Sonhos e memorias 1941-1972

"For Sonhos e Memórias: 1941-1972, Carlos loosened his grip on the Tropicalia influence that framed his previous two records; he made room for new sources of inspiration. His experimentation with the lineage of Brazilian rhythms and harmonies, alongside influences from the emerging West Coast singer/songwriter scene, Harry Nilsson, abstract soul, folk, jazz, and rock, all formed part of MPB's next step during this era (its sibling recordings are Edu Lobo's 1971 date Cantiga de Longe, Caetano Veloso's Transa, and Milton Nascimento's and Lo Borges' Clube Da Esquina, both of which are also from 1972). This album was not a commercial success at the time, but has since become a classic, and deservedly so".

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"Sonhos E Memórias 1941-1972 is the most focused and measured of the three [Light in the Attic] albums and serves as a kind of personal diary (Carlos was born in '41). There are photos of Jimi Hendrix, Mick Jagger, John Lennon, and Andy Warhol on the cover, and (perhaps more importantly) a team shot of Rio's Vasco da Gama soccer club. In "Bom Dia, Rock'N'Roll," Carlos references Elvis, the Beatles, Chuck Berry, and Carole King and James Taylor. The music is anchored by a rhythm section that would become the jazz fusion trio Azymuth, who gained momentum later in the '70s and into the smoother jazz '80s. With exceptions like "É Proibido Fumar" and the second half of "Sábado Morto," which takes an unexpected vocal turn, Sonhos E Memórias 1941-1972 feels less chance-y than the previous two albums".

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