Gilberto Gil’s first album, Louvao, was released in 1967 by Philips Records. On the eve of the rise of Tropicalismo and electric guitars, the Bahian artist’s guitar is the star of the arrangements orchestrated by Carlos Monteiro e Souza, Dori Caymmi, and Leonardo Bruno. Social, political, and religious issues are transformed into sambas, bossa nova, and classic carnival song, as well as Northeastern rhythms. Gil calls for the people’s attention on the title track, “Louvao,” a formidable collaboration with Torquato Neto, also co-author of “A rua,” a precocious and bittersweet nostalgic baio. His passion for Bahia spreads like the waters in the lyrical “Beira-mar,” composed with Caetano Veloso. Equally poetic is Gil’s vision of the Soviet spacecraft’s moon landing in “Lunik 9”: “Maybe there’s no more moonlight to illuminate my song,” he imagines. The young people are called to see truth prevail in a carnival filled with political significance in “Ensaio Geral.” Ancient festivities are recalled in “O Rancho da Rosa Vermelha,” written with Torquato and Geraldo Vandr, while samba schools are mentioned in “Mancada,” a great samba full of bossa nova. Written with Joo Augusto, the brilliant “Roda” stands out for its rhythmic inventiveness and critical lyrics. A celebration of northeastern resistance, “Viramundo” is a collaboration with Capinan, as is the nostalgic “gua dos Meninos.” The simple “Maria (Me Perdoa, Maria)” is the album’s romantic moment. Sertanejo faith and its social contours are the theme of “Procisso,” one of Gilberto Gil’s most beautiful and important songs, which closes the album.