Co-author of great hits like "Tropicana," "Poeira Nos Olhos," "Tirana," "Trem Bom," "Vou Pra Campinas," and "Pelas Ruas Que Andei," recorded by major artists like
Alceu Valença,
Elba Ramalho,
Ney Matogrosso,
Tom Zé,
Vânia Abreu,
Vânia Bastos, and
Mônica Salmaso,
Vicente Barreto remains nevertheless an unknown name for the great public. This album, the eighth in his career, has his exciting swing translated in the peculiar and highly personal right-hand work at the violão and his serious lyrics. The concern in dancing expressed in the title is cemented through the collaboration of Jairzinho Oliveira and
Wilson Simoninha, two talented members of the soul community in Brazil. The electronics here are discrete and don't prevent the music from breathing, representing a necessary passport to today's releasing of new artists. The core of
Barreto's music is northeast, expressed with lyricism and respect for the enchanting and swinging tradition of that region. "Diolinda" brings the exciting grooves of maracatu in a live contrast with the sad melody in a typically northeastern modal scale; "Menino Pandeiro" continues the northeastern saga, with the zabumba substituted by the kick drum; the berimbau opens "A Cara Do Brasil" with its beautiful melody and intelligent lyrics by
Celso Viáfora; "Suingando O Coração" (with J. C. Costa Netto) is another wonderful example of beautiful melody, thoughtful lyrics, and exciting rhythm; "Talvez Você" (with Chico César) brings the reggae sonorities; "Doente de Paixão" brings again the northeastern vigorous swing, being a good opportunity for catching his uncommon violão beat; "O Craque" is a northeastern xote with rock guitars; "Dona Dadá" is an hybrid of reggae with northeastern feel; but the best track is the instrumental "Campo Dos Meus Sonhos," a violão solo with Iberian influences. The release establishes (again)
Vicente Barreto as a mature and creative artist, deserving more attention from the audiences and media. ~ Alvaro Neder