Robert Christgau deemed the album an "effortlessly funky tour de force," writing that "Milton Nascimento and Caetano Veloso are aesthetes like, to be kind, Joni Mitchell; Gil is a pop adept like Stevie Wonder."[10]The New York Times wrote that Gil "embraces American grooves from the sambas and Bahian rhythms of his native Brazil to Jamaican reggae, Haitian compas, Puerto Rican salsa and James Brown funk—lending all of them the jauntiness of his band, the earthy directness of his voice and his distinctive melodic lift."[1]
The Washington Post considered Soy Loco por Ti America to be "as sensuous and as rhythmically enticing an example of Gil's 'Tropicalism' as you're likely to find."[2]The Boston Globe praised the "raw sound, pointed lyrics and very sophisticated stylistic blends."[4]
AllMusic called the album "an electric album with plenty of brass attacks," writing that "it is fully danceable yet melodically rich and lyrically expressive."[9]
Track listing
No.
Title
Length
1.
"Aquele Abraço"
2.
"Vida"
3.
"Mamma"
4.
"Soy Loco por Ti America"
5.
"Babá Ala Palá"
6.
"Jubiabá"
7.
"Mar de Copacabana"
8.
"Mardi 10 Mars"
References
^ abPareles, Jon (22 Apr 1988). "Pop Album of the Week". The New York Times. p. C29.
^ abJoyce, Mike (20 May 1988). "Brazil's Vibrating New Sound Waves". The Washington Post. p. N25.
^ abMusicHound World: The Essential Album Guide. Visible Ink Press. 2000. p. 288.
^ abGonzalez, Fernando (14 Aug 1988). "Time Is Now for Brazilian Music". The Boston Globe. p. A4.
^ abSpin Alternative Record Guide. Vintage Books. 1995. p. 414.
^Weiser, Frans (2021). "A Paradox of Brazilian Counterculture: The Hemispheric Politics of José Agrippino's PanAmérica and As Nações Unidas". Journal of Lusophone Studies. 6 (1): 95.
^Duncan, Amy (31 Aug 1988). "Rock/Pop/Jazz". Arts. The Christian Science Monitor.