01. Enguiço                   play
02. Naquela estaçao
03. Caminhoneiro
04. Sonífera ilha
05. Disseram que eu voltei americanizada
06. Orgulho de um sambista
07. Nunca
08. Pao doce                  play
09. Mortaes
10. Injuriado

Adriana's first album, called Enguiço, was released in 1990 and consisted mostly of covers of well known MPB (Brazilian pop) songs, part of the repertoire she used to perform as a singer in restaurants and bars in Porto Alegre. It included only one original composition, the title track. It spawned her first hit, a cover of Caetano Veloso's Naquela Estação, which became successful thanks to it being included in the soundtrack of the primetime soap Rainha da Sucata, one of the most watched in history of Brazilian television.

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01. Parangolé Pamplona
02. Marítmo                     play
03. Vambora
04. Quem vem pra beira do mar
05. Mao e luva
06. Pista de dança
07. Vamos comer Caetano         play
08. Mais feliz
09. Asas
10. Dançando
11. A cidade
12. Por isso eu corro demais
13. Cançao por acaso
14. Cariocas - Remix 96

Excelente album de una sorpredente y encantadora cantautora, Adriana Calcanhotto,no es una novedad en la musica brasilera. Aunque no tan conocida fuera de su pais, su trayectoria supera los diez años. Es una excepcional sor`presa para el que la oye por primera vez. Una voz atrapante, temas bien escritos, ritmos variados con tendencia a una mezcla de balada con lo tipico de brasil. Este cd reune canciones imperdibles ; maritmo, vamos a comer caetano, mais feliz, cariocas, son solo mis preferidos. Despues de oirla ud podra comprobar por que la critica de brasil la ha comparado con la inolvidable Elis Regina, y creo que esa comparacion es el mejor elogio. Un cd para tener y oir reiteradamente, y luego buscar "Publico" su ultimo trabajo, en vivo, acustico, que es una joya de la musica moderna del mundo no ya solo de Brasil. Maritmo é o quarto álbum da cantora e compositora Adriana Calcanhotto. O álbum recebeu um disco de ouro (o que significa que vendeu mais de 150 mil cópias no país).

Adriana Calcanhotto (born on October 3, 1965 in Porto Alegre) is a Brazilian singer/composer. Her melancholic songs are most often categorized as belonging to the MPB (Música Popular Brasileira) genre. She started her professional career in 1984 and released her first studio album in 1990. She collaborated with lyricists like Wally Salomão and António Cícero (brother and constant musical partner of fellow singer Marina Lima) and included the hits Metade and Inverno. This was followed by Maritmo (a combination of the words mar (sea) and ritmo (rhythm)), a concept album intended as the first part of a trilogy having water as a main theme.

A wonderful writer singer and stylist, this is Adriana's most recent release available in the USA. Her voice has a curious 60's quality to it while clearly influenced by Elis Regina (aren't all current MPB singers) with a Nueva Cancion mentality. Her compositions have been performed by many Brazilian stars for years (check out Maria Bethania's Ambar) and she is now recieving long overdue acclaim. She is one of the new stars on the MPB scene along with Monica Salmaso, Rosa Passos, Chico Cesar and Marcio Faraco. Check out her Fabrica da Poema, an earlier, less commercial outing. She is greatly respected by the Brazilian musicians on the New York scene and back home in Brazil. A thoroughly enjoyable, modern recording.

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01. Devolva-me
02. Mais feliz
03. Inverno
04. Mentiras
05. Esquadros
06. Cariocas
07. Vambora
08. Por isso eu corro demais
09. Maresia
10. Metade
11. Senhas              play
12. Marina              play
13. Naquela estacao

Para mim, este não é certamente um álbum fácil de criticar por dois motivos: primeiro, pela positiva, porque realmente tem músicas mesmo muito boas; segundo, pela negativa, porque acho que é um best of que não se justificaria tanto quanto isso... Passo a explicar. A meu ver, Adriana Calcanhotto é uma artista, compositora e intérprete mesmo muito boa. No entanto, acho que tem ainda muito pouca obra publicada que justificasse o lançamento de um best of neste momento. Para quem não tivesse nenhum álbum da cantora, certamente este seria (e será, porque recomendo a quem não conheça A.C. ainda) um álbum a reter. No entanto, para quem tenha vindo a acompanhar atentamente a sua carreira, torna-se muito repetitivo o lançamento de um best of logo no seguimento de um álbum como o "Público" que, de certo modo, também ele representava um best of. Considerando o álbum por si só, é realmente um álbum com muito boas canções. No entanto, o "cheiro" que fica no ar é que foi um álbum editado para se poder tornar uma artista mais popular... Uma questão de opção da artista ou da editora, mas quanto a mim, inoportuna. Saber esperar pela altura certa também é uma virtude. – Marta Ribeiro

