This album had so much success that it yielded the show and album Circuladô Ao Vivo. It opens with "Fora Da Ordem," a funk track dealing with urban socioeconomic problems in Brazil. "Circuladô de Fulô," a baião with cello Indian-like scales, was built over the concrete poet Haroldo de Campos'... [+] Expand

This album had so much success that it yielded the show and album Circuladô Ao Vivo. It opens with "Fora Da Ordem," a funk track dealing with urban socioeconomic problems in Brazil. "Circuladô de Fulô," a baião with cello Indian-like scales, was built over the concrete poet Haroldo de Campos' poem of the same name (from the book Galáxias). "Itapuã" is a modern elegy for the beautiful beach, where Veloso is backed by a contemporary arrangement for string quartet and rhythmic section. "Boas Vindas," a rhythmic Bahian samba with special guest Gilberto Gil, highlights love for life. "Ela Ela," written with Arto Lindsay, brings modernist interventions of both. In "Santa Clara, Padroeira Da Televisão," Veloso tries to exorcise the bad name of television through a happy and rhythmic percussive groove. His usual renditions of forgotten values of the past are represented in this album by the beautiful "Baião da Penha" (Guio de Moraes/David Nasser). "Neide Candolina" draws from the example of a black woman who transcended poverty through hard work. "O Cu Do Mundo," with the participation of Gal Costa and Gilberto Gil, has with all its aggressiveness a criticism directed at violence. "A Terceira Margem Do Rio" is a beautiful composition by Milton Nascimento/Veloso. Under its universe of ecological images, glimpses of psychoanalytical and semantic impressions show. The bossa "Lindeza" closes the album with delicacy, with keyboardist Riyuichi Sakamoto as a guest accompanist. ~ Alvaro Neder, All Music Guide [-] Collapse

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