Hello, well the Olympics are upon us maybe someone can explain what shooting has to do with sports, guns of any type just don't belong here-let the military have their own games, a big thumbs down from me here ! In that sense bow and arrow don't belong (somehow no crossbow) should be dropped as well. These kill skills absolutely don't belong on a global status event of sports.
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 for the 4th and final time, 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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Caetano Veloso's admiration and reverance to the cinema poetry of Federico Fellini is notorious. Through his song "Giulietta Masina" (prohibited in Brazil due to a profanity), Fellini's sister Maddalena knew Veloso's devotion to her brother and asked him to have a tribute concert (in which this album was recorded), which was held in October 1987 at the Teatro Nuovo, Dogana (San Marino Republic). In the booklet, Veloso explains in his own words the relevance of each song for a Fellini tribute. Veloso wasn't in top form, maybe due to the emotion of facing his longtime idol's image. But in spite of some vocal deficiencies, his interpretation is as sincere as it can be, delivering with delicacy the mysterious quality so dear to the filmmaker. "Que Não Se Vê," Veloso's version of Nino Rota/T. Amurri's "Come Tu Me Vuoi," was dedicated to Marcello Mastroianni. Other songs taken from Fellini's film soundtracks were "Gelsomina" (M. Galdieri/Nino Rota), and "Patricia" (Damaso Peres Prado, a version by Bourges from the film La Dolce Vita). "Luna Rossa" is a popular Neapolitan song, performed in bossa rhythm, which was included because of its theme, the moon. The originals are "Trilhos Uurbanos," "Giulietta Masina," "Lua, Lua, Lua," and "Coração Vagabundo." An additional bossa is "Chega de Saudade" (No More Blues). Delicacy is the central concept here, where nostalgia and melancholy also met each other. Backed by the usual competence of Jaques Morelenbaum, Luiz Brasil, Jorge Helder, and Carlos Balla, this album is suited for those who can't stand the electric pop style present in some of Veloso's albums.
Caetano Veloso - Omaggio a Federico e Giulietta (flac 375mb)
01 Que Não Se Vê (ComeTu Mi Vuoi) 4:14
02 Trilhos Urbanos 3:23
03 Giulietta Masina 4:39
04 Lua, Lua, Lua, Lua 4:45
05 Luna Rossa 5:53
06 Chega De Saudade 3:04
07 Nada 3:43
08 Come Prima 2:51
09 Ave Maria 1:49
10 Chora Tua Tristeza 3:32
11 Coração Vagabundo 4:37
12 Cajuína 2:21
13 Gelsomina 3:33
14 Let's Face The Music And Dance 4:18
15 Coração Materno 4:42
16 Patricia 3:12
17 Dama Das Camélias 2:44
18 Coimbra 4:33
19 Gelsomina 2:15
Caetano Veloso - Omaggio a Federico e Giulietta (ogg 171mb)
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This record is a collaboration between Caetano Veloso and Jorge Mautner, a comparatively unknown poet and songwriter, whose work Veloso has admired since the '70s. Eu Não Peço Desculpa has a much more spontaneous air to it than Veloso's two previous albums, Noites do Norte and Livro, with their thematic ambitions. The sound is simple and free from any superfluous frills. The production brings a delicate electronic sound to the album, which also contributes to it sounding quite different from Veloso's recordings during the preceding ten years or so. Compared to the more serious tone on Livro and Noites do Norte, the lyrics on "Eu Não Peço Desculpa" are quite playful and happy, often spiced with ambiguities and ironies, though there are also songs (as for example "Assim Se Morre") touching such serious and sad topics as death and violence. The smooth, elegant "Tarado," with its deliciously funny and colorful lyrics is a highlight of the album. Musically Veloso and Mautner jump between very different styles, shifting from the light pop of the opening track, "Todo Errado," to the electronics of "Manjar de Reis" and a new interpretation of Veloso's beautiful and Nordeste-inspired "Cajuína." The album also contains a fine version of the percussion-driven "Maracatu Atômico," one of Jorge Mautner's most famous songs (previously recorded by artists like Gilberto Gil and Nação Zumbi). Veloso and Mautner sound very inspired throughout this album, and Eu Não Peço Desculpa is Veloso's most fresh-sounding studio album since the 1991 recording Circuladô.
