Spin - 01/04, p.98
"...FOLKLORE's nicely realized conceit, involving identity and heritage, lets the multiculti Canadian Furtado get her Portugese on..." - Grade: B
Entertainment Weekly - 12/26/03, p.145Ranked #13
in Entertainment Weekly's 2003 "Records of the Year"
Entertainment Weekly - 11/28/03, p.123
"...FOLKLORE is about the joy of making something new out of random elements, and few other albums this year have captured that pleasure as well as this one does..." - Rating: A-
Q - 1/04, p.1143 stars out of 5
- "[S]he's certainly got a great way with a melody, as 'Powerless' clearly demonstrates."
Mojo (Publisher) - 12/03, p.1223 stars out of 5
- "Furtado uses her second album to stretch her perky voice and choice of styles..."
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Personnel: Nelly Furtado (vocals, acoustic guitar); Caetano Veloso (vocals); Manuela Furtado (whistling); James Bryan (acoustic & electric guitars); Field (acoustic guitar, Fender Rhodes piano, organ, programming); Rafael Gomez (acoustic guitar, background vocals); Mike Elizondo (slide guitar, bass); George Doering (Hawaiian guitar, banjo, cavaquinto, dulcimer, mandolin); Bela Fleck (banjo); Alex Alessandroni (piano, harmonium); Track (harmonium, programming, background vocals); Alan Molnar, Bob Leatherbarrow (vibraphone); Justin Meldal Johnsen (bass); Russ Miller (drums, percussion); Joey Waronker (drums); Gurpreet Chana (tabla); Daniel Stone (percussion); Lil Jaz (programming, vinyl scratches); Kronos Quartet.
Producers include: Track, Field, Nelly Furtado, Lil Jaz, Mike Elizondo.
Personnel: Nelly Furtado (vocals, acoustic guitar, background vocals); Caetano Veloso (vocals, background vocals); Manuela Furtado (whistling); James Bryan (guitar, acoustic guitar, electric guitar); Field (guitar, acoustic guitar, Fender Rhodes piano, harmonium, organ); Mike Einziger (guitar); Rafael Gomez (acoustic guitar); Mike Elizondo (slide guitar, programming); George Doerling (banjo, cavaquinho, dulcimer, mandolin); Steve Carnelli (banjo, mandolin); B‚la Fleck (banjo); Vonette Yanaginuma (harp); David Wadley, Jef Ten Kortenaar, David Harrington, John Sherba (violin); Amanda Goodburn, Hank Dutt (viola); Orly Bitou, Jennifer Culp (cello); Kronos Quartet (strings); Kyle Erwin (pipe, organ, chimes); Luis Simao (accordion); Alex Alessandroni (piano, harmonium); Jon Levine (piano); The Track (harmonium, tambourine, background vocals); Allan Molnar, Bob Leatherbarrow (vibraphone); Mike Fratantuno (upright bass); Russ Miller (drums, percussion); Joey Waronker (drums); Daniel Stone (congas, finger cymbals, shekere, caxixi, percussion); Gurpreet Chana (tabla); Lil' Jazz (programming, scratches); Track & Field (programming); Jarvis Church (background vocals).
Audio Mixer: Brad Haehnel.
Recording information: 4th Street Recording, Santa Monica, CA; AR Studios, Rio De Janeiro, Brazil; ist Congregational Church, The Pilgrim School, Los Ange; Left Brain Studos; Metalworks Studios, Mississauga, Ontario, Canada; The Gymnasium, Santa Monica, CA.
Introduction by: Field.
Photographer: Isabel Snyder.
Translator: Manuela Furtado.
Arranger: David Campbell .
Portugese-Canadian songstress Nelly Furtado's 2000 debut album, WHOA NELLY!, hit like a bolt out of the blue, its single "I'm Like a Bird" becoming a runaway smash. On the follow-up, FOLKLORE, she asserts her staying power straight out of the gate; the first song finds her repeatedly declaring that she's not just a "One-Trick Pony." Musical proof of that statement can be found throughout the album. Where WHOA NELLY! mixed pop, rock, and R&B production techniques, its successor goes further. The aforementioned opening track for example, features accompaniment by renowned new music ensemble the Kronos Quartet, while "Forca" finds Furtado's celebratory exultation framed by the banjo arpeggios of Bela Fleck, mixed with an electronic rhythm track and percolating tabla.
If that's not enough, even the king of Tropicalia, Caetano Veloso, drops in for a duet on the fanciful flamenco-meets-hip-hop reverie "Island of Wonder." The album closes on the quiet, introspective "Childhood Dreams," which slowly builds up moody, atmospheric layers of texture that neatly sign off on Furtado's bid for artistic longevity.