After the hard years dominated by social convulsion in Brazil, in which it was demanded that every artist explicate his political views, the end of dictatorship brought an uncommitted inebriating feel of liberty that was translated into music by
Caetano Veloso's "Odara" (where all the composer wanted to do was to dance) to the horror of political activists. This is the
Gilberto Gil version of those days. One of his most danceable albums, most songs make it clear that no further considerations are taken into account, just plain Saturday night entertainment. Songs like "Luar," "Palco," "Sonho Molhado" (whose biggest virtue is the use of accordion and other northeastern touches), "Lente do Amor" (with a subtle reference to sexual freedom, which also coincides with Fernando Gabeira's loincloth, from around the same period), "Morena," "Cara Cara" (a frevo by
Caetano Veloso interpreted as dance music), the beautiful "Cores Vivas," and "Axé Babá" (with its heavy Afro-Bahian percussion) all have in common the desire for pleasure and the avoidance of deeper questions. The last two songs break this uniformity, though: "Flora" is a delicate bossa with a beautiful melody in
Gil's style, in which a melodic sequence is transposed in ascendant manner, and "Se Eu Quiser Falar com Deus" ("If I Want to Talk with God"), a deeply heartfelt slow song where
Gil dialogues with his own relationship with religion. The album had several hits ("Palco," "Lente do Amor" -- which was included in a TV series -- "Axé Babá," and "Se Eu Quiser Falar com Deus"), representing a document of a period, and having at least two melodically/lyrically highly expressive songs. [WEA's 2004 edition included bonus material.] ~ Alvaro Neder