Caetano Veloso E Jorge Mautner - Eu Nao Peco Desculpa (flac 287mb)
01 Todo Errado 3:50
02 Feitiço 2:19
03 Manjar de Reis 3:58
04 Tarado 4:23
05 Maracatu Atômico 4:24
06 O Namorado/Urge Dracon 6:24
07 Coisa Assassina 4:15
08 Homem Bomba 3:12
09 Lágrimas Negras/Doidão 3:49
10 Morre-se Assim 3:08
11 Graça Divina 3:34
12 Cajuína 3:32
13 Voa, Voa, Perereca 1:43
14 Hino Do Carnaval Brasileiro 3:19
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Caetano Veloso E Jorge Mautner - Eu Nao Peco Desculpa (ogg 119mb)
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During his long career, spanning five decades, Caetano Veloso has managed to sustain a remarkable consistency, year after year composing beautiful, inventive, and very often simply ingenious music. His previous album, A Foreign Sound, where Caetano interpreted classics from the American popular music scene, was widely applauded abroad and especially in the U.S., but Brazilian listeners were much less impressed. And truth be told, by Caetano's own high standards and with the exception of a few songs, like the reggae-rap version of Bob Dylan's "It's Alright Ma," A Foreign Sound lacked much of Caetano's usual inspiration. Cê, though much lighter and unpretentious, suffers from the same lack of lucid inspiration that has always been the trademark of Caetano. It is not in anyway a bad album, but after having been spoiled with Caetano's unique brand of musical magic and brilliance for so long, Cê just doesn't excite. For the recording, Caetano teamed up with a trio of young musicians, thus forming a traditional rock band relying on an electric guitar, a bass, drums, and the occasional keyboards. The sound is finely tuned and further helped by the excellent production by Caetano's son Moreno and Pedro Sá. The music ranges from the light, carefree punk-pop of tracks like "Outro" and "Odeio" to the laid-back, sentimental "Não Me Arrependo" and "Minhas Lágrimas." "Musa Híbrida" is an interesting mix of samba and rock, with a touch of '70s funk. On "Não Me Arrependo," Caetano uses influence from both Lou Reed and Peninha, and it is perhaps the most melodically impressive song on the album. On "O Herói," Caetano, in a talking voice, recites the lyrics over a sparse and slightly hip-hop-inspired rock groove. The gentle and sweet "Um Sonho" is another highlight. Cê is an enjoyable, finely crafted, and elegantly executed album, but at the same time very far from Caetano's best.
Caetano Veloso - Cê (flac 285mb)
01 Outro 3:00
02 Minhas Lágrimas 5:09
03 Rocks 3:36
04 Deusa Urbana 3:46
05 Waly Salomão 3:24
06 Não Me Arrependo 4:08
07 Musa Híbrida 4:21
08 Odeio 5:58
09 Homem 4:46
10 Porquê ? 3:20
11 Um Sonho 3:20
12 O Herói 3:43
Caetano Veloso - Cê (ogg 113mb)
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Longtime friends and collaborators Caetano Veloso and David Byrne joined forces for a special Carnegie Hall concert broadcast on National Public Radio in the spring of 2004. Eight years later, Live at Carnegie Hall is released, containing highlights from this stripped-down, primarily acoustic meeting of one of Tropicalia's biggest artists with one of the pillars of art rock. Sequenced in the order the concert was played, the disc begins with a solo set by Veloso ending with his cover of the Talking Heads' "The Revolution" to segue into Byrne's set. While not exactly a hushed affair, there's a quietly breezy feeling throughout the recording. Veloso's incredibly smooth voice is the definition of Brazilian pop: laid-back and welcoming at all times. Even singing the comparatively bouncy "O Leãozinho," his voice lilts gently around the song's rigid curves. Languid ballads like "Sampa" and "Coração Vagabundo" breathe with an effortless beauty and the stark yet satisfying instrumentation of Veloso's plucked nylon-string guitar and occasional accompaniment by cellist Jacques Morelenbaum. Also in the mix is percussionist Mauro Refosco providing understated rhythms for both artists' sets. The disc's second