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At 36 years old, even while recording songs that had already been hits on classic albums, such as \"Bastidores\" (which revived Cauby Peixoto's career) and \"Morena de Angola\" (which became a hit with Clara Nunes), Chico Buarque proves himself an excellent interpreter of his own work.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eReleased in December 1980, when, amid bombs and attacks, Brazil was rehearsing its redemocratization, the album features an artist less targeted by censorship. In the irresistible dance hall samba \"Deixa a Menina,\" he has fun, fitting in a feminist response to Geraldo Pereira's syncopated classic \"Sem Compromisso\": \"Behind a sad man, there's always a happy woman\/ And behind that woman, a thousand men, always so kind.\"\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eThe Cuban-accented title track was composed for the play \"Geni\" by Marilena Ansaldi and reveals a character who, near death, makes a bittersweet assessment, but get attached to his love for life. \"Light, I want light,\" sings Chico, paraphrasing Goethe's famous last words (\"light, more light\"), amidst the sublime orchestration of Francis Hime. \u003cbr\u003e\"Vida\" consolidates the golden period of his synergy with his partner Francis. 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