[6] One year later, when they released its successor Volume Dois, members admitted that they ran some risks by transforming long standing hits, to the point that they could no longer tell composition from arrangement.

In these last performances, the band already presented to the public their version of "É Preciso Saber Viver", a hit from Volume Dois, which they were conceiving at the time.

"[8] Apart from tracks taken from every album by the band until then (except for Tudo Ao Mesmo Tempo Agora (1991) and Domingo (1995)), the album and DVD featured four new songs: "Os Cegos do Castelo", "Nem 5 Minutos Guardados", "A Melhor Forma" and "Não Vou Lutar"; each is sung by each of the vocalists of the band's line-up at the time (respectively, Nando Reis, Sérgio Britto, Branco Mello e Paulo Miklos[2]).

"A Melhor Forma", "Nem 5 Minutos Guardados" and "Não Vou Lutar" were composed long before the album (the two former were originally planned for Õ Blésq Blom) and were resurrected for this release.

[11] "Go Back" is featured in the album as a Spanish language version created by Martin Cardoso for Os Paralamas do Sucesso and to which Britto added some verses by Pablo Neruda in a spoken part.

[12] In the first shows (including the ones recorded for the releases), "Bichos Escrotos" and "Polícia" consisted of short, virtually a cappella jingles by the band singing with the audience, but they eventually earned their own, full versions.

Luiz Antônio Ryff considered it "great" and that the CD version manages to "preserve the energy of the show and highlight the qualities of the band's performance.

"More mature, more relaxed with the individual liberty acquired in the last years and willing to escape from the alley in which they got into, the seven members of the group - who already tried a more eclectic work with "Domingo"- found in the 'unplugged' formula the way out of their difficult situation.

He deemed it "illogic" to deprive "Polícia", "Cabeça Dinossauro" and "Homem Primata" from their aggressiveness in favor of "the tackyness of the strings which ravages MPB" and to accept well versions of "Go Back" and "Comida" sung badly by "singers [...] with so little will to improve".

He also criticized the version of "Go Back" for having transformed Torquato Neto's poem "into a badly pronounced and sung Spanish, using, once more, the bobo alegre[a] Fito Paez as a pretext of transnational consecration".

[...] Titãs are a fake band, the direct heirs of the affectation and conformism, fuel of this monster that dominates Brazilian music, the caetanic establishment.

They shifted styles zillions of times (curiously, always embarking on what's being successful) and make a serious pose, in the best Herbert Vianna school of pretension".

[20] He had already expressed dislike for the album in a June 1997 text in which he accused the work of being "artificial" and compared them to pagode group Negritude Júnior, stating the latter had a more rock and roll attitude than the former.