half finds Byrne struggling against uprooting the low-lit vibe laid down by Veloso. While performing in a mode decidedly less turgid than normal, even his takes on mellower Talking Heads classics like "And She Was" or "Heaven" sound especially rock when compared to his concert-mates' staid performance. Rompers like "Life During Wartime" stick out, seeming a little lost; not quiet enough for spartan acoustic ambience and not loud enough for even a spirited unplugged reading. Byrne admitted in interviews he was "extremely nervous" about the concert and his jitters are evidenced by the occasional flubbed guitar chord or slightly rushed vocal delivery. Given his pedigree of quirk, these flaws read more endearing than ham-fisted, especially in the intimate context of an acoustic performance. The disc is pretty standard fare up until the final four or five tracks, where the two come together to duet on each other's songs. It's in these tracks that Live at Carnegie Hall really becomes transcendent. Long influenced and inspired by each other, Byrne and Veloso seem genuinely thrilled to be in each other's presence musically. Byrne's soft vocal augmentation on "Ilê Aiyê" seems reverent and humble and seconds later, Veloso's unfamiliar voice delivering lines about 7-11s and chocolate chip cookies on Byrne's lyrically goofy "(Nothing But) Flowers" is downright cute. While the two don't always match up exactly in terms of presentation, by the end, Byrne's nerdy rock and Veloso's airy sonnets prove highly complementary to each other, especially in tandem.
Caetano Veloso & David Byrne - Live at Carnegie Hall (flac 365mb)
01 Desde Que O Samba É Samba 4:48
02 Você É Linda 4:09
03 Sampa 3:52
04 O Leãozinho 3:05
05 Coração Vagabundo 2:55
06 Manhatã 4:10
07 The Revolution 2:31
08 Everyone's In Love With You 1:50
09 And She Was 3:56
10 She Only Sleeps 3:22
11 Life During Wartime 4:19
12 God's Child 4:27
13 Road To Nowhere 3:43
14 Dreamworld: Marco De Canaveses 4:54
15 Um Canto De Afoxé Para O Bloco Do Ilê 3:34
16 (Nothing But) Flowers 4:58
17 Terra 5:54
18 Heaven 3:56
Caetano Veloso & David Byrne - Live at Carnegie Hall (ogg 175mb)
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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 for the 4th and final time, 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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Caetano Veloso's admiration and reverance to the cinema poetry of Federico Fellini is notorious. Through his song "Giulietta Masina" (prohibited in Brazil due to a profanity), Fellini's sister Maddalena knew Veloso's devotion to her brother and asked him to have a tribute concert (in which this album was recorded), which was held in October 1987 at the Teatro Nuovo, Dogana (San Marino Republic). In the booklet, Veloso explains in his own words the relevance of each song for a Fellini tribute. Veloso wasn't in top form, maybe due to the emotion of facing his longtime idol's image. But in spite of some vocal deficiencies, his interpretation is as sincere as it can be, delivering with delicacy the mysterious quality so dear to the filmmaker. "Que Não Se Vê," Veloso's version of Nino Rota/T. Amurri's "Come Tu Me Vuoi," was dedicated to Marcello Mastroianni. Other songs taken from Fellini's film soundtracks were "Gelsomina" (M. Galdieri/Nino Rota), and "Patricia" (Damaso Peres Prado, a version by Bourges from the film La Dolce Vita). "Luna Rossa" is a popular Neapolitan song, performed in bossa rhythm, which was included because of its theme, the moon. The originals are "Trilhos Uurbanos," "Giulietta Masina," "Lua, Lua, Lua," and "Coração Vagabundo." An additional bossa is "Chega de Saudade" (No More Blues). Delicacy is the central concept here, where nostalgia and melancholy also met each other. Backed by the usual competence of Jaques Morelenbaum, Luiz Brasil, Jorge Helder, and Carlos Balla, this album is suited for those who can't stand the electric pop style present in some of Veloso's albums.
