Di Melo's debut album was originally released in 1975 and it's a fusion of genuinely Brazilian rhythms with Funk, Soul and the right amount of psychedelia. Di Melo is one of the main Brazilian Soul Music artists, seen by many as talented and musically creative as his peers Jorge Ben and Tim Maia. In this 2021 edition the album contains the original 1975 insert with lyrics plus photos from personal family archives and for the first time the full credits with all the name of every single musician who took part, among them, Hermeto Pascoal. One may say that in the 70's, in the Brazilian northeastern music scene, specifically in Recife/Pernambuco it was a magical time. The fusion of local original Brazilian genres such as Samba and Bai?o with North American Soul Music, Funk and British Psychedelia resulted in one of the richest cultural scenes worldwide. And it is exactly in such context that Di Melo was in when he wrote his acclaimed debut album. Roberto de Melo was known as Bob Di Melo amongst freaks and weirdos in the art and music scene when Jorge Ben introduced him to important executives of the music business in S?o Paulo, where most record labels were. His strong personality is best seen in his music and also helps launch his 1975 first album through a major company with amazing musicians such as Hermeto Pascoal. "Kilari?", the opening song of the album, became a big hit all over the country. Other songs such as "A vida em seus m?todos diz calma" and "Pernalonga" were also a hit on the radio and clubs. Di Melo, the album, became then a success by the critic and public mainly for going through several music genres not letting go of the deep Brazilian roots. The young man of 25 coming from the outskirts of Pernambuco was at the peak of his success. Psychedelic drugs and cinema references were blowing his mind away when he realised that he was being conned by music industry rats. His songs were at the hit parade on the radio and his music had been recorded by some of the biggest names in Brazil, but what he was being paid for made no justice to that. People say that after watching the movie "Blow Up" by Antonioni, Di Melo himself beat the s*** out of the publisher who paid him less than 10 dollars for his rights for the past three months. Such events, ran by the same strong personality that initially opened doors, made Di Melo ostracized by the ungrateful Brazilian music industry. Perhaps that's what it took to make such a mythical album.