Pra que não quebre

She is a singer, actress and dancer. She has already made two very successful musicals directed by Wolf Maya. She joined the Faustão band and now launches an album that she calls his true debut album (she has recorded others): “Pra que não quebre” Andreya vieira came to stay.

“Quando você me ouvir cantar, venha não creia, eu não corro perigo”. The first two sentences of "Como dois e dos" (Caetano Veloso) already warn that we will hear a safe interpreter, aware of their choices, singing with the firmness of the great singers. The velvety voice, luscious to listen, is accompanied in the lurking by the arrangements of great taste, that evoke certain jazzy ambience. Attention to the vocal at the end of this track: impossible to remain indifferent.

Singing softly, as if asking for something, Andreya turns "Febre" (Zeca Baleiro and Lúcia Santos) into a more calm, slow and subtle moment. It is tearful to listen to her singing: “me guarde louça pra que eu não quebre”.

The next track, “Com mais de 30” (Marcos Valle and Paulo Sérgio Valle), begins in a way and unexpectedly turns into a samba (special attention to the instant desire to dance), becoming almost a gafieira. The change of tempo from one rhythm to another, ends up showing an interpreter who sings naturally.

“Mensagem de amor” (Herbert Vianna) is transformed into a kind of lullaby. Here the pace is smooth. It makes you want to close your eyes and imagine Andreya singing at the foot of our ear. It could even be in a lounge collection.

“Só o amor constrói” is music with a strong message. Even so, it seems she chose to sing it with a smile on her lips. It is also very interesting to compare love with invoices, fines and due date. Kléber Albuquerque, the composer, makes use of metaphors to draw analogies about love.

“Eu preciso de você” (Márcio Greiyck and Cobel) is stuffed with well-placed violins. It's a song that grows along with her voice. It would easily be on a soap opera soundtrack. It has a hit face, but that success that is not ashamed of being a success. Do you understand? It's the best track on the record.

“Por um triz” (Kléber Albuquerque) has a different tempo, giving the impression that it is marked by the beats (the effects help a lot, kind of Indian sitar). It's one of the tracks that stick most to the head.

“Menino bonito” is a side b of Rita Lee. Check another thesis on the record: who listens, makes you smile. It has a keyboard well fitted into the arrangement which is a charm.

“Eu não existo sem você” (Tom Jobim and Vinícius de Moraes) is a classic bossa nova. The arrangement takes us to another time. The listener proves in the language a delicious nostalgia, coming from a time where music was not a product. It was art.

“Que será” (Mário Rossi and Marino Pinto) is the "vamos cantar juntos" type. The beginning of the letter refers to some of the good moments of the beginning of Ana Carolina's career. It's sweet.

Closing the album, "Tô" (Tom Zé and Elton Medeiros). It's a closure that shows the personality of the singer. Notice how happy she seems to be singing it. At the end of this, we immediately remember Hawaii. The arrangement “prega” the head.

The repertoire of this record is eclectic. Composers from different eras, different styles and different personalities. Andreya might have fallen into the ditch of those who throw them everywhere. Except she's smart, she picks songs that even though they do not (seemingly) combine with each other, they follow the cohesive line of her artistic choices. It is a beautiful first impression of an artist in rapid evolution. Let her more records come. Brazil needs, the public asks and Jesus thanks.

(text published by Arthur Vilhena)