Hello,
We'll be staying in Brazil until the Olympics there's plenty of time to explore the it's music scene. The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.
Today, A true heavyweight, a pop musician/poet/filmmaker/political activist whose stature in the pantheon of international pop musicians is on par with that of Bob Dylan, Bob Marley, and Lennon/McCartney. And even the most cursory listen to his recorded output since the 1960s proves that this is no exaggeration.......N'Joy
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Born in 1942 in Santo Amaro da Purificacao in Brazil's Bahia region, Veloso absorbed the rich Bahian musical heritage that was influenced by Caribbean, African, and North American pop music, but it was the cool, seductive bossa nova sound of João Gilberto (a Brazilian superstar in the '50s) that formed the foundation of Veloso's intensely eclectic pop. Following his sister Maria Bethânia (a very successful singer in her own right) to Rio in the early '60s, the 23-year-old Veloso won a lyric-writing contest with his song "Um Dia" and was quickly signed to the Philips label. It wasn't long before Veloso (along with other Brazilian stars such as Gal Costa and Gilberto Gil) represented the new wave of MPB (musica popular brasileira), the all-purpose term used by Brazilians to describe their pop music.
Bright, ambitious, creative, and given to an unapologetically leftist political outlook, Veloso would soon become a controversial figure in Brazilian pop. By 1967, he had become aligned with Brazil's burgeoning hippie movement and, along with Gilberto Gil, created a new form of pop music dubbed Tropicalia. Arty and eclectic, Tropicalia retained a bossa nova influence, adding bits and pieces of folk-rock and art rock to a stew of loud electric guitars, poetic spoken word sections, and jazz-like dissonance. Although not initially well received by traditional pop-loving Brazilians (both Veloso and Gil faced the wrath of former fans similar to the ire provoked by Dylan upon going electric), Tropicalia was a breathtaking stylistic synthesis that signaled a new generation of daring, provocative, and politically outspoken musicians who would remake the face of MPB.
This was a cultural shift not without considerable dangers. Since 1964, Brazil had been ruled by a military dictatorship (a government that would rule for 20 years) that did not look kindly upon such radical music made by such radical musicians. Almost immediately there were government-sanctioned attempts to circumscribe the recordings and live performances of many Tropicalistas. Censorship of song lyrics as well as radio and television playlists (Veloso was a regular TV performer on Brazilian variety shows) was common. Just as common was the persecution of performers openly critical of the government, and Veloso and Gil were at the top of the hit list. Both men spent two months in prison for "anti-government activity" and another four months under house arrest. After a defiant 1968 performance together, Veloso and Gil were forced into exile in London. Veloso continued to record abroad and write songs for other Tropicalia stars, but he would not be allowed to return to Brazil permanently until 1972.
Although his commitment to politicized art never wavered, Veloso went from being a very popular Brazilian singer/songwriter to becoming the center of Brazilian pop over the next 20 years. For decades he kept up a grueling pace of recording, producing, and performing and, in the mid-'70s, added writing to his résumé, publishing a book of articles, poems, and song lyrics covering a period from 1965 to 1976. In the '80s, Veloso became increasingly better known outside of Brazil, touring in Africa, Paris, and Israel, interviewing Mick Jagger for Brazilian TV, and in 1983, playing America for the first time. (He sold out three nights at the Public Theater in New York with shows that were rapturously reviewed by then-New York Times pop critic Robert Palmer.)
This steady increase in popularity occurred despite the fact that Veloso's records were extremely hard to find in American record stores, and when one could locate them, they were expensive Brazilian imports. Still, the buzz on Veloso grew, thanks in part to Palmer, Robert Christgau, and other critics writing about pop music outside of the contiguous 48 states. But Veloso never seemed bothered by his low profile outside of Brazil, and his work over the years, even after he became a more well-known international pop figure, remained challenging and intriguing without being modified for American (or anyone else's) tastes -- that is, Veloso sang in English (most of his recorded work is sung in Portuguese) when he felt like it, not because he had to sell more records in America. He hung out with fairly trendy New York musicians (Brazilian native Arto Lindsay and David Byrne), but never made a big deal about it. Veloso was one of the rare musicians who was popular, sold a lot of records (at least in Brazil), and was a certifiable superstar, but never self-aggrandizing, narcissistic, or overly concerned with how hip he was.
