Gilberto Gil - Gilberto Gil (tropicalist album with Os Mutantes) (1968) {Universal Remaster 1988}
Tracklist
[*] 01 Frevo Rasgado
[*] 02 Coragem Pra Suportar
[*] 03 Domingou
[*] 04 Marginália II
[*] 05 Pega a Voga, Cabeludo
[*] 06 Ele Falava Nisso Todo Dia
[*] 07 Procissao
[*] 08 Luzia Luluza
[*] 09 Pé da Roseria
[*] 10 Domingo No Parque
Bonus tracks
[*] 11 Barca Grande
[*] 12 A Coisa Mais Linda Que Existe
[*] 13 Questao de Ordem - Gilberto Gil, Beat Boys
[*] 14 A Luta Contra a Lata (Ou a Falencia Do Café)
Gilberto Gil: I've always been naked. In the Academy of Accordion Regina playing La Cumparsita, I was naked. I only knew that I was naked, and next door was the dressing-room full of colored clothes, astronaut clothes, pirate, guerrilla. And I, poor of my nakedness, wanted to wear 'em all. Dress them all, not to betray my nakedness. But they like uniforms, and would even admit my nakedness, as long as that later they could flay and extend my skin in the middle of the square as if it was a flag, in an umbrella. But there's no umbrellas against Love, the Beatles, the Mutantes. There's no umbrellas against Caetano Veloso, Guilherme Araujo, Rogerio Duarte, Rogerio Duprat, Dirceu, Torquato Neto, Gilberto Gil, against the cancer, the nakedness. I've always been naked. My naked X-Rays trespassed the striped shirts. "This life is not easy and I ask: with what clothes I go to the samba you invited me?" Which fantasy they'll ask me to wear for them to tolerate my naked body? "I'll go to walk until a colorful blow up". Black is the addition of all the colors. Nakedness is the addition of all the clothes.
[quote=John Bush, All Music Guide]Gilberto Gil's second album is packed with some of the best songs of his career -- jubilant pop extravaganzas like "Domingo No Parque", "Pega a Voga, Cabeludo", and "Frevo Rasgado" that were equally inspired by the irresistible, brassy bombast of Carnaval and intelligent rock & roll from America and Britain. Even more than the other Tropicalistas, though, Gil blends his rock and native influences seamlessly, resulting in songs like "Ele Falava Nisso Todo Dia", which chart an intriguing fusion of Brazilian and British Invasion (before he breaks into Portuguese for the first verse, the intro sounds exactly like a few early Rolling Stones productions). Gil's occasional backing band, the teenage Tropicalia breakouts known as Os Mutantes, join in on the feel-good Brazilian pop anthem "Domingou". Enjoyable and never as experimental as his work would soon become, Gilberto Gil 1968 is one of the best Tropicalia albums ever released.
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