Capital Inicial is a Brazilian rock band that flourished in the 1980s, saw a resurgence in the late 1990s, and extended into the 2000s. History The band has recorded fifteen studio albums, six live albums and seven DVDs in their 40-year career. They were a huge success in the early and mid-2000s, being one of the most popular bands in Brazil with the albums Acústico MTV: Capital Inicial, Rosas e Vinho Tinto, Gigante, and MTV Especial: Aborto Elétrico. Former members of Renato Russo's pioneering post-punk band Aborto Elétrico teamed up to form the Capital Inicial, continuing to perform the same type of music. Brothers Fê Lemos and Flávio Lemos joined guitarist Loro Jones and vocalist Dinho Ouro Preto. All of them are based in Brasília, a city that, with its particular situation as Brazil's capital, revolves around politicians who abandon it on the weekends. The city's coldness was a choice culture for the fermentation of the aggressiveness of dispossessed youngsters, creating an ideal situation for the arousal of punk bands. With similar songs as Aborto Elétrico's repertoire, the Capital Inicial followed in their path. The first time that Capital Inicial played in Rio was on July 23, 1983, opening a Lobão show at the Circo Voador. In 1984, they released their first single, "Descendo o Rio Nilo" and "Leve Desespero", with good repercussions. The latter song was included in the film Areias Escaldantes. In April 1985, Capital Inicial succeeded in having their Descendo o Rio Nilo included on the compilation Os Intocáveis. In the next year, the group recorded their first album, Capital Inicial, which had the hits "Psicopata", "Música Urbana" and "Fátima" selling 200,000 copies. This was followed by a period of many live shows. In 1987, keyboardist Bozo Barretti, who had participated in the album, joined the band, who recorded a second album, Independência. With a pop-based sonority, the album sold half as much as the first. In November, the band opened for Sting at a packed Maracanã. In December 1988, the group released their third album, Você Não Precisa Entender, which was assaulted by commercialism. The album sold only 50,000 copies. Understanding that they were losing their punk rock fans and weren't gaining pop fans, in their fourth album, Todos os Lados, they replaced standardized keyboards with aggressive guitars. But the change of direction came too late. The album sold a little more than 30,000 copies, and