interviews with the musicians and their fans, and scenes of live shows at Ibirapuera Stadium in São Paulo and at Montreux, Switzerland. In 1990, the Paralamas released their first compilation, Arquivo, which featured a new version of "Vital e Sua Moto", titled "Vital 1990", and an unreleased song, "Caleidoscópio" (originally recorded by Dulce Quental of the all-female band Sempre Livre), that got massive radio play. Success in Argentina only The band would dedicate the first half of the 1990s to experimentation. The sixth studio album, Os Grãos, was released in 1991. It contained keyboard-driven songs of minor popular appeal, achieving a low sales record for the band, although it featured two successful tracks: "Trac-Trac", a Portuguese version of a Fito Páez song, and "Tendo a Lua". Its failure, however, can also be attributed to the deep economic crisis Brazil went through during the Fernando Collor administration. After a small break, in which Vianna released his first solo album, the trio returned to live performances, which were sold out although the band was under heavy criticism from the press. In late 1993, Herbert, Bi and Barone spent three months in London, where they recorded Severino, produced by Phil Manzanera. Released in 1994, the album featured Brian May in the song "El Vampiro Bajo El Sol". It was even more experimental than the band's last release, with overly elaborate arrangements, and was completely ignored by radio stations and the general public, selling only 55,000 copies—an all-time low for Paralamas. As they were being forgotten in their native Brazil, they were also gaining huge popularity in Argentina. In 1992, their compilation Paralamas, which was released in Hispanic American countries, and featured Spanish language versions of their hits, was a huge hit in neighboring countries. They were in high demand for live performances, due to the great success of Dos Margaritas, their subsequent album released in the Hispanic market (a Spanish version of Severino). Back to the hit parades Despite low sales for the album, Severino'''s tour was a huge success among the public. A series of three performances, recorded in late 1994, was released the next year as the band's second live album, Vamo Batê Lata. It was accompanied by an EP featuring four unreleased tracks: "Uma Brasileira" (a collaboration of Herbert with Djavan), "Saber Amar", "Esta Tarde", and the controversial "Luís Inácio (300 Picaretas)", which drew the spotlight back to the band