Janu, delving into his Latin roots and embracing the dramatic exaggeration of the cheesy genre, releases his latest work, “10 Super Successes – Vol. 1”. This album not only celebrates the clichés that define the style, but also redefines cheesy as a rich, emotional expression of popular music. With a brilliant fusion of bachata, bolero, tango and cumbia, the singer challenges conventional pop standards by exploring the musical and emotional potential of the genre.
In “10 Super Sucessos – Vol. 1”, Janu collaborates with names like Gonzalo Vieira, Llari Gleiss and Vitória Rodrigues, adding deep layers to tracks like “Me Ignora”, “Eu Ñ Quero Reggae com Vc” and “Brega Bem Vadio” . For Janu, the album represents not only a personal evolution since her previous work, “Miolo do Oxente”, but also an ongoing exploration into what it means to be pop and popular in contemporary music.
Recorded in multiple cities, including locations in Brazil, Argentina and Germany, “10 Super Sucessos – Vol. 1” was produced with the collaboration of talented musicians such as Paulo Franco, Tiago Luz, and Noaldo do Acordeon. With mastering by Júnior Evangelista and cover design by Riann, the album promises to be a unique sonic experience that challenges and celebrates the traditions of Latin American and Northeastern music.
What motivated Janu to explore his Latin roots and the dramatic exaggeration of cheesy music in “10 Super Sucessos – Vol. 1”?
Ah, it was the pure need to live and exaggerately describe each pain and tear. I started heavy, right? haha. The Latin roots and the exaggeration of brega are like that good cachaça: fiery and addictive. Traveling through the passion and drama in the songs was a calling that was impossible to ignore. And let’s be honest, who doesn’t love a good dramatic exaggeration?
I wanted to unite all of this to condense it into a sound that brings the “Brega” style closer to Latin music – which ends up being a redundancy, as there is a lot of music from our brothers and our Amazon region in Brega. Because, after all, when we love or suffer, we’re all a little corny, aren’t we?
How does Janu define the concept of brega and how does he seek to demystify the traditional perception of the genre?
Cheesy is that shameless thing, which is not afraid to be sincere and dramatic to the bone. While at some point in Brazilian popular music the sophisticated that borrowed from popular culture seemed cool, the cheesy has already arrived tearing hearts. And because he arrived so horny, at the beginning, he was assimilated into funhouses – in the northeast they were called “toca”, “cabaret” or even “tacky”. People spent a long time thinking (and there are still people who think) that cheesy is second-class, but I see genuine strength in it. My job is to continue showing that brega is rich and versatile, and that it can, indeed, be respected – be a real style of Brazilian popular music. So, yes, demystifying this prejudiced view is like taking off a mask – and the cheesy, my friend, is the naked truth.
What were the main musical influences that shaped the sound of this album?
This album is like a musical salad, with pizza pie and sugarcane juice at the end of the fair: it has a little bit of everything and a little more. Trying to speak in ways, mainly Latin influences, I feel that bachata and bolero bring that pleasant suffering, while tango gives a touch of class and drama. Cumbia enters with its engaging and danceable beat. And, of course, there is the piseiro and the viola style that reminds me of my northeastern roots. All this mixed by someone who, between reginaldos and lavoes, enjoys strokezinhos, because we also like a modern sound, you know?
How did the collaborations with Gonzalo Vieira, Llari Gleiss and Vitória Rodrigues contribute to the depth of the tracks “Me Ignora”, “Eu Ñ Quero Reggae com Vc” and “Brega Bem Vadio”?
These collaborations were like adding pepper to acarajé – I’m from Alagoas, with Bahian descent, so the pun is worth it. Argentinian Gonzalo Vieira brought a melody that makes any heart break, while Llari Gleiss, with her powerful voice, made “Eu Ñ Quero Reggae com Vc” become a true Mexican soap opera in the form of a song. Vitória Rodrigues arrived with all her energy and gave a touch of trickery to “Brega Bem Vadio” – which is the only song that is a partnership on the album. Each of these artists added a layer of depth and emotion that took the songs to another level. The songs also relate to what you sing, because:
Llari Gleis sings “Eu ñ quer reggae com vc”, a song I wrote a few years ago at her request for a project. The song flowed naturally and quickly. Llari even recorded a version that mixes reggae with French lambada and even started filming a music video, but the project remained unfinished and the release was postponed – we are actually taking advantage of the music video and recording more for this song now. On my album, this song resurfaced in a new version that fit perfectly into the overall concept.
