Pre-production and Renato Rocha's arrival

The band went to Rio de Janeiro and was initially going to record only one single with two songs, but they struggled to find a producer. Marcelo Sussekind (Herva Doce) was the first to be invited (by Davidson), but he refused. They then approached Rick Ferreira, Raul Seixas' session guitarist, but artistic differences between him and the band soon brought an end to their relationship.^[8]

When they were close to giving up, they received some incentive from Mayrton Bahia, then repertoire manager of EMI-Odeon. He explained them how the music industry worked and how they should behave in the face of a difficulty.^[8]

Two months later, the band returned to Rio with good news: they would meet Seixas in person, since he was staying at the same hotel they were; they would record a full-length album instead of a single; and they had secured themselves a producer: José Emilio Rondeau.^[8] Rondeau himself requested EMI to be the album's producer, after learning the band had signed with the company.^[9] Their relationship with Rondeau also eroded quickly, however, specially on Bonfá's behalf. The producer once even got in his car, ready to take off and abandon the album, but Russo and Bonfá begged him to stay.^[10]

In the meantime, the band hired a fourth member: bassist Renato Rocha, who became a member after Russo (also the bassist until then) lost part of his hands movements by trying to slit his own wrists.^[9] He would be quite kept to himself initially, doing nothing beyond following Russo's inputs. He did contribute, however, to "A Dança"'s arrangement.^[11]

Recording

The band wanted to produce a "simple work, without too many musical adornments and lots of authenticity".^[12] Russo recorded his voice with two valve microphones; one in front of his mouth and the other above it, in order to capture reverberation. Bonfá's drums were recorded by microphones strategically positioned all over walls and windows of the studio. Rondeau worked to fulfill the band's will to create a sound that was neither too raw, nor too artificial.^[13]

By editing "Perdidos no Espaço" with a razor blade and duct tape, he started the trend of editing recording tapes with handicraft-like methods, in a pre-digital era.^[13]

The final result did not please Russo completely. He wanted the effort to sound as if recorded live, with all members playing together. However, only "Petróleo do Futuro" reached such standard.^[14]

"Geração Coca-Cola"

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"Geração Coca-Cola" was considered the most important song by the label's executives. However, Davidson only showed them the lyrics, fearing the "heavy" and "contesting" instrumentation could risk the contract. Actually, EMI-Odeon hoped for some folk; because of that, Davidson suggested the band to be inspired by Bob Seger and recorded the track on acoustic guitars. Many forms were attempted, including humorous versions and versions played as if for a party, but the one that made it to the album was "less raw, but completely loyal" to what the band wanted.^[14]

Sound

Two years after Legião Urbana's, Russo said:^[15]

Many people said our first album is pessimistic, political, heavy and negative. I don't think so, because it's just comments on life things. 'Será' is a hopeful song. 'Geração CocaCola' points the finger because it is ironic and 'Por Equanto' speaks of longing, of the love thing. 'O Reggae' has violent lyrics about the educational system and hypocrisy in general. Although the lyrics don't offer solutions and happy endings, I don't think they're pessimist. It's a reflection of what we live.

Legião Urbana 30 Anos (CD 2)