1. Você não serve pra mim
2. Volte para o seu lar
3. Diariamente
4. Dig a pony						play
5. Beija eu 
6. A menina dança 
7. Magamalabares
8. Vide Gal
9. Quantas lágrimas
10. Para ver as meninas 
11. Mistério do planeta
12. Besta é tu 
13. Panis et circenses
14. Cérebro eletrônico 
15. Chuvas de verão
16. Balança pema
17. Não É Proibido
18. Desarmamento					play
19. A Chuva Cai 
20. Da aurora até o luar 
21. Um a Um
22. Velha Infancia 

The latest in a great tradition of Brazilian divas, Marisa Monte is at once youthful and timeless, traditional and cosmopolitan. As Brazil’s best-selling female artist she has reached a pinnacle of achievement by creating songs that are heavy on rock rhythms, catchy melodies and occasional tinges of jazz and bossa nova. This, combined with her melting mezzo-soprano voice, has prompted the Los Angeles Times to describe her as, “a performer with irresistible presence…Monte has all the skills, style, manner and attitude it takes to break through to a wide international audience. It’s hard not to be struck by the beauty of her talent, her perfect intonation, her interpretive depth and her charisma.” ---imnworld.com

Marisa Monte nació el 1 de julio de 1967 en Río de Janeiro y desde mediados de los 90 se ha convertido en una de las cantantes brasileñas más populares.

Su padre era el director musical de Portela, una de las más importantes escolas do samba de Río de Janeiro. Así, rodeada de música, creció Marisa, que desde pequeña estudió piano, batería y más tarde guitarra. En su adolescencia grabó algunos demos y fue corista de la banda pop Laranja da terra.

Comenzó a estudiar canto lírico y al cumplir la mayoría de edad viajó a Italia a perfeccionarse. Allí la descubrió, cantando música brasilera en un pub, Nelson Mota, que estaba preparando un show llamado Tudo veludo. El show se estrenó en 1987 en el canal JazzMania, en Río, y el éxito fue tal que Marisa, comenzó a ser considerada una de las voces más prometedoras de la música popular brasileña.

Desde 1988, fecha en que apareció MM, su primer disco, Marisa Monte ha grabado ocho discos en estudio, ha editado DVDs con conciertos y material extra y participado como invitada en en decenas de grabaciones de otros artistas. Bienvenidos a la Monga! ya ha recopilado y publicado dos archivos con parte del material no disponible en los discos de la cantante.

Hoy les presentamos aquí, un tercer volumen de Rarezas y Colaboraciones de Marisa Monte, que viene a completar los ya publicados. Que lo disfruten!

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1. Maria De Verdade
2. Na Estrada
3. Ao Meu Redor
4. Segue O Seco
5. Pale Blue Eyes
6. Dança Da Solidão
7. De Mais Ninguém
8. Alta Noite
9. O Céu
10. Bem Leve
11. Balança Pema
12. Enquanto Isso
13. Esta Melodia

Marisa Monte's light but authoritative vocals could easily make her just another Brazilian pop sensation, but her choice of material and the company she keeps make her an artist to be reckoned with. Producer Arto Lindsay provides innovative and breezy backdrops (mostly in the samba vein) for the poetically surreal and romantic lyrics of Monte, Nando Reis, Carlinhos Brown, Paulinho da Viola, Arnaldo Antunes, Jorge Benjor, and even Lou Reed. Many of Brazil's superstar musicians are present, along with guest contributions from Laurie Anderson, Phillip Glass, and keyboardist Bernie Worrell from Parliament, melding well with Monte's enticing and totally Brazilian contemplations on life and love. Rose and Charcoal is elevated from easy listening by the magical imagery of the lyrics, freely translated in the liner notes. --Derek Rath, amazon.com

