floor).

I will hold ground to say that like Sou de Qualquer Lugar- the first (and beautiful) album that Mercury released with a heavy dose of fusion between electronic and axe/samba-reggae, Canibalia will prove to be yet another gem in her discography.

That said, Canibalia due to it heavy handed production, will live best as a live show. I found this link online with a good number of the songs on the CD-[...] do not know how long it will be up ...
4 of 5 people found the following review helpful
5.0 out of 5 stars muito bom Jan. 2 2010
By Manfred Messmer - Published on
Format: Audio CD
I know every cd of Daniela. Not all ot them are at the first range. But this one is very fine because it shows many aspects of the actual brazilian music. The songs itself are catchy but warm and impressive. Indeed there are five different covers around and the title sequence differs - what for? five producers, first studio cd after five years? unnecessarily.
But all in all: Eu falo esta cd é muito bom, muito legal! Have fun with it.
5 of 7 people found the following review helpful
1.0 out of 5 stars Where are they hiding Daniela Mercury? Nov. 21 2009
By NY State Amazonian - Published on
Format: Audio CD Verified Purchase
This is the kind of album that, were it to have come from a pop singer "exploring new musical territory" or "injecting a Latin sound into electronica," might be considered a technical success. It might even get points for daring. Instead, it's the latest from someone claiming to be Daniela Mercury, but bearing little resemblance to the Queen of Axé -- and not just because of the over-airbrushed booklet photos that look disconcertingly like J-Lo. This very slick, overproduced effort (the work of her son, Gabriel Povoas, so maybe it's a generational thing) hides just about everything that Daniela is loved for. Her extraordinarily rich voice, with its wide range, is kept within a very narrow focus. Her born-with-it skill of interpretation, working the contours of each word and note, is kept in check by the talky/rappy/clipped style that most of these tracks require. There's simply no time in these songs for interpretation. This is electronica with a few nods to Brazil. The intent seems to be to show off the sound, not the singer, which is a crime when the singer you've got is Daniela. These tracks could have been recorded by just about anyone, with the same result. Can you say that about O Canto da Cidade? The alegria -- joy -- seems almost entirely gone in the rush to get through the numbers. You'd be hard-pressed to prove that this is the same woman of Feijão com Arroz, the tour-de-force that's generally acknowledged as Daniela's masterpiece. It's understandable that one of the biggest stars in Latin America would want to go for the US market, but this is not the way to go about it. Instead of introducing a broader audience to real, true Daniela Mercury -- how about Elétrica or Eletrodoméstico -- she comes off as a lightweight singer trying desperately to be noticed in the crowded echo chamber of American Top 40 radio. Can you imagine?

Come back, Daniela!

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