2004's Favela Booty Beats proved beyond the shadow of a doubt, this music coming out of the favelas (balls or parties) in the drug-militia controlled ghettos of Brazil was positively mental and so utterly exciting it was impossible to deny. Thanks to DJs Diplo and Daniel Haaksman, the sound came from off the internet and into the clubs where mixes were played with increasing popularity, with DJs and MCs tossing in everything from Miami bass music to samba, vintage funk, rock, breakbeat pyrotechnics, hip-hop, industrial, electro, traditional tribal chants, and appropriating one another's work as a way of making it bigger, better, and more rhythmically outside the box than any dance music before. This new volume, Rio Baile Funk: More Favela Booty Beats takes the soundtrack of the Rio streets to the next illogical step, charting its evolution since 2004. The newish tracks compiled here (though we all know that in the time it took to get this batch pressed and packaged they've been long forgotten and given way to something else) showcase the new reliance on upfront vocals that rap and chant, and the sounds are more digitized, somewhat less raw perhaps, but no less effective in accomplishing their stated goal: to make the punters dance their asses off. As it has been since the dawn of the disco scene of the mid-'70s, it's all about the latest track and what literally crazy amalgam of samples, beats, rhythms, and sounds can get pasted together. Standouts here include the wild and sexy "Vem Nha Nha," by Catra -- the über James Brown of the Brazilian backstreet and favelas -- "Berimbau," that uses one loop throughout -- by MC Sandrinho; "Eu Solto o Som a Voz," by MC Sabrina; "Montagem Jiu Jistu," that samples from soccer chants, wedding, and carnival parade music and a hypnotic bass drum loop. "Es So Sentar" uses cheesy movie western music to set up its chant and uses the keyboard line that is also employed in the two cuts mentioned above. The monster bass drum breaks in "Dedinho Pro Alto" are simply punishing when combined with the great carnival drums and shoot-em-up sound effects. "Toma Dengosa" uses party cha cha and whips it into hip-hop and dancehall style. While More Favela Booty Beats cannot be as wonderfully shocking as its predecessor, it is nonetheless full of surprises and offers another view of the music's development a couple of years on. That it has grown a tad more sophisticated doesn't mean a thing: these tunes are still being made for the dancefloor, not the radio. It's rough body music for a rough climate and that hasn't changed a bit, if anything it's even more so. Recommended either as a chapter two or as an introduction.
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AllMusic Review by Thom Jurek