Chico Buarque - Malandro (1985)

Obviously, the aesthetic here is markedly theatrical, maybe even heavy-handedly so, but it does fit with the subject matter and the (superimposed) times - adapting the spirit of The Beggar's Opera and Die Dreigroschenoper [The Threepenny Opera] to diegetic 1940's Brazil, as a way of indirectly speaking about 1970's trying-to-shake-its-military-rule Brazil (1980's by the time this, one of (too) many by-products of the original 1978 production of Buarque's musical play Ópera do Malandro, came out). 

All in all, not exactly time(s) for great subtleties.

Taken in context, though, it does have a lot of fun to offer (especially if you can follow the lyrics, in what is one of the rare instances of humour indeed belonging in music) with actual solid songwriting under all the satire (the galvanizing "Rio 2" is almost like a follow-up on the master-samba Vai passar).

Add to that the generally on point vocal casting - some obvious (like Ney Matogrosso on the flamboyant "As meninas de Copacabana"), some truly inspired (like Paulinho da Viola's inimitable lilt on the gorgeous "Aquela Mulher", delivering the most impeccably piercing 'she's with me now' speech, simultaneously sardonic and lyrical in one flawless melodic swoop; a gentlemanly coating that does to primal macho sexual competition what the rules of the Marquis of Queensbury did to punching people in the face) - and you have a musical theatre winner.

Even missing the most celebrated number associated with this production, Geni e o zepelim, overall I prefer this release to the previous and much more famed iteration, Ópera do malandro (not only does this one have more filler, but I prefer the later versions of the tracks that appear on both albums, and the best tracks on Malandro are exclusive to it, while Buarque came to record himself better versions of the other two absolute classics he penned for Ópera do malandro, "O Meu Amor" and "Terezinha"). Just skip the obnoxious "Sentimental", which called on Zizi Possi to do her best (as in worst) nymphette impersonation, and it's all pretty good, with some real gems in the mix.

As for any assumptions that this is dated and the musical form is obsolete, considering all the historical reality checks that they keep getting, I find it hardly surprising that what served a purpose in XVIII century England, pre-Second World War Germany, or 1970's Brazil (just to follow this thread) would continue to see its social and aesthetic pertinence reiterated, exactly in the image of the recurrent supply of times and places of dire need we keep making a point of providing for it; so, until Kant's "perpetual peace" takes hold (what could be taking it so long?), in the very least let us keep getting some good songs out of our perpetual shitshow.