Caetano Veloso - Omaggio a Federico e Giulietta (flac 375mb)
01 Que Não Se Vê (ComeTu Mi Vuoi) 4:14
02 Trilhos Urbanos 3:23
03 Giulietta Masina 4:39
04 Lua, Lua, Lua, Lua 4:45
05 Luna Rossa 5:53
06 Chega De Saudade 3:04
07 Nada 3:43
08 Come Prima 2:51
09 Ave Maria 1:49
10 Chora Tua Tristeza 3:32
11 Coração Vagabundo 4:37
12 Cajuína 2:21
13 Gelsomina 3:33
14 Let's Face The Music And Dance 4:18
15 Coração Materno 4:42
16 Patricia 3:12
17 Dama Das Camélias 2:44
18 Coimbra 4:33
19 Gelsomina 2:15
Caetano Veloso - Omaggio a Federico e Giulietta (ogg 171mb)
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This record is a collaboration between Caetano Veloso and Jorge Mautner, a comparatively unknown poet and songwriter, whose work Veloso has admired since the '70s. Eu Não Peço Desculpa has a much more spontaneous air to it than Veloso's two previous albums, Noites do Norte and Livro, with their thematic ambitions. The sound is simple and free from any superfluous frills. The production brings a delicate electronic sound to the album, which also contributes to it sounding quite different from Veloso's recordings during the preceding ten years or so. Compared to the more serious tone on Livro and Noites do Norte, the lyrics on "Eu Não Peço Desculpa" are quite playful and happy, often spiced with ambiguities and ironies, though there are also songs (as for example "Assim Se Morre") touching such serious and sad topics as death and violence. The smooth, elegant "Tarado," with its deliciously funny and colorful lyrics is a highlight of the album. Musically Veloso and Mautner jump between very different styles, shifting from the light pop of the opening track, "Todo Errado," to the electronics of "Manjar de Reis" and a new interpretation of Veloso's beautiful and Nordeste-inspired "Cajuína." The album also contains a fine version of the percussion-driven "Maracatu Atômico," one of Jorge Mautner's most famous songs (previously recorded by artists like Gilberto Gil and Nação Zumbi). Veloso and Mautner sound very inspired throughout this album, and Eu Não Peço Desculpa is Veloso's most fresh-sounding studio album since the 1991 recording Circuladô.
Caetano Veloso E Jorge Mautner - Eu Nao Peco Desculpa (flac 287mb)
01 Todo Errado 3:50
02 Feitiço 2:19
03 Manjar de Reis 3:58
04 Tarado 4:23
05 Maracatu Atômico 4:24
06 O Namorado/Urge Dracon 6:24
07 Coisa Assassina 4:15
08 Homem Bomba 3:12
09 Lágrimas Negras/Doidão 3:49
10 Morre-se Assim 3:08
11 Graça Divina 3:34
12 Cajuína 3:32
13 Voa, Voa, Perereca 1:43
14 Hino Do Carnaval Brasileiro 3:19
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Caetano Veloso E Jorge Mautner - Eu Nao Peco Desculpa (ogg 119mb)
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During his long career, spanning five decades, Caetano Veloso has managed to sustain a remarkable consistency, year after year composing beautiful, inventive, and very often simply ingenious music. His previous album, A Foreign Sound, where Caetano interpreted classics from the American popular music scene, was widely applauded abroad and especially in the U.S., but Brazilian listeners were much less impressed. And truth be told, by Caetano's own high standards and with the exception of a few songs, like the reggae-rap version of Bob Dylan's "It's Alright Ma," A Foreign Sound lacked much of Caetano's usual inspiration. Cê, though much lighter and unpretentious, suffers from the same lack of lucid inspiration that has always been the trademark of Caetano. It is not in anyway a bad album, but after having been spoiled with Caetano's unique brand of musical magic and brilliance for so long, Cê just doesn't excite. For the recording, Caetano teamed up with a trio of young musicians, thus forming a traditional rock band relying on an electric guitar, a bass, drums, and the occasional keyboards. The sound is finely tuned and further helped by the excellent production by Caetano's son Moreno and Pedro Sá. The music ranges from the light, carefree punk-pop of tracks like "Outro" and "Odeio" to the laid-back, sentimental "Não Me Arrependo" and "Minhas Lágrimas." "Musa Híbrida" is an interesting mix of samba and rock, with a touch of '70s funk. On "Não Me Arrependo," Caetano uses influence from both Lou Reed and Peninha, and it is perhaps the most melodically impressive song on the album. On "O Herói," Caetano, in a talking voice, recites the lyrics over a sparse and slightly hip-hop-inspired rock groove. The gentle and sweet "Um Sonho" is another highlight. Cê is an enjoyable, finely crafted, and elegantly executed album, but at the same time very far from Caetano's best.