Gonzalo Viera is a singer from Buenos Aires, Argentina, who I met while traveling. I went to Buenos Aires and met friends from Alagoas, Fernanda Simões, LoreB and Lia, who were there at the same time, by coincidence. During a night at El Boliche de Roberto, Gonzalo sang impressively, without a microphone, accompanied by two talented guitarists. The atmosphere and traditional Argentine music inspired me deeply, especially when I saw brega elements in the guitar strums. This experience led me to compose “Me Ignora”, which I finished in Alagoas. I contacted Gonzalo on Instagram and he recorded the voice in a studio in Argentina, completing this beautiful collaboration.
Vitória Rodrigues is a multifaceted artist – actress, poet, singer and songwriter. This is the only partnership on the album, which, for the most part, is quite personal. Vitória and I had already collaborated on shows in Alagoas and Rio de Janeiro. Despite few specific conversations about the song itself, during the production of the album, one day I started humming this song and realized how perfectly it fit into the context. I worked on the song, with most of the lyrics written by Vitória, and I recorded everything in one night. The collaboration flowed spontaneously, reflecting the synergy between us.
Can you tell us more about the fusion of different musical styles present on the album, such as bachata, bolero, tango, cumbia and elements of north-northeast music?
On the album “10 Super Sucessos,” the fusion of different musical styles is one of the most striking and exciting features. The idea was to really mix the influences that have always touched me with the roots of northeastern music. The sensuality and cadence of Latin music have always fascinated me. On the album, it appears mixed with elements of forró and arrocha. The mix results in a sound that maintains romanticism and melody, but with that bold and danceable touch typical of the Northeast. It’s as if the Caribbean passion met the energy of our forró. I see in the bolero the brega roots sung by the popular singer Zezo Potiguar, for example, a rhythm known for its ballads full of emotion and drama, something that fits perfectly with the brega aesthetic – it’s already brega. Tango, with its intensity and sophistication, was a fascinating challenge to integrate. I wanted to bring this passion and complexity to our northeastern sound – and going to places where this music flows in a beautiful way helped a lot. In 23 I took a trip through Latin America and in places that greatly shaped my feeling for the musicality of the thing.
Music from the North and Northeast of Brazil is the stitching of the album. Rhythms such as piseiro, lambada, guitarada and bregafunk are mixed with these Latin American influences, creating a sound bridge between our traditions and those of other countries – and this small ambition of bringing Brazil ever closer to the “mercosur” – where we have a silly barrier created by language. But the customs are the same. The memes are very similar, man! This mix not only enriches the music, but also celebrates the cultural plurality that defines us. Each track on “10 Super Successes” is a journey through these styles, which looks at our roots, but also opens up to the world, celebrating music in all its diversity.
What is the central message of “10 Super Successes – Vol. 1” and how does it connect with Janu’s personal and artistic trajectory?
The central message of “10 Super Successes – Vol. 1” is a celebration of cultural roots and diversity, while exploring the universality of human emotions. This album is a reflection of my personal and artistic journey, a trajectory marked by the constant search to unite the traditional and the modern, the regional and the global. This album is a synthesis of these influences, showing how music can transcend borders and create new forms of expression.
“10 Super Successes – Vol. 1” is also a very personal album. Each song carries a part of my story, whether through the lyrics, melodies or collaborations with other artists. These collaborations reflect the importance of community and cultural exchange in my career. It is an invitation for everyone to feel part of this journey, recognizing the richness of our culture and the beauty of the connections we make along the way.
In short, “10 Super Successes – Vol. 1” is a milestone in my career, symbolizing both a reflection on what brought me here and a celebration of the many influences that have shaped my music. It is an album that speaks lyrically about suffering, relationships, passion and love. Aesthetically, it speaks of belonging and, above all, of music’s ability to unite people and cultures.
What was the recording process like for the album in several cities, including Arapiraca, Maceió, São Paulo, Rio de Janeiro, Buenos Aires and Grötzingen?
Recording “10 Super Sucessos – Vol. 1” was an enriching experience that allowed me to incorporate a wide range of musical influences into the album. This process was deeply marked by the flexibility that modern technology provides and by the trips I took advantage of to produce it.