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01. Canção de Novela 
02. Três 
03. Cariocas 
04. Esquadros 
05. Por Isso Eu Corro Demais 
06. Pelos Ares 
07. Para Lá 
08. Mais Feliz (Ao Vivo) 
09. Inverno 
10. Um Dia Desses 
11. Vambora 
12. Justo Agora
13. Metade 
14. Porto Alegre (Nos Braços de Calipso) 
15. Marina 
16. Medo de Amar nº3 (Ao Vivo) 
17. Mulher Sem Razão

Adriana Calcanhotto (formerly Calcanhoto) is a MPB/pop singer/composer revealed in 1990 who had great success in Brazil, and helped bring Brazilian music again to the hit parade after the 1980s were characterized as the Brazilian rock period.

Her father, a jazz drummer, accompanied Elis Regina in her early career, and influenced Calcanhotto's taste for music. She started out in Porto Alegre playing and singing at small bars then moved to Rio, where she was invited to sing at bars of the same style. Her novice repertory of only ten songs wasn't enough for a gig, but she insisted anyway. The widespread notion that she began her career as a barbecue restaurant singer is not true; she sang only one night there and never returned, due to her small repertory.

In 1990, she recorded her first album, Enguiço. There she revealed a young singer with unusual taste for MPB as the album had "Nunca" (Lupicínio Rodrigues, also a gaúcho). Those were still Brazilian rock times and other musics didn't have a chance. Fortunately to her, other singers like Marisa Monte were making the same choice, which dislocated the popular taste during the 1990s to a re-approximation with Brazilian music. The album also brought "Sonífera Ilha," a cheesy hit by the Os Titãs improved in her rendition, and "Caminhoneiro," another corny hit by Roberto Carlos that reaffirmed her capacity for creating sensitive performances of uneven material. Ronaldo Bastos' "Naquela Estação" was the big hit of the album, but national exposure came with the second album, Senhas. The title track was included on the soap opera soundtrack for Renascer, reaching dozens of millions in Brazil. The third album, A Fábrica do Poema, brought her compositions and partnerships along with renditions of songs by established composers such as Chico Buarque. The interpretation of profound songs like Buarque's "Morro Dois Irmãos" revealed a true MPB artist, not a performer restricted to the pop idiom. The album also brought the concrete poetry of Augusto de Campos (who participated on one track). 1996 marked the beginning of national tours and also performances in Buenos Aires, Argentina. Calcanhotto recorded the song "Tema de Alice" (Péricles Cavalcânti), which was included on the soundtrack to the film Mil e Uma (Suzana Morais), and "Dona de Castelo," a nostalgic canção by Jards Macalé/Waly Salomão and the theme song of the 1996 film Doces Poderes (Lúcia Murat). Maritmo was an experimentation where she mixed drum machines, ska, funk, incidental electronic noise, Olodum-type percussion (maracatu), samples, synthesizers, an old kitsch Jovem Guarda hit (Roberto Carlos' "Porisso eu Corro Demais"), dance grooves, and MPB, with the participation of icons Dorival Caymmi (on "Quem vem pra Beira do Mar"), and the great multiinstrumentalist Hermeto Pascoal. Her fifth album, the live recorded Público (2000), is strongly MPB-based, where she accompanied herself at the violão. It included the samba classic ("E o Mundo não se Acabou" by Assis Valente), a poem by the Portuguese Mário de Sá Carneiro (with music by her), and another by Waly Salomão, a re-recording of "Versos" (which had been released by Maria Bethânia of her classic Âmbar), and previous hits "Esquadros" (1992), "Cariocas" (1994), "Vambora" (1998), and "Vamos Comer Caetano" (1998). On this album, she also re-recorded "Dona de Castelo." --- Alvaro Neder, Rovi

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