On his second album, produced by
Marisa Monte,
Carlinhos Brown succumbs under the weight of the generalized expectancies that transformed him into an overnight Brazilian superstar. He really represents (together with so many good people) one of the paradigms of being Brazilian -- when he plays his fantastic percussion, he delivers the rich history of music in Bahia. But his lyrics are self-complacent, revealing nothing but the hitmaking intention hidden behind easy-spelt short words (mala com mala Não mala/mala, com mala, não mala). "Tribal United Dance" has embolada-like verses that could supply some authenticity, but the mainstream funk groove suffocates the rhythmic originality of the northeastern genre under the flat backbeat. Funk, pop ballad, and swing ballad predominate throughout the album, which grows as he approaches Brazilian rhythms: "Irará" (unfortunately, the cool tone keeps its lively percussion timidly in the background); "Cachorro Louco" is a good experience of electric rock under the maracatu groove impact, continued in "Faraó" (even if the dull backbeat spoils all flexibility of the Brazilian rhythm). "Amantes cinzas" (samba baiano), "Mãe Que Eu Nasci" (toada, with the
Época de Ouro regional), and the ternary anthem "Hino A Santo Antônio" are other interesting musical experiences.