Rodrigo_Amaro

Sempre Livre singer Dulce Quental and her Brazilian version of Michael Jackson's "Human Nature" was a remarkable hit for the lady, one of the first from her solo career. Must admit that for a long time it was one of the most annoying tunes I ever heard, I simply couldn't stand the funny synth and the guitar bits. It's like I couldn't take it seriously - and as a matter of fact never liked MJ version either. In between those versions came the jazz/pop one delivered by the master Miles Davis and that's when it hit me for good. Without the nonsensical vocal performance one can feel how such an interesting melody and composition (as written by John Bettis and TOTO's Steve Porcaro) it actually is. Or maybe it's the "Why? Why?" turned into "Uai, Uai" that it's actually annoying. Pointless sharing of mine but needed. Only after Miles that all versions conquered me.

This clip for the program "Fantástico" captures the essence of the song - at least as how Jorge and Waly Salomão wrote it - of the narrator/singer feeling special about the rhythm of the night, the neon lights from the huge billboards and places that takes her into a lovely powerful moment. It's filmed in the Liberdade area, a predominantly Japanese neighborhood in São Paulo, but you can only notice it due to the characteristic street lights from the place in downtown as no one else is shown except for Dulce. It really fits with the ambiance of everything, and the song is good actually, Dulce's voice was one of the coolest and smoothest of the period, sexy and suave. 7/10.

The second single and music video released from Capital Inicial's album "Rosas e Vinho Tinto" goes to show through its images the great return of the band as a huge public attraction. Their new rise after the unplugged and this album proved that the 1980's rock band still had something strong going on after a lost decade in the 1990's, and this video proves it quite well how involved was the crowd attending their shows. Hardly ever a new idea when it comes to music videos as a live performance from a hit single but it marked as first of its kind for the group - unless if there was some other video done that failed to become memorable.

Lyrically "Quatro Vezes Você" presents peculiar situations revolving young people and the possibilities of what one would do without anyone to judge and condemn - it's all about liberal ideas against a sense of conservatism and rigid moral. Kind of weird to see 40-something dudes talking about that but the band end up attracting younger audiences back in the 2000's (myself included) along with their 80's fans. It's a cool song, heavily played then but somewhat forgotten now if compared to their other classic hits. The video doesn't go with anything memorable, except for the noisy crowd cheering and singing, or the guitar solo duo act between singer Dinho Ouro Preto and newcomer Yves Passarell. It's all fun. 7/10.

"O Poeta Está Vivo" is certainly one of Barão Vermelho most incredible songs of all time. There's light and darkness in this poetic and beautiful tribute to the group's former lead singer Cazuza, who passed in 1990 due to complications of AIDS, and the song was dedicated to him. The single got a weird looking video that does not match with anything the song has to say.

It feels like the vision of an apocalyptical world as Barão delivers their performance inside a dark set or some abandoned factory, then we have rushed images of a building top and the city below, people on the streets and two kids going to a building rooftop.

Sad to say it but it's true that everything is ugly, cheap looking and one can form a good view of its images and moments. The positive note and the praise it gets from me comes from the beautiful song, its lyrics, the guitar solo and Frejat amazing voice. Those are first rate and makes the watching experience something good. 6/10.