Estrangeiro Even when he approached the age of normal retirement, Veloso showed no signs of slowing down. After his 1989 recording Estrangeiro (produced by Ambitious Lovers' Arto Lindsay and Peter Scherer) became his first non-import release in America, Veloso's stateside profile increased significantly, reaching its highest point with the release of 1993's Tropicália 2, recorded with Gilberto Gil. A brilliant record that made a slew of American Top Ten lists, Tropicália 2 proved once again that Veloso's talent (as well as Gil's) had not diminished a bit. His early-'90s recordings, Circuladô, Fina Estampa, and Circuladô ao Vivo (the latter of which includes versions of Michael Jackson's "Black and White" and Dylan's "Jokerman"), were uniformly wonderful, and in the summer of 1997 Veloso embarked on his largest American tour to date.
Livro Two years later, Veloso was the subject of an extensive, flattering portrait in Spin on the eve of the American release of his acclaimed 1998 album, Livro. In 1999, he released Omaggio a Federico e Giulietta, a tribute to auteur Federico Fellini and his wife, actress Giulietta Masina. He also won a Grammy for the Best MPB Album for 1998's Livro at the first annual Latin Grammy Awards. At the beginning of the new millennium, Veloso delivered a live bossa nova album in collaboration with poet Jorge Mautner, the spirited Noites do Norte, and the songbook album A Foreign Sound. In 2006, Veloso returned with Cê, a typically diverse and interesting album co-produced by his son Moreno. Veloso took some time out to tour and begin another book; he released Zii e Zie in 2009 on Nonesuch through World Circuit.
Live at Carnegie Hall, a record documenting a very special collaborative concert he and longtime friend David Byrne gave in 2004 as part of Veloso's residency at the renowned venue, was issued in 2012, a year that also saw the release of Abraçaço, the third part of the trilogy of studio albums -- Cê and Zii e Zie being the first two -- that placed the artist in the company of much younger players. The album was issued in North America by Nonesuch in March of 2014. The following year Veloso and Gilberto Gil embarked on a major world tour together called "Dois Amigos, Um Século de Música" which translates to "Two Friends, a Century of Music." With each artist celebrating a remarkable 50-year career, the tour was commemorated by a live album recorded in their native Brazil called Dois Amigos, Um Século de Música: Multishow Live. The extensive double album was released in April 2016 by Nonesuch.
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This is a 1977 compilation of 12 songs by Caetano Veloso, and most of the tracks (nine out of 12) are performed in the traditional Bahian trio elétrico style. It is worth noting, though, that only one of the tracks on this compilation, "Atrás do Trio Elétrico," appears on another studio album. Because of the dominance of trio elétrico songs, the extent to which the listener will like this album will partially depend on how much he or she likes trio elétrico music in general. However, there are some really great tracks included here. The catchy "Piaba" is a real gem, and the funny "Chiquita Bacana" and the cute "Chuva, Suor e Cerveja" are not far behind in terms of delightfulness and class. The three non-trio elétrico-styled tracks ("Hora da Razão," "Qual é Baiana," and "Guarde Seu Conselho") are also all very fine indeed and their somewhat calmer, more sentimental atmosphere and style contrasts in a good and refreshing way with the extremely upbeat and festive trio elétrico music of the other tracks. "Qual é Baiana" is a lovely and interesting Veloso original, with Veloso's beautiful, swift, yet almost ballad-like vocals accompanied by his bossa nova-styled guitar play and a fast tambourine beat. "Guarde Seu Conselho," written by Luís de França and Alcebíades Nogueira, is a more traditional and very sweet samba-bossa ballad.
