Released in the year that Gil commemorated 20 years of career, this release has several rhythms with predominant Afro-Brazilian beats. The lyrics are again combative. After a vignette, the album opens with social criticism in the reggae "Barracos," the hit of the record. "Roque Santeiro, O Rock" is a rock about the urge of understanding the new generations and their iconoclastic preferences. "S...

Released in the year that Gil commemorated 20 years of career, this release has several rhythms with predominant Afro-Brazilian beats. The lyrics are again combative. After a vignette, the album opens with social criticism in the reggae "Barracos," the hit of the record. "Roque Santeiro, O Rock" is a rock about the urge of understanding the new generations and their iconoclastic preferences. "Seu Olhar" talks about love with a pop/blues beat. "Febril" has bossa nova in another song dedicated to social concerns. Pop and Afro-Bahian sounds propel "Touche Pas Á Mon Pote," where Gil highlights the importance of France through lyrics in French. The funk "Logos Versus Logo" criticizes the substitution of the solid values based in posterity by the immediatism. "Oração Pela Libertação Da África Do Sul" is anti-apartheid in a South Africa Afro-Bahian groove. "Clichê Do Clichê" is a beautiful melody with intelligent lyrics about love, but it seems misplaced on the album. African Soukous is the vehicle of the beautiful and bucolic "Casinha Feliz," which makes reference to Guimarães Rosa, the great writer (from whose works was taken the "Dia Dorim" of the title). Jorge Mautner's light samba "Duas Luas" closes the album with a message of hope.