Caetano Veloso (from Bahia)expanded the horizons of Brazilian music by turning it into a highly personalexperience.Veloso debuted with a collaboration with Gal Costa,
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Find album reviews, stream songs, credits and award information for Bicho - Caetano Veloso on AllMusic - 1977 - Just prior to the recording of Bicho, Caetano Find album reviews, stream songs, credits and award information for Bicho - Caetano Veloso on AllMusic - 1977 - Just prior to the recording of Bicho, Caetano.
Domingo (1967), whichwas still in the tradition of bossanova (Coracao Vagabundo), but in the same year he wroteAlegria Alegria (1967) and
Tropicalia (1967), two songs that,together with the album Tropicalia ou Panis et Circensis (1968),defined tropicalismo. Veloso found his most poetic voice in the twofollowing albums, from the 'psychedelic' Caetano Veloso (1968), containing Superbacana, to his most accomplished collection,Caetano Veloso (1969), containing Os Argonautas and Irene. Theyintroduced an austere, vulnerable and introverted voice.After being expelled from Brazil, Velosoproved that he was not afraid to experiment with the format of the anglosaxonsinger-songwriters of the era withCaetano Veloso (1971) and the movingTransa (1972).In fact, Araca Azul (1971) was an experimental collage of noise,tribal drumming and musical parodies.Upon returning to Brazil, Veloso wrote most of his classics:Blue Araca', Tigresa, Um Indio, Terra, Lua de Sao Jorge, Beleza Pura, Menino do Rio, Sampa.The simple and quiet Qualquer Coisa (1975) Joia (1975), that originated from the same sessions, were the best album of the period. Most of the others were live or full of covers.
Doces Bararos (1976) was a supergroup made up of Gil, Veloso, Gal Costa and Maria Bethania.
Transfigured elements of funk and reggae percolated into Bicho (1977) and especially Muito (1978), butCinema Transcendental (1979),Outras Palavras (1981), with Rapte-me Camaleoa,Cores Nomes,Uns,Velo' were inferior albums.Simple and relaxed ballads such as Meu Bem Meu Mal,Eclipse Oculto,Voce E' Linda,Podres Poderes,marked Veloso's middle age.
His 'no-wave' album Estrangeiro (1989), containingO Estrangeiro, featuredArto Lindsay,Bill Frisell andMarc Ribot, and marked the beginning of anew phase in his career.Circulado (1991) featuredArto Lindsay,Marc Ribot,Butch Morris,Melvin Gibbs, but was less experimental.But then Veloso wasted a collaboration with Gil to recordTropicalia 2 (1992), while Fine Estampa (1994) was moreform (sophisticated arrangements) than content.Livro (1998) summarized the experiments of the decade with a lush,eclectic sound.Noites do Norte (2001) was a more overt appropriation of Americanstyles, from hip-hop to rock, a program made explicit byA Foreign Sound (Nonesuch, 2004).
In the 1990s, he also directed a film and published a book.He reached a new level of sophistication (but a rather harmless one) with Prenda Minha (1999),Noites do Norte (2000)and the film soundtrack Orfeu (2000).
Veloso fronted a rock power-trio on Ce (2007).
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