I've always loved Marisa Monte's voice- it's warm, it's sexy. She was raised in Rio, in the middle of Portela, one of Rio's most traditional samba schools. She decided to study opera in Italy for a while, but decided to go back to her musical roots. This album is very Brazilian, and she intended it to be so. She has Northeastern rhythms, MPB-style songs (Musica Popular Brasileira-popular Brazilian music)and samba-choro, lots of it! My favorite track is the last one in the album which is a real gorgeous samba with guitar, drums...the works!-and so intensly melodic! Even if you don't know much about Brazilian music, you'll enjoy this album. And if you like Brazilian music already, you'll really enjoy Monte's beautiful voice. It's not as experimental as, say, Tom Ze or Carlinhos Brown- instead it's like good homemade food: familiar, but always a favorite. ---amazon.com

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1. Amor I Love You
2. Não Vá Embora
3. O Que Me Importa
4. Não É Fácil
5. Perdão Você
6. Tema de Amor
7. Abololô
8. Para Ver as Meninas
9. Cinco minutos
10. Gentileza
11. Água Também é Mar
12. Gotas de Luar
13. Sou seu Sabiá

A lot of excitement surrounded Marisa Monte's new release,"Memórias, Cronicas e Declarações de Amor", since it had been five years since her last studio album, "Rose and Charcoal" (Her most recent one, "A Great Noise", was a live collection of previous hits). After all, Marisa Monte is one of the rare musical unanimities in Brazil. Everyone admires her work, regardless of class or education. She is as "pop" as she is "cult", and most agree that she is one of Brazil's best female voices.

Whilst listening to the CD, one notices that Marisa is gradually consolidating her own style, leaving the musical mixture of her early career well behind her. Such consolidation no doubt benefits the singer, but it leaves to the listener a feeling of déja-vu. Many of the songs, unfortunately, sound too much alike. The concept of the album, as its Portuguese title suggests (Memories, Chronicles and Love Stories), is love, and happiness, sadness and bliss that are an integral part of love are present on every track.

The opening song, "Amor I Love You", which is tirelessly playing on the radio here, sums up well the idea of the album. Its concept is even more evident as Arnaldo Antunes ( a frequent collaborator of Monte's) reads a passage from "The Yellow Sofa", the anti-Victorian masterpiece by 19th Century Portuguese novelist Eça de Queiroz: "... tinha suspirado, tinha beijado o papel devotamente! Era a primeira vez que lhe escreviam aquelas sentimentalidades, e o seu orgulho dilatava-se ao calor amoroso que saía delas, como um corpo ressequido que se estira num banho tépido; sentia um acréscimo de estima por si mesma, e parecia-lhe que entrava enfim numa existência superiormente interessante, onde cada passo conduzia a um êxtase, e a alma se cobria de um luxo radioso de sensações! "

"... she had sighed, and had kissed the paper devotedly! It was the first time that such feelings had been put on paper for her, and her pride grew to the loving heat that came from those words, like a dried body that lies itself in a tepid bath; she felt a growth of esteem for herself, and it seemed to her that she had at last entered a superior, interesting existence, where each pace led to an ecstasy, as if the soul was covered by a fantastic luxury of sensations! (my translation)" "Amor I Love You" is actually one of the album's greatest moments. Other very interesting tracks are "Para Ver As Meninas"(To See The Girls), by Paulinho da Viola "Cinco Minutos" (Five Minutes) by Jorge Benjor and "Sou Seu Sabiá" (I'm Your Hummingbird), by Caetano Veloso.

In this writer's opinion, the best track is, without a doubt the bossa-nova styled "Gotas de Luar" (Drops of Moonlight), a standard by Nelson Cavaquinho and Guilherme Brito. Its simplicity opposes to the rest of the album's sophistication. The remaining tracks, which were mostly co-written with Carlinhos Brown, Arnaldo Antunes and Lucas Santtana are very interesting, but as I wrote earlier they are sometimes repetitive, specially "Não Vá Embora (Don't Go Away)" and "Não é Fácil (It's Not Easy)". One sometimes wonders, by their similarities, if someone has tampered with the CD-Player. However short, the album is great listening pleasure. the co-producer, Arto Lindsay , gave a lot of importance to the instruments, which is a rare attitude in albums by vocalists. The inlay has all the lyrics and the guitar chords, plus pictures of things of Marisa's everyday life, such as books, CDs and the like.