Caetano Veloso - Muitos Carnaval (flac 226mb)
01 Muitos Carnavais 2:42
02 Chuva, Suor E Cerveja (Rain, Sweat And Beer) 3:27
03 A Filha De Chiquita Bacana 3:32
04 Deus E O Diabo 2:45
05 Piaba 3:10
06 Hora Da Razão 2:51
07 Atrás Do Trio Elétrico 2:45
08 Um Frevo Novo 2:55
09 Cara A Cara 3:04
10 La Barca 2:07
11 Qual É, Baiana? 2:52
12 Guarde Seu Conselho 3:52
Caetano Veloso - Muitos Carnaval (ogg 89mb)
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Just prior to the recording of Bicho, Caetano Veloso was invited to take part in the Negro Festival of Art and Culture in Lagos, Nigeria. Veloso was so knocked out by the music he heard that he scrapped his original plans for the album to record something more redolent of his experiences in Lagos. Veloso himself refers to Bicho as "sweet melodies on a hot rhythm," and he's absolutely right. A marvelous record. For the record, bicho is the Portuguese word for beast.
Caetano Veloso - Bicho (flac 205mb)
01 Odara 7:17
02 Two Naira Fifty Kobo 5:04
03 Gente 3:38
04 Olha O Menino 3:03
05 Um Índio 2:57
06 A Grande Borboleta 1:11
07 Tigresa 6:21
08 O Leãozinho 3:07
09 Alguém Cantando 2:44
Caetano Veloso - Bicho (ogg 87mb)
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One of Caetano Veloso's last quasi-acoustic albums, this one is dedicated to Brazilian grooves (with the exception of a couple of reggae tracks). The album has been very well spun, and several tracks were hits: "Lua de São Jorge," "Oração ao Tempo," "Badauê" (Bahian grooves), "Cajuína" (Northeastern xote), "Menino do Rio" (pop ballad), "Elegia" (bolero), "Trilhos Urbanos" (reggae), "Louco por Você" (Carioca samba). There are also other tracks whose experimental character prevented them from being hits, but they still constitute excellent material. Delicate and also swinging arrangements, these are excellent compositions by an artist still in full-steam creative impetus.
Caetano Veloso - Cinema Transcendental (flac 224mb)
01 Lua De São Jorge 3:58
02 Oração Ao Tempo 3:26
03 Beleza Pura 3:30
04 Menino Do Rio 2:28
05 Vampiro 4:04
06 Elegia 2:19
07 Trilhos Urbanos 2:46
08 Louco Por Você 7:40
09 Cajuina 2:20
10 Aracuja 2:23
11 Badauê 1:33
12 Os Meninos Dançam 3:15
Veloso - Cinema Transcendental (ogg 87mb)
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Uns opens with the swinging title track, with its rhythmic poetry based in the word that means "some people," opening endless possibilities: "Musical" is a melancholic and delicate melody, delivered with simplicity; "Eclipse Oculto" was the big hit of the album with its hybrid reggae rhythm and lyrics that are a monologue directed to a former lover; "Peter Gast" is the best melody/arrangement of the album, a sophisticated ballad; "Quero Ir Aa Cuba" has swinging Caribbean rhythms; "Coisa Mais Linda" (Carlos Lyra/Vinícius de Moraes), a bossa classic, is delivered in the purest bossa style; "Você É Linda," which also was a hit, is a ballad whose lyrics describe in detail the charms of a certain Bahian girl; "Bobagens, Meu Filho, Bobagens" (Marina Lima/Antônio Cícero) is a minor pop ballad; "A Outra Banda da Terra," a reggae song, talks about territorialism with redneck accent; the samba-funk "Salva Vida," with special guest Maria Betânia, provokes conservatives with references to masculine beauty; and the classic, beautiful samba-enredo "É Hoje" (Didi/Mestrinho) closes the album.
Caetano Veloso - Uns (flac 189mb)
01 Uns 2:38
02 Musical 0:57
03 Eclipse Oculto 3:45
04 Peter Gast 3:44
05 Quero Ir A Cuba 2:20
06 Coisa Mais Linda 3:12
07 Você É Linda 4:56
08 Bobagens, Meu Filho, Bobagens 3:30
09 A Outra Banda Da Terra 3:19
10 Salva Vida (Voc Maria Bethânia) 2:23
11 É Hoje 4:17
(ogg mb)
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We'll be staying in Brazil until the Olympics there's plenty of time to explore the it's music scene. The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.
