The freshness of ‘Fruto Proibido’ (Rita Lee & Tutti Frutti), 50 years later [RESENHA]

*Text published in the September/2025 edition of Rolling Stone Brasil, buy at LojaPerfil.com.br |
Challenging situations tend to bring out the best in us. This begins to explain the success of Forbidden Fruit (1975), fourth solo album by Rita Lee and second with the Tutti Frutti. An album so powerful that, 50 years later, it sounds as strong as when it came out.

The history of Fruit begins in 1972, when Rita ended up being dismissed fromThe Mutantsthe band with which he revolutionized Brazilian rock at the end of the previous decade. The reason was silly: the group turned to progressive rock, which was popular at the time, and the other members — her now ex-husband Arnaldo Baptista and the brother, Sergio Dias — they did not consider her technically capable.

Without a band and without a husband, Rita, in her early 20s, even returned to live at her parents’ house. He picked up the pieces and started working on his next project: a duo with the guitarist Lucia Turnbull, Cylibrines of Edenwith light sound and weak inaugural reception. The initiative gained weight when they recruited musicians from Lysergywith emphasis on the guitarist Luiz Carlini and the bassist Lee Marcucci. It was formed Tutti Fruttia group that would accompany the ex-Mutante in the following years.

At first, they recorded an album that didn’t even officially come out — and which can be found on the pirate market under the name Cylibrines of Eden — and another that was actually released: the good — but not great — Behind the Port There is a City (1974). It was as if those involved were still really getting to know each other, until they became intimate and, now without Lúcia, they offered the public a Forbidden Fruit. A classic of Brazilian music made by an artist expelled from a band three years earlier. Can you imagine?

In An Autobiography (2016), Rita Lee defines Fruit as “a cool little disc” and admits: “I really like this work”. Referencing the rock movement that was forming in Brazil, he highlights one of the album’s great merits: “I put my little wings out in a mezzo machista environment, ma non troppo”. And, with his usual eloquence, he points out that he is “considered by many as a watershed moment in Brazilian rock, despite the cheesiness of the name Forbidden Fruit”. Carlini, at Rolling Stone Brazilshows even more enthusiasm when nailing: “This album is incredible”.

The updated approach, it must be said, is extremely important for understanding the “watershed” aspect. Even in the years following the release of Forbidden Fruituntil the arrival of the 1990s, rare BR rock albums got the sound aesthetics and compilation of influences right without compromising originality. Here, Rita and the gang are anchored in glam rock, in vogue in the first half of the 1970s, and in what is today called classic rock. David Bowie in the “age Ziggy Stardust” and Rolling Stones in the phase with mick taylor on the guitar are some of the main references. At the same time, he has very clear fingerprints of Rita, Carlini, Marcucci, Franklin Paolillo (battery), Manito (winds and organ), Guilherme Bueno (piano) and brothers Rubens and Gilberto Nardo (backing vocals).

Fruitas already mentioned, goes beyond hits. There is, of course, the partying “Black sheep”with one of the best guitar solos in the history of our rock; the engaging and timeless “Now All I Miss is You”co-written with Carlini; and the biographical “That Roque Enrow Guy”one of the three letters co-signed by Paulo Coelho. But the repertoire is complete with irresistible songs like the opening semicabaret “Dancing to Not Dance”; of the soothing blues “Postcard”; da groovadíssima “Piracy”co-created with Marcucci… an unusual case of a powerful album from start to finish, from the first track to the last.

After Forbidden FruitBrazilian rock would never be the same again. Not even Tutti Frutti. Later studio albums — Entrances and Flags (1976) and Babylon (1978) — did not have the same strength and, after differences, Rita and Carlini broke up at the end of 1978, with the guitarist taking the band’s name with him. The singer, as defined by her former work partner in what we now repeat, “it didn’t stop evolving until the end”. He multiplied his success alongside Roberto de Carvalhohis peer also in personal life, and built an exemplary discography in the following decades.

But the taste of this “fruit” is unique. Special. It hasn’t rotted, even 50 years later.

Rita Lee — Forbidden Fruit (1975)

Tracks:

1. Dançar Pra Não Dançar (composed by Rita Lee)
2. Now All That’s Missing You (Luiz Carlini / R.Lee)
3. Postcard (Paulo Coelho / R.Lee)
4. Forbidden Fruit (R.Lee)
5. This Roque Enrow Guy (P.Coelho / R.Lee)
6. The Touch (P.Coelho / R.Lee)
7. Piracy (Lee Marcucci / R.Lee)
8. Light of the Fire (R.Lee)
9. Black Sheep (R.Lee)

Credits:

• Rita Lee: vocals, guitar and synthesizer
• Luis Sérgio Carlini: guitars, slide, acoustic guitar, harmonica and vocals
• Lee Marcucci: bass and cowbell
• Franklin Paolillo: drums and percussion
• Guilherme Bueno: piano and clavinet
• Rubens Nardo: vocals
• Gilberto Nardo: vocals
• Manito: saxophone, flute, Hammond Organ
• Mecca: photography
• Geysa Adnet: graphic design
• Andy Mills: music production
• Otávio Augusto: musical production assistance
• Flávio Augusto: recording
• Luis Carlos Baptista: recording, mixing
• Mónica Lisboa: management
• Carlos Savalla: remastering
• Luigi Hoffer: remaster
• Seagull: technical assistance
• Som Livre: launch

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• Franklin Paolillo

• Lee Marcucci

• luiz carlini

• Rita Lee

• all frutti