This is a special edition of the 40th Anniversary of uerpo y Alma' by Eduardo Mateo, in 180 gr vinyl with obi, new cover artwork and insert. Cuerpo y Alma was his second record as a soloist, originally released by Sondor in 1984. Recorded between 1981 and 1984 with Hugo Fattoruso, Osvaldo Fattoruso, Pippo Spera, Urbano Moraes, Travesia and more. In this record Mateo also experienced with percussion trying to get closer to a Hindú Percussion. Eduardo Mateo is one of the most important influences in the history of the Uruguayan Music. Mixing Beat, Jazz, Bossa Nova and candombe. He was the one who created the "Candombe-Beat" mostly known as "Fusión". He also was a member and inspired the legendary band El Kinto. Mateo was a versatile and constantly evolving musician. If there is a record, however, that can be seen as the condensation of all his work, it is Cuerpo y Alma. Here are examples of his disconcerting simplicity, his most radical experimentalism, his mystical vein, of his explorations with Eastern, African and Caribbean music, their different approaches to the candombe, his tenderness and his frilly climates, his childish surreal humor, of abstractions and permutations of what would be his phase Time Machine. Mateo took care again of all the instruments in most of the grooves and built in them these minimum-constructivist arrangements in the manner of El Kinto. But there are also collective grooves with a more spontaneous and improvisational approach, interacting with some old friends (Urbano, Pippo, the Fattoruso, Eduardo Marquez) and new colleagues with whom he interacted in the following years (Travesía, Walter "Nego" Haedo). The album was started in the most difficult time of the life of Mateo, in 1981, with the musician practically reduced to begging, and being harassed by the dictatorial police, because of his drug consumption and his eccentric way of being. And it was concluded three years later, in one of his happiest times (stabilized in a relationship, without economic problems, again recognized in the montevidean cultural environment). Both poles, light and shadow, of tension and optimism, are reflected in this work. Mateo was also one of those rare musicians who were lucky enough to enter adulthood without losing youth. Cuerpo y Alma enters, easy, in the list of my favorite albums. It's the best album of one of the best musicians of Uruguay, at a time when the country had one of the most vigorous music on the planet.