Today, A true heavyweight, a pop musician/poet/filmmaker/political activist whose stature in the pantheon of international pop musicians is on par with that of Bob Dylan, Bob Marley, and Lennon/McCartney. And even the most cursory listen to his recorded output since the 1960s proves that this is no exaggeration.......N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
Born in 1942 in Santo Amaro da Purificacao in Brazil's Bahia region, Veloso absorbed the rich Bahian musical heritage that was influenced by Caribbean, African, and North American pop music, but it was the cool, seductive bossa nova sound of João Gilberto (a Brazilian superstar in the '50s) that formed the foundation of Veloso's intensely eclectic pop. Following his sister Maria Bethânia (a very successful singer in her own right) to Rio in the early '60s, the 23-year-old Veloso won a lyric-writing contest with his song "Um Dia" and was quickly signed to the Philips label. It wasn't long before Veloso (along with other Brazilian stars such as Gal Costa and Gilberto Gil) represented the new wave of MPB (musica popular brasileira), the all-purpose term used by Brazilians to describe their pop music.
Bright, ambitious, creative, and given to an unapologetically leftist political outlook, Veloso would soon become a controversial figure in Brazilian pop. By 1967, he had become aligned with Brazil's burgeoning hippie movement and, along with Gilberto Gil, created a new form of pop music dubbed Tropicalia. Arty and eclectic, Tropicalia retained a bossa nova influence, adding bits and pieces of folk-rock and art rock to a stew of loud electric guitars, poetic spoken word sections, and jazz-like dissonance. Although not initially well received by traditional pop-loving Brazilians (both Veloso and Gil faced the wrath of former fans similar to the ire provoked by Dylan upon going electric), Tropicalia was a breathtaking stylistic synthesis that signaled a new generation of daring, provocative, and politically outspoken musicians who would remake the face of MPB.
This was a cultural shift not without considerable dangers. Since 1964, Brazil had been ruled by a military dictatorship (a government that would rule for 20 years) that did not look kindly upon such radical music made by such radical musicians. Almost immediately there were government-sanctioned attempts to circumscribe the recordings and live performances of many Tropicalistas. Censorship of song lyrics as well as radio and television playlists (Veloso was a regular TV performer on Brazilian variety shows) was common. Just as common was the persecution of performers openly critical of the government, and Veloso and Gil were at the top of the hit list. Both men spent two months in prison for "anti-government activity" and another four months under house arrest. After a defiant 1968 performance together, Veloso and Gil were forced into exile in London. Veloso continued to record abroad and write songs for other Tropicalia stars, but he would not be allowed to return to Brazil permanently until 1972.
Although his commitment to politicized art never wavered, Veloso went from being a very popular Brazilian singer/songwriter to becoming the center of Brazilian pop over the next 20 years. For decades he kept up a grueling pace of recording, producing, and performing and, in the mid-'70s, added writing to his résumé, publishing a book of articles, poems, and song lyrics covering a period from 1965 to 1976. In the '80s, Veloso became increasingly better known outside of Brazil, touring in Africa, Paris, and Israel, interviewing Mick Jagger for Brazilian TV, and in 1983, playing America for the first time. (He sold out three nights at the Public Theater in New York with shows that were rapturously reviewed by then-New York Times pop critic Robert Palmer.)
This steady increase in popularity occurred despite the fact that Veloso's records were extremely hard to find in American record stores, and when one could locate them, they were expensive Brazilian imports. Still, the buzz on Veloso grew, thanks in part to Palmer, Robert Christgau, and other critics writing about pop music outside of the contiguous 48 states. But Veloso never seemed bothered by his low profile outside of Brazil, and his work over the years, even after he became a more well-known international pop figure, remained challenging and intriguing without being modified for American (or anyone else's) tastes -- that is, Veloso sang in English (most of his recorded work is sung in Portuguese) when he felt like it, not because he had to sell more records in America. He hung out with fairly trendy New York musicians (Brazilian native Arto Lindsay and David Byrne), but never made a big deal about it. Veloso was one of the rare musicians who was popular, sold a lot of records (at least in Brazil), and was a certifiable superstar, but never self-aggrandizing, narcissistic, or overly concerned with how hip he was.