In Brazil, an enlarged hardcover version of the inlay was also released in bookstores. I am not aware of its release outside the country, but never mind it, unless the reader is a collector of Marisa Monte merchandise. In conclusion, the album is worth the price, despite of its weak moments. A good wine is an appropriate accompaniment to its listening. ---amazon.com

O amor, quando verdadeiro, quer ser proclamado aos quatro ventos, quer ser cantado com a alma e o coração. Por isso o maior elogio que se fez ao amor nas Escrituras judeu-cristãs se chama "Cântico dos Cânticos". O místico São João da Cruz que experimentou o amor radical escreveu as ‘Canções de Amor entre a Alma e Deus’. Aí canta esta verdade universal: ‘olha que a doença de amor não se cura senão pela presença e a figura’.

O amor não pode ser platônico, ele quer sentir a presença e quer tocar a figura. Ele é a exaltação a ponto de levar a ‘fazer um samba sobre o infinito’ e ser a ‘palavra que liberta’. Mas é também o singelo gesto de quem confessa ‘toda vez que saio me preparo para talvez te ver’ porque ’no peito há vazio, há falta de alguém’. É o amor que torna as pessoas importantes, quer dizer, que faz com que nos importemos com a pessoa amada, encontrada ‘no meio de tanta gente’. Mas se o amor não encontra amor, "a vida para mim terminou", mais ainda "é como se perder de Deus". Mas se o amor encontra outro amor sabe ‘isso me acalma, me acolhe a alma, isso me ajuda a viver’. ---- Leonardo Boff, marisamonte.com.br

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1. A sua
2. Alta noite
3. Busy man						play
4. Carinhoso
5. Carnaval
6. Cedo ou tarde
7. Cultura
8. Desterro
9. Dereitinho
10. Dizem que o amor
11. E doce morrer no mar
12. Esqueca						play
13. Eu sou o caso deles
14. Eu te amo te amo te amo
15. Flores
16. Grao de amor
17. I can see clearly now
18. Life gods
19. Mais um na multidao

Marisa de Azevedo Monte (born July 1, 1967 in Rio de Janeiro) is a Brazilian popular singer. While classically trained in opera singing, she grew up surrounded by the sounds of the Portela samba school, and combines diverse influences into her music. After failing to break through 1980s Brazilian Pop rock she went to semi-exile in Italy where she met the famous producer Nelson Motta (soon her boyfriend). Thereafter she became a hybrid of MPB diva and Pop rock performer. While most of her music is in the style of modern MPB, she has also recorded traditional samba and folk tunes, as well and songs performed by Marvin Gaye, Lou Reed and George Harrison. Much of her work has been in collaboration with musicians/songwriters Carlinhos Brown, Arnaldo Antunes, and Nando Reis, and producer Arto Lindsay. She has also worked with foreign artists such as Laurie Anderson, David Byrne, Ryuichi Sakamoto, and Julieta Venegas. In 1996, she contributed a version of "Waters of March", in a duet with David Byrne, to the AIDS benefit compilation album Red Hot + Rio produced by the Red Hot Organization. She also collaborated with Bonga and Carlinhos Brown on the track "Mulemba Xangola" for the AIDS benefit compilation album Onda Sonora: Red Hot + Lisbon produced by the same organization. Again, in 2011, she contributed a collaboration with Devendra Banhart and Rodrigo Amarante "Nú Com A Minha Música" for the Red Hot Organization's most recent charitable album "Red Hot+Rio 2." The album is a follow-up to the 1996 "Red Hot+Rio." Proceeds from the sales will be donated to raise awareness and money to fight AIDS/HIV and related health and social issues.

