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Rating:
It is always a great pleasure to hear what the eclectic Tom Zé has in store for us each time. And this time, from his top hat, comes a concept-album crafted as a light opera (it is not indicated if it will be presented as such in concert) about the challenging and winding condition of women and their emancipation throughout history (?!). Put like this, the endeavor might seem like a tough nut to crack, but our maestro's skill has allowed the rather delicate theme to be handled in a light and unpredictable manner.
This work, compared to previous ones, in my opinion, has an edge in terms of invective, originality in arrangement, and use of sounds and metrics, allowing it to be classified among the classics of Brazilian music of the decade. Here we are indeed very close to a masterpiece: the "Tom Zé" touch is felt in every track with faintly psychedelic, misaligned little guitars, organ sounds almost out of tune giving an estranged flavor and misalignment to the whole. The compositions are all of excellent level and Tom’s voice is more inspired than ever, accompanied by choruses and backing vocals of the caliber of Suzana Salles, Mônica Fuchs, Luciana Mello, Jair Oliveira, Patricia Marx, and Zélia Duncan.
The "album-operetta" (even the inside of the cover is designed to look like a real opera booklet) is divided into three parts. . . pardon, "acts": "Mulheres de apenas," "Latifundiarios do prazer," and "Amor ampliado para o teatro e para o pais," with truly authentic standout pieces like "Estupido Rapaz," brimming with ideas, breaks, and inventions that could fill at least 3/4 different songs, or "Duas Opiniões," built on a highly refined interplay between Suzana Salles, Zélia Duncan, and Tom Zé's recited interlude. Theater-songs with dialogues between two homosexuals, monologues by Zé himself at the UN addressing the segregation of women in general, all set against a backdrop of simulated orgasm (superbly performed by the splendid Luciana Paes de Barros in a "particular state of grace"). . .
A challenging album, also due to the delicacy of the themes addressed. An album "not for everyone" that will find a strong following among those who love Brazilian music "regardless" and those particularly concerned with "feminist" themes. Perhaps an album that might not interest the DeBaser crowd much but, in defiance of all prejudice, I chose to highlight it nonetheless. In the series: never take anything for granted!
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