Estrangeiro Even when he approached the age of normal retirement, Veloso showed no signs of slowing down. After his 1989 recording Estrangeiro (produced by Ambitious Lovers' Arto Lindsay and Peter Scherer) became his first non-import release in America, Veloso's stateside profile increased significantly, reaching its highest point with the release of 1993's Tropicália 2, recorded with Gilberto Gil. A brilliant record that made a slew of American Top Ten lists, Tropicália 2 proved once again that Veloso's talent (as well as Gil's) had not diminished a bit. His early-'90s recordings, Circuladô, Fina Estampa, and Circuladô ao Vivo (the latter of which includes versions of Michael Jackson's "Black and White" and Dylan's "Jokerman"), were uniformly wonderful, and in the summer of 1997 Veloso embarked on his largest American tour to date.
Livro Two years later, Veloso was the subject of an extensive, flattering portrait in Spin on the eve of the American release of his acclaimed 1998 album, Livro. In 1999, he released Omaggio a Federico e Giulietta, a tribute to auteur Federico Fellini and his wife, actress Giulietta Masina. He also won a Grammy for the Best MPB Album for 1998's Livro at the first annual Latin Grammy Awards. At the beginning of the new millennium, Veloso delivered a live bossa nova album in collaboration with poet Jorge Mautner, the spirited Noites do Norte, and the songbook album A Foreign Sound. In 2006, Veloso returned with Cê, a typically diverse and interesting album co-produced by his son Moreno. Veloso took some time out to tour and begin another book; he released Zii e Zie in 2009 on Nonesuch through World Circuit.
Live at Carnegie Hall, a record documenting a very special collaborative concert he and longtime friend David Byrne gave in 2004 as part of Veloso's residency at the renowned venue, was issued in 2012, a year that also saw the release of Abraçaço, the third part of the trilogy of studio albums -- Cê and Zii e Zie being the first two -- that placed the artist in the company of much younger players. The album was issued in North America by Nonesuch in March of 2014. The following year Veloso and Gilberto Gil embarked on a major world tour together called "Dois Amigos, Um Século de Música" which translates to "Two Friends, a Century of Music." With each artist celebrating a remarkable 50-year career, the tour was commemorated by a live album recorded in their native Brazil called Dois Amigos, Um Século de Música: Multishow Live. The extensive double album was released in April 2016 by Nonesuch.
xxxxx xxxxx xxxxx xxxxx xxxxx
This is a 1977 compilation of 12 songs by Caetano Veloso, and most of the tracks (nine out of 12) are performed in the traditional Bahian trio elétrico style. It is worth noting, though, that only one of the tracks on this compilation, "Atrás do Trio Elétrico," appears on another studio album. Because of the dominance of trio elétrico songs, the extent to which the listener will like this album will partially depend on how much he or she likes trio elétrico music in general. However, there are some really great tracks included here. The catchy "Piaba" is a real gem, and the funny "Chiquita Bacana" and the cute "Chuva, Suor e Cerveja" are not far behind in terms of delightfulness and class. The three non-trio elétrico-styled tracks ("Hora da Razão," "Qual é Baiana," and "Guarde Seu Conselho") are also all very fine indeed and their somewhat calmer, more sentimental atmosphere and style contrasts in a good and refreshing way with the extremely upbeat and festive trio elétrico music of the other tracks. "Qual é Baiana" is a lovely and interesting Veloso original, with Veloso's beautiful, swift, yet almost ballad-like vocals accompanied by his bossa nova-styled guitar play and a fast tambourine beat. "Guarde Seu Conselho," written by Luís de França and Alcebíades Nogueira, is a more traditional and very sweet samba-bossa ballad.
