Mamonas Assassinas (album)

Satirises "as seen on TV" sales strategies. The title is a reference to the phone number of one of such services, well known in Brazil at the time. The song also includes several English words such as money, good, work, have, and play. The latter 3 being conjugated in Portuguese as verbs, like "Workando" meaning "working".

A Vira-styled song (inspired by the songs of Portuguese singer Roberto Leal), pokes fun at the meaning of the word suruba (meaning "orgy"), which is mistaken for something else by a Portuguese couple.

Satyrises shallow commercial music, custom cars and the way Latinos are viewed by Americans.

Parody of the main riff of The Clash's "Should I Stay or Should I Go" (with scatological sounds replacing Mick Jones' guitar fills) and pokes fun at the difficulties faced by North-Easterners in São Paulo due to cultural differences. Part of the fun of the song derives from its criticism of shopping centers.

A forró parody, tells the story of a man from Bahia coming to "Sum Paulo" in his donkey – which he compares to a car, including installing a stereo.

A nursery rhyme about toilet soap and men's intimate parts. It is a public domain song.

A lovesong in reverse, describing an ugly woman instead of a pretty one. Imitates MPB singer Belchior, whose deep voice and serious tone add fun to the clueless lyrics. The title is a take on the Brazilian translation of "Pretty Woman" ("Uma Linda Mulher").

Pokes fun at punks, mostly by saying that they are utterly unintelligent blokes who can't finish their schooling. The title is a possible pun on Titãs' Cabeça Dinossauro.

A series of heavy/dirty jokes about disgusting sexual or scatological facts of animal behavior. Talks about the size of elephant's genitalia or the absence of morals on dogs, as well as implying Camels "carry their balls on their backs."

Spoofs the film character RoboCop and transgender males. RoboCop's implants and cybernetics are compared to the transgender's surgeries and implants. Also pokes fun at religions, including a paradoxical chorus saying that homosexuals are everywhere (even among Muslims and Neo-Nazis) and that they should not be mistreated.

The title parodies The Cure's "Boys Don't Cry" but the lyrics and the music are a parody of sertanejo and bolero. Makes fun of a flamboyant macho man who suffers impotent as the woman he loves cheats on him. Features a short synthesizer sequence off Rush's "Tom Sawyer" and "The Mirror" from Dream Theater, and closes with the five-note phrase from Close Encounters of the Third Kind.

Sung in mock English, in a Max Cavalera-like tone to accompany the heavy metal style of the song, which was closely associated to Sepultura at the time, is a spoof of heavy metal music. The lyrics apparently convey the message that heavy metal fans cannot understand what their idols sing.

The surrealistic tale of a meal among friends which ends up disrupted by hungry marijuana smokers. It's a cover of the band "Baba Cósmica"

Satyrised pop-samba music (pagode), about a poor man whose girl left him for an alemão ("German", a slang term for white, wealthy people). The title also parodies the song "Lá Vem o Negão" (Here Comes the Black Guy) from samba group Cravo e Canella, which was a hit just two years before the album's release. The song also features well-known pagode musicians doing additional instrumental work: Fabinho from Negritude Júnior and Leandro Lehart from Art Popular.