A Peleja do Diabo com o Dono do Céu (also known as Zé Ramalho II) is the second solo album by Brazilian musician Zé Ramalho, released in 1979. It was his first gold record and it depicts a singer who sees life through a Manichaeist optic according to which everything is about God or the Devil. Song information "Admirável Gado Novo", which translates as "Brave New Cattle", mentions ideas from Brave New World, by Aldous Huxley, and reflects on the contradictions of a massified capitalist society under an authoritarian rule. In 1996, the song was featured in the telenovela O Rei do Gados soundtrack (which sold 2 million copies) as the theme song of the landless workers. Indeed, Ramalho wrote it thinking of the Northeastern population of Brazil, which would cross dry lands in search of work and better conditions. The song is based on baião instrumentation and has a chorus in the form of aboio (a chant by rural workers who handle cattle). The verse "êh, ô, vida de gado" (hey, oh, cattle life) had already been used in other songs such as "Toada de Gado" (written by Vavá Machado and Arlindo Marcolino and performed by Quinteto Violado) and, in this song, it becomes a metaphor for the people's lives in general. "Falas do Povo", which has social critiques and features Jorge Mautner on the violin, was dedicated to Geraldo Vandré, one of Ramalho's influences. "Beira-Mar" is a galope à beira-mar (a type of poetry derivative of the martelo agalopado) and it marks the beginning of a trilogy that continues on "Beira-Mar – Capítulo II" (from 1982's A Força Verde) and ends on "Beira-Mar – Capítulo Final" (from 1998's Eu Sou Todos Nós). The lyrics come from a cordel work written by Ramalho in 1977 and titled "Apocalypse". The first part of this text would later appear on "Canção Agalopada", a song from his next album A Terceira Lâmina (1981). "Agônico" is an instrumental track in which Ramalho plays all instruments (violas, bass, percussion, drum, piano, pandeiro and voice effects). Named by Mautner, the track would be later re-released with lyrics on the 1998 album Eu Sou Todos Nós, then titled "Agônico - O Canto". Ramalho believes the track to be representative of the similarities that, according to him, exist between music from Northeastern Brazil and music of the Moors, the latter having influenced the former with the arrival