Dois

The success of the previous album, which had already sold 100,000 copies, led vocalist, acoustic guitarist and keyboardist Renato Russo to consider the possibility of releasing his second album as a double disc, under the title Mitologia e Intuição (Mythology and Intuition). However, the record label was not interested in this idea, and the album was released as a single disc, reducing its repertoire from 20 to 12 songs.

Russo faced what guitarist Dado Villa-Lobos described as the "second album syndrome". The critical and commercial success of Legião Urbana generated in him the desire to surpass the achievements of the first record. Drummer Marcelo Bonfá commented that the album was a true challenge, as they had a deadline to create and there were great expectations from both the record label and the band itself.

The production of Dois was entrusted to Mayrton Bahia, who was usually assigned by EMI-Odeon to work with new artists. This album became the band's most commercially successful, driven by the success of "Eduardo e Mônica", a song considered difficult due to the absence of a chorus. The album sold more than 1.8 million copies.

Regarding the album's lyrics, Russo explained after its release:

"We are moving away from external references - government, politics, state, pollution - and in this second [album] we are turning completely inward. We no longer have songs like 'Soldados' or 'O Reggae' because we already said that. I won't spend my whole life talking about school, now we talk about emotional and affective relationships between people. On the first album, we had to knock on the door very hard. With the second, we can say things without needing to shout, because the door is already open."

The band composed in a way considered "unusual". Sometimes they would present a rhythmic section without melody, or create fragments of songs without knowing where they would be used. They also began to work more with acoustic guitars. "Andrea Doria" was one of the tracks that received some parts with this instrument to please the members.

The mixing of the album was also laborious. It was recorded on 16 channels and, often, the instruments ended up mixed together and had to be separated using almost artisanal methods. The tracks were constantly edited, often by three people at the same time. During the recording sessions for this album, the band began to accept more effects in their music.

"Central do Brasil" functioned as a thematic and instrumental bridge to resolve possible compatibility problems between the individual differences of the other songs, interacting between the electric and the acoustic (in terms of instrumental texture) and the oblique in contrast with the accessible (lyrics and themes), also being useful as a complement in terms of timing (determining the balance between the duration of sides 1 and 2). However, the conflict has a solution: it will suffice for the acoustic tracks, by allowing closer grooves, to permit a longer duration on each side, without compromising the quality of fine sound reproduction.