Caetano Veloso - Muitos Carnaval (flac 226mb)
01 Muitos Carnavais 2:42
02 Chuva, Suor E Cerveja (Rain, Sweat And Beer) 3:27
03 A Filha De Chiquita Bacana 3:32
04 Deus E O Diabo 2:45
05 Piaba 3:10
06 Hora Da Razão 2:51
07 Atrás Do Trio Elétrico 2:45
08 Um Frevo Novo 2:55
09 Cara A Cara 3:04
10 La Barca 2:07
11 Qual É, Baiana? 2:52
12 Guarde Seu Conselho 3:52
Caetano Veloso - Muitos Carnaval (ogg 89mb)
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Just prior to the recording of Bicho, Caetano Veloso was invited to take part in the Negro Festival of Art and Culture in Lagos, Nigeria. Veloso was so knocked out by the music he heard that he scrapped his original plans for the album to record something more redolent of his experiences in Lagos. Veloso himself refers to Bicho as "sweet melodies on a hot rhythm," and he's absolutely right. A marvelous record. For the record, bicho is the Portuguese word for beast.
Caetano Veloso - Bicho (flac 205mb)
01 Odara 7:17
02 Two Naira Fifty Kobo 5:04
03 Gente 3:38
04 Olha O Menino 3:03
05 Um Índio 2:57
06 A Grande Borboleta 1:11
07 Tigresa 6:21
08 O Leãozinho 3:07
09 Alguém Cantando 2:44
Caetano Veloso - Bicho (ogg 87mb)
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One of Caetano Veloso's last quasi-acoustic albums, this one is dedicated to Brazilian grooves (with the exception of a couple of reggae tracks). The album has been very well spun, and several tracks were hits: "Lua de São Jorge," "Oração ao Tempo," "Badauê" (Bahian grooves), "Cajuína" (Northeastern xote), "Menino do Rio" (pop ballad), "Elegia" (bolero), "Trilhos Urbanos" (reggae), "Louco por Você" (Carioca samba). There are also other tracks whose experimental character prevented them from being hits, but they still constitute excellent material. Delicate and also swinging arrangements, these are excellent compositions by an artist still in full-steam creative impetus.
Caetano Veloso - Cinema Transcendental (flac 224mb)
01 Lua De São Jorge 3:58
02 Oração Ao Tempo 3:26
03 Beleza Pura 3:30
04 Menino Do Rio 2:28
05 Vampiro 4:04
06 Elegia 2:19
07 Trilhos Urbanos 2:46
08 Louco Por Você 7:40
09 Cajuina 2:20
10 Aracuja 2:23
11 Badauê 1:33
12 Os Meninos Dançam 3:15
Veloso - Cinema Transcendental (ogg 87mb)
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Uns opens with the swinging title track, with its rhythmic poetry based in the word that means "some people," opening endless possibilities: "Musical" is a melancholic and delicate melody, delivered with simplicity; "Eclipse Oculto" was the big hit of the album with its hybrid reggae rhythm and lyrics that are a monologue directed to a former lover; "Peter Gast" is the best melody/arrangement of the album, a sophisticated ballad; "Quero Ir Aa Cuba" has swinging Caribbean rhythms; "Coisa Mais Linda" (Carlos Lyra/Vinícius de Moraes), a bossa classic, is delivered in the purest bossa style; "Você É Linda," which also was a hit, is a ballad whose lyrics describe in detail the charms of a certain Bahian girl; "Bobagens, Meu Filho, Bobagens" (Marina Lima/Antônio Cícero) is a minor pop ballad; "A Outra Banda da Terra," a reggae song, talks about territorialism with redneck accent; the samba-funk "Salva Vida," with special guest Maria Betânia, provokes conservatives with references to masculine beauty; and the classic, beautiful samba-enredo "É Hoje" (Didi/Mestrinho) closes the album.
Caetano Veloso - Uns (flac 189mb)
01 Uns 2:38
02 Musical 0:57
03 Eclipse Oculto 3:45
04 Peter Gast 3:44
05 Quero Ir A Cuba 2:20
06 Coisa Mais Linda 3:12
07 Você É Linda 4:56
08 Bobagens, Meu Filho, Bobagens 3:30
09 A Outra Banda Da Terra 3:19
10 Salva Vida (Voc Maria Bethânia) 2:23
11 É Hoje 4:17
(ogg mb)
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