Artist: Elis Regina Album: Elis Regina

Year: 1963
Duration: 33:04

The Unforgettable Voice of Elis Regina: A Critical Review of her Self-titled Album

Elis Regina was a Brazilian music icon, who earned a reputation for her exceptional voice and refreshing style. Over her 19-year long career, she released more than 30 albums, but one of her most famous works was her self-titled album, Elis Regina. This album, recorded in 1972, was a defining moment for Brazilian music and cemented Elis’s status as one of the biggest music stars in Brazil. In this blog, we’ll delve into the album and review its best songs, innovative parts, and give a critical analysis of its overall success.

The self-titled album, Elis Regina, was instrumental in putting Elis on the international music radar. It followed on the heels of her highly successful album with Antonio Carlos Jobim, and showcased her unique vocal range. The album can be categorized under the MPB or Musica Popular Brasileira genre, which is a broad category that encompasses several Brazilian music styles like samba, bossa nova, and tropicália.

The album starts off with a melancholic, yet stunning song, “Casa no Campo,” which is complemented by Guinga’s composition and Chico Buarque’s lyrics. Elis’s voice overflows with emotion, carrying the listener along through the song’s emotional journey. The album then moves onto “Águas de Março,” a duet between Elis and Antonio Carlos Jobim. This song is considered one of the greatest Brazilian songs of all time and earned Elis and Jobim a Grammy for Best Brazilian Song, as well as an entry into the Latin Grammy Hall of Fame.

The standout track on the album is “O Bêbado e a Equilibrista”, by João Bosco & Aldir Blanc. Here, Elis sings about the struggle of Brazil’s people against the dictatorship regime, which was relevant at the time of the album’s release. The song was considered so powerful and groundbreaking that it became known as an anthem for the Brazilian democracy movement.

While the album’s overall success is a testament to Elis’s enormous talent, there are a few innovative parts that stood out in particular. The album’s production was heavily influenced by the new wave of music technology that was available at the time, with sound engineer Julio Nagib using sophisticated techniques to capture Elis’s sound. Additionally, the album features collaborations with some of the most revered songwriters and composers of the time, like Antonio Carlos Jobim, Gilberto Gil, and Caetano Veloso. This combination of innovative production and collaborations with many of the best artists of the era was one of the critical factors that made this album such a great success.

However, as with every album, there are a few misses. The inclusion of “Folhetim” might have been a misstep, as it’s a song that doesn’t fit the rest of the album’s emotional intensity, despite its beautiful lyrics and melody. Also, many music critics have pointed out that Elis’s cover of Gilberto Gil's “Oslodum” doesn’t measure up to the original version.

In conclusion, Elis Regina’s self-titled album, Elis Regina, is a defining moment in Brazilian music history. Its incredible mix of innovative sound production, collaborations with the most prominent songwriters and composers of the era, and the inimitable vocal talent of Elis made it a hit that is still celebrated to this day. The album’s standout tracks, such as “Casa no Campo,” “Águas de Março,” and “O Bêbado e a Equilibrista” remain classics of Brazilian music, while its miss steps, such as “Folhetim” and “Oslodum,” remind us that even the most incredible artists can have flaws. Still, this album is well worth a listen for anyone who wants to explore some of the best music to come out of Brazil.

In conclusion, Elis Regina’s self-titled album, Elis Regina, is a defining moment in Brazilian music history. Its incredible mix of innovative sound production, collaborations with the most prominent songwriters and composers of the era, and the inimitable vocal talent of Elis made it a hit that is still celebrated to this day. The album’s standout tracks, such as “Casa no Campo,” “Águas de Março,” and “O Bêbado e a Equilibrista” remain classics of Brazilian music, while its miss steps, such as “Folhetim” and “Oslodum,” remind us that even the most incredible artists can have flaws. Still, this album is well worth a listen for anyone who wants to explore some of the best music to come out of Brazil.