Working with digital files allowed the freedom to record in different locations, adapting each track to the environment and influences present at each moment. Each recording session brought new inspirations and contributed to the album reflecting a mass mix.
“10 Super Successes – Vol. 1” is a culmination of this journey. Each track on the album is a piece of a larger mosaic, representing not only different musical styles, but also the stories and emotions that these styles carry. Recording this album was a process of discovery and celebration, resulting in work that is both personal and universal. “10 Super Successes – Vol. 1” is an ode to Latin popular music.
Who were the main musicians and collaborators involved in the production of the album and how did they contribute to the final sound?
In addition to Gonzalo Vieira, Llari Gleiss and Vitória Rodrigues, I had Paulo Franco as my right-hand man in production and mixing. His technical expertise and musical sensitivity were crucial in giving cohesion to the project. Other musicians and artists also brought their skills and influences, such as Tiago Luz on keyboards, Noaldo from Acordeon, Fernando Melo on guitars, Rodrigo Cruz on drums, Ricardo Evangelista on percussions, Marciel Esley on trumpets and sax, some backing vocals from Vanessa Fernandes ( I’m doing a Cumbia project too). Júnior Evangelista mastered it, I recorded voices with Joaquim Prado. In short, a great crowd, with each one adding a unique layer to the final sound. It was true teamwork, where everyone left their mark.
How does Janu see the evolution of your musical style since your previous album, “Miolo do Oxente”?
Since “Miolo do Oxente,” I feel that my musical evolution has been like that of a good wine, or rather, a good refined cachaça – I allowed myself to suffer a few more times, lol. “10 Super Sucessos – Vol. 1” is a fuller and more nuanced album, reflecting artistic maturity. He is more direct and sincere, with lyrics that get straight to the point, maintaining the dramatic exaggeration typical of brega.
While “Miolo do Oxente” explored my roots in a more experimental way, mixing different northeastern styles and rhythms with a modern approach, this new album has a more focused approach. The evolution is reflected in the clarity of the compositions and the intensity of the performances presented. It’s a natural progression, where I feel more confident in talking more about what I experience in such a direct and – once again – exaggerated way, haha.
Can you give us an overview of the narrative and themes explored in each of the album’s tracks?
The album “10 Super Sucessos – Vol. 1” is a rich tapestry of stories and emotions (I’m really cheesy in this interview, I loved it, it must have been the fireball), exploring different aspects of love and relationships through a fusion of styles. Each track offers its perspective, connecting with the roots of Latin popular music. Encangado opens the album with an intense declaration of desire and physical connection, creating an atmosphere of romance, inspired by classics of Brazilian popular music, such as Beto Barbosa and Amado Batista. Next, “Coruripe” celebrates the freedom and naivety of young love, set on the beautiful beaches of Alagoas. “I don’t want reggae with you” introduces reggaetown with a touch of Latinity, where the lyrical self decides to move away from a problematic relationship – which isn’t it, right.
“I want to be the reason for your life”, with special appearances by Noaldo and Fernando Melo on guitar, mixes viola and bachata fashion to talk about the desire to be essential to the person you love, even at the wrong time. “Me Ignora”, with an Argentine collaboration and sung also in Spanish, combines tango, bolero and brega, exploring frustration and the desire for attention in a troubled and naughty relationship, right? Hang me, guys, whatever.
“Am I a lover or am I an ex?” and “Jasmin” bring cheesy rock to the surface, questioning roles in relationships and reflecting on romantic illusions – with melodies inspired by José Augusto, Reginaldo Rossi and Raul Seixas. Brega Bem Vadio addresses the trafficking indifference of a person who views and does not respond. That’s a crime nowadays. Mainly for Babies like us. “Desert Flower” adopts an indie style to talk about the need for change and, of course, trying in love.
The album closes with “Aquela Coisa Massa”, a mix of piseiro and bolero and a beautiful string arrangement by maestro Almir Medeiros, where the lyrical self reflects and questions whether it can love again with the same intensity. Of course. But that day, it hurt, you see?
In short, “10 Super Sucessos – Vol. 1” is an album that celebrates dramatic and emotional exaggeration, combining traditional and modern elements to create a captivating sound, reflecting Janu’s artistic evolution (me speaking in the third person, Deadpool himself ) and the depth of personal experiences.
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