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Titãs 84-94, Vol. 1

Titãs

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Opinião do álbum

When WEA commemorated Titãs' tenth anniversary of recording in 1994 by compiling their greatest hits into not one, but two best-of collections, the stalwarts of '80s Brazilian rock were still going strong. After all, despite the sudden departure of key songwriter and lyricist Arnaldo Antunes two years earlier and the mostly mixed reviews accorded their first album without him, 1993's Jack Endino-produced Titanomaquia, Titãs were still a seven-headed beast; and since most of these "heads" were excellent, proven songwriters in their own right, the band appeared set for continued success in the next decade. That fate ultimately conspired to deny this smooth sort of longevity arguably had less to do with the issues above than unforeseen internal and external forces (Brazil's changing musical landscape, further dissensions, distracting side projects, and the tragedy of guitarist Marcelo Fromer being run over and killed by a motorcycle), but in any case, this two-pronged best-of set wound up becoming more definitive than originally intended. With 41 tracks chosen overall (and 21 here), the second, Titãs 84 94 Dois, focused on the band's more aggressive and provocative rock-oriented material — which still amounted to a remarkably eclectic blend of styles, it must be said. First-album offering "Babi Índio" is relatively lightweight (and tiresomely repetitive), but second-album nuggets like "Televisão," "Autonomia," and a live "Massacre" show the first signs of imminent danger with their lyrics' tentative but promising rebelliousness. These mere hints became explosive threats with the band's 1986 magnum opus, Cabeça Dinossauro, whose seven sterling contributions to this collection (the oppressive title track, the religion-bashing "Igreja," the authority-baiting "Polícia," the joyfully violent "Porrada," the disgustedly resigned "Tô Cansado," the famously radio-banned "Bichos Escrotos," plus a live AA UU") truly define its darker heart and soul. By comparison, the like-minded exclamations from the following year's Jesus Não Tem Dentes (its insistent but confusing title track, the excellently bristling "Lugar Nenhum," the poignant but surprisingly tame "Desordem," and the name-checking heavy metal of "Nome aos Bois") possess their occasional brilliant moments, but are nowhere near as incendiary. Tellingly, only one song from 1989's Ô Blésq Blom (possibly the band's most accessible and popular ever), the acoustic but defiant "32 Dentes," even makes it into this set, whereas six were chosen for its chart-minded counterpart. But Titãs' next two, far more aggressive albums are represented in force: first, from 1991's back-to-basics Tudo ao Mesmo Tempo Agora, there's the functional "Saia de Mim" and the irritatingly one-dimensional "Obrigado"; and second, from the aforementioned exercise in Brazilian grunge, Titanomaquia, there's the stunning "Será Que É Disso Que Eu Necessito?," the blasphemous "Nem Sempre se Pode Ser Deus," and the inscrutable "A Verdadeira Mary Poppins" bringing this collection to a close. In summation, Titãs 84 94 Dois contains an outstanding selection of songs, but it's almost impossible to envision its existence without its slightly softer (and perhaps slightly inferior) companion piece, making a good argument for simply taking the plunge and investing in them both.

Titãs 84-94, Vol. 1, Titãs
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