In the early ’90s, in the middle of his mandate as councilman for Salvador, Gil was again concerned with the Afro roots of Brazilian people, and this album strongly reflects that. “Madalena” brings social criticism through Afro soca grooves. “Parabolicamará” builds a discourse about communications over a beautiful ponto de macumba melody with enriched harmonies. “Um Sonho” is a doleful toada about the lack of understanding of the popular soul by politicians and technocrats. “Buda Nagô” is a tribute to Dorival Caymmi in Afro-Bahian style, which features the guest singer Nana Caymmi (Dorival’s daughter and Gil’s former wife). “Serafim” brings Afro sounds together with a beautiful flamenco-influenced violão solo by Marco Pereira, suggesting the Moorish/Iberian influences received by Brazilian music. “Quero Ser Teu Funk” is the apology of funk in the modern setting of Rio. “Yá Olokun” brings more Afro inspirations, and “O Fim da História” uses again the ponto de macumba style to defend the mistaken post-modernist theory of the end of history. The soulful traditional values of northeastern community are celebrated in the beautiful baião “De Onde Vem O Baião.” “Falso Toureiro” is a curious mix of northeastern forró and Afro-beat. “Sina” brings the beautiful reggae by Djavan in a subtler version which was included in the TV series Confissões De Uma Adolescente. – Alvaro Neder
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