Marisa Monte is unique as a Brazilian artist due to the fact that she owns the rights to all of her songs; it was the main demand to renew her contract with EMI Music.

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1. Mais uma vez
2. Meu erro
3. Mulemba xangola
4. Musico
5. Nao e facil p.1
6. Nao e facil p.2
7. Nao quero dinheiro
8. Nao quero ver voce triste
9. Nunca mais
10. O amor nao sabe esperar			play
11. Ondae andaras
12. Ontem ao luar
13. Palavras ao vento
14. Paradeiro
15. Sabado a noite
16. Seu zeh
17. Sonhos
18. Toneladas de desejo				play
19. Volta meu amor
20. Waters of march

Marisa de Azevedo Monte (Rio de Janeiro, Brasil, 1 de Julho de 1967) é uma consagrada cantora, compositora, instrumentista e produtora musical brasileira que já vendeu cerca de 10 milhões de CDs e DVDs no mundo todo. É considerada pela revista Rolling Stone Brasil como a maior cantora do Brasil. Possui inúmeros prêmios nacionais e internacionais, incluindo três Grammy Latino, sete Video Music Brasil, nove Prêmio Multishow de Música Brasileira, cinco APCA e seis Prêmio TIM de Música.

Lançou seu primeiro álbum, Marisa Monte, em 1989, apesar de já fazer ter muito prestígio do público e da crítica antes mesmo de lançá-lo. Deste trabalho, surgiu seu grande primeiro sucesso, Bem Que Se Quis. Seu disco seguinte lançado em 1991, Mais, a introduziu no mercado internacional, sendo seu primeiro disco autoral.

Em 1994 lançou Verde anil amarelo cor de rosa e carvão, lançado em 1994, muito bem recebido por crítica e público, sendo considerado pelo site All Music Guide o melhor de sua carreira. Dois anos depois, em 1996, lança seu primeiro álbum duplo Barulhinho Bom, que gerou polêmica por estampar um desenho de um artista pornô-naif, cuja capa foi censurada nos Estados Unidos.

Em 2000, Marisa lança o aclamado Memórias, Crônicas e Declarações de Amor. No fim de 2002, lança, junto com Carlinhos Brown e Arnaldo Antunes, o álbum Tribalistas, de projeto homônimo, ultrapassando a marca de 1,5 milhões de cópias vendidas no Brasil. Em 2006, lançou simultaneamente os álbuns Infinito Particular e Universo Ao Meu Redor. ---last.fm

Marisa Monte est l’une des chanteuses brésiliennes les plus populaires des dernières années. Elle est née Marisa de Aveze do Monte le 1 juillet 1967 à Rio de Janeiro.

Ayant grandi dans un monde artistique, à l’âge de 9 ans, elle était assez grande pour réaliser un rêve, jouer de la batterie. Sa mère Sylvia lui procura une batterie, qu’elle installa dans le salon de la maison familiale. Ses qualités musicales se développèrent rapidement et elle montra de l’intérêt pour des leçons de piano et de musique.

Marisa étudia l’opéra et chanta dans le “Rock Horror musical show”, organisé par le Collège Andrews et le groupe de théâtre dirigé par Miguel Falabella. Par la suite un “band” de musique prit place dans le salon de sa maison de Urca. À 18 ans, elle vécut 10 mois en Italie. S’ennuyant du Brésil et de la musique de son pays elle abandonna ses études d’opéra. Elle passa alors 6 mois à chanter des chansons brésiliennes en compagnie de ses amis.

Elle avait déjà rencontré Nelson Motta avant son départ pour l’Europe, mais c’est seulement à son retour que cette rencontre a porté fruit. Elle lui demanda une opinion à propos de la musique qu’elle choisissait pour son premier spectacle. En plus de trouver un directeur elle rencontra un ami. --- musiquebresilienne.ca

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