Caetano Veloso - Cê (flac 285mb)
01 Outro 3:00
02 Minhas Lágrimas 5:09
03 Rocks 3:36
04 Deusa Urbana 3:46
05 Waly Salomão 3:24
06 Não Me Arrependo 4:08
07 Musa Híbrida 4:21
08 Odeio 5:58
09 Homem 4:46
10 Porquê ? 3:20
11 Um Sonho 3:20
12 O Herói 3:43
Caetano Veloso - Cê (ogg 113mb)
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Longtime friends and collaborators Caetano Veloso and David Byrne joined forces for a special Carnegie Hall concert broadcast on National Public Radio in the spring of 2004. Eight years later, Live at Carnegie Hall is released, containing highlights from this stripped-down, primarily acoustic meeting of one of Tropicalia's biggest artists with one of the pillars of art rock. Sequenced in the order the concert was played, the disc begins with a solo set by Veloso ending with his cover of the Talking Heads' "The Revolution" to segue into Byrne's set. While not exactly a hushed affair, there's a quietly breezy feeling throughout the recording. Veloso's incredibly smooth voice is the definition of Brazilian pop: laid-back and welcoming at all times. Even singing the comparatively bouncy "O Leãozinho," his voice lilts gently around the song's rigid curves. Languid ballads like "Sampa" and "Coração Vagabundo" breathe with an effortless beauty and the stark yet satisfying instrumentation of Veloso's plucked nylon-string guitar and occasional accompaniment by cellist Jacques Morelenbaum. Also in the mix is percussionist Mauro Refosco providing understated rhythms for both artists' sets. The disc's second half finds Byrne struggling against uprooting the low-lit vibe laid down by Veloso. While performing in a mode decidedly less turgid than normal, even his takes on mellower Talking Heads classics like "And She Was" or "Heaven" sound especially rock when compared to his concert-mates' staid performance. Rompers like "Life During Wartime" stick out, seeming a little lost; not quiet enough for spartan acoustic ambience and not loud enough for even a spirited unplugged reading. Byrne admitted in interviews he was "extremely nervous" about the concert and his jitters are evidenced by the occasional flubbed guitar chord or slightly rushed vocal delivery. Given his pedigree of quirk, these flaws read more endearing than ham-fisted, especially in the intimate context of an acoustic performance. The disc is pretty standard fare up until the final four or five tracks, where the two come together to duet on each other's songs. It's in these tracks that Live at Carnegie Hall really becomes transcendent. Long influenced and inspired by each other, Byrne and Veloso seem genuinely thrilled to be in each other's presence musically. Byrne's soft vocal augmentation on "Ilê Aiyê" seems reverent and humble and seconds later, Veloso's unfamiliar voice delivering lines about 7-11s and chocolate chip cookies on Byrne's lyrically goofy "(Nothing But) Flowers" is downright cute. While the two don't always match up exactly in terms of presentation, by the end, Byrne's nerdy rock and Veloso's airy sonnets prove highly complementary to each other, especially in tandem.
Caetano Veloso & David Byrne - Live at Carnegie Hall (flac 365mb)
01 Desde Que O Samba É Samba 4:48
02 Você É Linda 4:09
03 Sampa 3:52
04 O Leãozinho 3:05
05 Coração Vagabundo 2:55
06 Manhatã 4:10
07 The Revolution 2:31
08 Everyone's In Love With You 1:50
09 And She Was 3:56
10 She Only Sleeps 3:22
11 Life During Wartime 4:19
12 God's Child 4:27
13 Road To Nowhere 3:43
14 Dreamworld: Marco De Canaveses 4:54
15 Um Canto De Afoxé Para O Bloco Do Ilê 3:34
16 (Nothing But) Flowers 4:58
17 Terra 5:54
18 Heaven 3:56
Caetano Veloso & David Byrne - Live at Carnegie Hall (ogg 175mb)
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