Styles, from hip-hop to rock, a program made explicit by Noites do Norte (2001) was a more overt appropriation of American Livro (1998) summarized the experiments of the decade with a lush, Tropicalia 2 (1992), while Fine Estampa (1994) was moreįorm (sophisticated arrangements) than content. Marc Ribot, and marked the beginning of aīut then Veloso wasted a collaboration with Gil to record His "no-wave" album Estrangeiro (1989), containing Outras Palavras (1981), with Rapte-me Camaleoa, Transfigured elements of funk and reggae percolated into Bicho (1977) and especially Muito (1978), but Most of the others were live or full of covers.ĭoces Bararos (1976) was a supergroup made up of Gil, Veloso, Gal Costa and Maria Bethania. The simple and quiet Qualquer Coisa (1975) Joia (1975), that originated from the same sessions, were the best album of the period. Upon returning to Brazil, Veloso wrote most of his classics:īlue Araca', Tigresa, Um Indio, Terra, Lua de Sao Jorge, Beleza Pura, Menino do Rio, Sampa. In fact, Araca Azul (1971) was an experimental collage of noise, Proved that he was not afraid to experiment with the format of the anglosaxon Introduced an austere, vulnerable and introverted voice. Veloso found his most poetic voice in the twoįollowing albums, from the "psychedelic" Caetano Veloso (1968), containing Superbacana, to his most accomplished collection,Ĭaetano Veloso (1969), containing Os Argonautas and Irene. Together with the album Tropicalia ou Panis et Circensis (1968),ĭefined tropicalismo. Was still in the tradition of bossanova ( Coracao Vagabundo), but in the same year he wroteĪlegria Alegria (1967) and Tropicalia (1967), two songs that, Veloso debuted with a collaboration with Gal Costa, Domingo (1967), which Tropicalia ou Panis et Circensis (1968), 6/10Įxpanded the horizons of Brazilian music by turning it into a highly personal ( Copyright © 1999 Piero Scaruffi | Legal restrictions - Termini d'uso ) Caetano Veloso: biography, discography, reviews, links
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