the first line-up, consisting of joão ricardo, gérson conrad and ney matogrosso, plus various musicians as john flavin (guitar), willy verdaguer (electric guitar), marcelo frias (drums), sergio rosadas (flute), plus a special participation of zé rodrix was short-lived - only two albums were released, one in 1973 and one in 1974, both self-titled. this line-up achieved success, appearing in several television broadcasts and remains highly influential today. matogrosso's unusual high-pitched voice helped create a distinct identity as well as the band's eccentric heavy make-up and outfits (developed by matogrosso himself, with influences ranging from brazilian indigenous peoples to kabuki theater). in typical tropicália fashion, secos & molhados's style was one marked by a broad fusion of genres, including glam rock, mpb, fado and experimental music, among others. most lyrics for both studio albums were adapted from the work of poets such as manuel bandeira and vinicius de moraes. in reference to their mpb musical style, “another group that expressed its disagreement via the physicality of its performance style—and, inevitably, via rock music, was the secos & molhados. mixing progressive rock and blues, incorporating luso-brazilian folk references (in “o vira” – [name of a portuguese dance]) and by the constant inclusion of poetry—by names like vinicius de moraes, manuel bandeira and fernando pessoa, among others—the trio enjoyed a meteoric career, with two albums released between 1971 and 1974, and an enormous popular success driven by the visual appeal of their makeup and the sexually ambiguous theatricality of vocalist ney matogrosso. the secos & molhados appear at maracanã stadium in 1974