by Jon PruettIt is easy to see why Gal Costa is so well-received by the Brazilian masses when she has such delightful recordings as these under her belt. Added period charm lies in the numerous psych effects and fuzz guitars that pepper this release. Costa's young vocal work is so full and inviting -- it can be a bit of a surprise when she rears back and turns out a lackadaisical growl. The album begins with a Caetano Veloso song ("Nao Identificado") that starts with a whirr of psychedelic effects before launching into a beautifully arranged mid-paced ballad. The strings flutter and aid Costa's already warm and sensuous vocal work. Certain tracks, like "Sebastiana," sound like Costa recorded the vocals in the bottom of the well, but this is OK. This track also features Gilberto Gil at the end, engaging Costa in what sounds like some sort of heated, happy exchange. The centerpiece of the album is most certainly "Baby," written by Veloso (who also jumps in on the vocal duties). Costa's echoing vocal pours out the melody carefully while the strings glide and swirl along. This song was one of the few chosen for the influential Tropicalia: Panis et Circenses album. Equally marked by fuzz guitar freakouts as it is with dreamy bossa nova, this record is one of the jewels in the crown of Tropicalia, as well as pop music in general.