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This means, that while 11 out of 12 tracks are primarily in Portuguese, understanding the lyrics is irrelevant to being able to enjoy the album. Most of the lyrics only serve as something to give Costa something to sing along to. For this reason, the lyrics don’t really reflect Costa’s personal feelings or views. All 12 songs were written by other people, most of which were originally performed by other artists within the tropicália scene. Gal Costa is by no means a singer/songwriter. With a style that flaunts Portuguese, African, and American styles of music, Gal Costa’s debut (named after herself,) is a gorgeous, and daring adventure of a record. In the 1960s, American influence, this time in the form of psychedelic pop, combined with bossa nova to create tropicália. In the 1950s, the influence of American jazz eventually reached Brazil and combined with samba to create bossa nova. Taking influence from both Portuguese and various African styles of music, samba is a blend of most of the cultures that inhabited Brazil in the early 1900s. No genre is closer to heart of Brazil’s culture than samba. Softly glowing chamber pop arrangements like "Lost in Paradise" melt into unchained grooves and buzzing fuzz guitar bug-outs like the Gilberto Gil-aided "Namorinho de Portão" and the child-like singsonginess of "Divino Maravilhoso." The echo-heavy productions, patient strings, and gorgeously floating melody of "Baby" drive the album to its brilliant summit, offering a perfect articulation of the pensive, sexy, strange, and above all else, sunny blur that Tropicalismo was, even in its very Fred Thomas [.~ The album begins with a flutter of psychedelic echo effects, dissolving into gloriously lush string arrangements and lighthearted organ on "Nao Identificado," a brilliant opening track that introduces Costa's velvety voice, gently at first, as if to ease the listener into the new sounds about to be revealed. This wild new hybrid of Brazilian pop and far-reaching outside influences resulted in something instantly miles away from everything that came before it, and Costa's self-titled Tropicalismo debut is no exception. The compilation dove headfirst into avant-garde experimentalism, embracing the psychedelic tendencies happening in American underground circles, and the politically charged energy of radical dissent to Brazil's ongoing military dictatorship. Mere months after the release of this relatively safe debut, however, Costa and Veloso found themselves alongside Os Mutantes, Tom Zé, and Gilberto Gil, recording contributions to Tropicália: Ou Panis et Circencis, the unofficial manifesto of the Tropicalismo movement. Domingo, also a debut for young Brazilian songwriter Caetano Veloso, featured a set of airy, somewhat standard bossa nova tunes, sung ably by Costa. A lot changed between Gal Costa's pleasantly straightforward 1967 debut Domingo and her eponymous follow-up two years later.