Veloso and Gilberto Gil. The following year on his next album, Negro É Lindo (), Ben delved further into the black identity politics of "Charles Jr." while retaining the melancholic musical quality of the previous record. Fôrça Brutas fusion of Trio Mocotó's groove and Ben's more rockish guitar proved to be a distinctive feature of what critics and musicians later called samba rock. Its soul and funk elements, most prominent in the title track, helped earn the album a respected reputation among soul enthusiasts and rare-record collectors. In an interview for Guy Oseary's On the Record (2004), music entrepreneur and record collector Craig Kallman named Fôrça Bruta among his 15 favorite albums. Recording artist Beck also named it one of his favorite albums. In 2007, the album was re-released by Dusty Groove America, a specialty label in Chicago that reissued rare funk, jazz, soul, and Brazilian music titles in partnership with Universal Music. The reissue marked the first time the album had seen release in the United States. Dusty Groove asked Chicago Reader critic Peter Margasak to write liner notes for the release, but he declined, citing in part the lack of American literature available on Ben. New York-based retailer Other Music later named it the fourth best reissue of 2007 and one of Ben's "deepest, most emotional albums". That same year, Fôrça Bruta was ranked 61st on Rolling Stone Brasils list of the 100 greatest Brazilian albums. In an essay accompanying the ranking, journalist Marcus Preto called it the singer's most melancholy album. In a retrospective review for AllMusic, John Bush regarded Fôrça Bruta as one of Ben's best records and said it retained each musician's abilities over the course of "a wonderful acoustic groove that may have varied little but was all the better for its agreeable evenness". A reviewer for The Boston Globe said Ben's masterful performance of this music – "a fusion of bright samba and mellow soul" – still sounded original and essential nearly forty years after its recording; recommended even for non-Lusophones, it "transcends language and era with an organic vibe and breezy spontaneity". Nows Tim Perlich called it a "samba-soul heater", while Matthew Hickey from Turntable Kitchen deemed it "one of the most buoyantly textured and warmly melodic LPs ever recorded" and "Oba, Lá Vem Ela" among its "loveliest tunes". In Impose magazine, Jacob McKean highlighted the two opening tracks, finding "Zé Canjica"