Tabu (1982) Júlio Bressane, Caetano Veloso, Colé Santana, José Lewgoy

Caetano Veloso - Cores, Nomes (1982) {Philips 838 464-2 rel 1989}
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© 1982, 1989 Philips / PolyGram Brasil | 838 464-2
Jazz / Brazilian Jazz / Música popular brasileira / Brazilian Traditions / Brazilian Pop

An album of pure, crystalline beauty. Very peaceful, though there are some up-tempo tracks like Ele Me Deu Um Beijo Na Boca (a very curious one with interesting lyrics) and Sina, with a reggae flavour. But what I liked best are the slow romantic songs. Queixa, Coqueiro de Itapoa, Sete Mil Vezes, Sonhos - all of them have their very special depth of sentiment, very unique charm… but the best one is definitely Trem das Cores.

Released two years after her romantic and a little bit cheesy album "As canções que você fez pra mim", which covered Roberto Carlos' repertoire, "Ao vivo" sounds so much greater! Here she is much more passionate, powerful and compelling! As I always say, to know deeply Bethânia, it is just essential to listen her live. In "Ao vivo" she sings, among many others, several songs from the Roberto Carlos album, and most of them, especially "Fera ferida", "Costumes" and "Você não sabe" become much more touching, just wonderful. Chico Buarque's "Mar e Lua" is also thrilling, the best cover of this song I've ever heard. Other very nice tunes include Caetano Veloso's samba "Tudo de novo" and the ballads "Lua" and "Todo o sentimento". Highly recommended.

This disc, from 1969, in his minimalist art graphics (a clear reference to the BEATLES: "White Album"), is intense and musically diverse, going through all the styles mentioned above and therefore, forty years after its launch, still causes “frisson” ("buzz") and is considered one of the best albums of Caetano.
Check it out and have fun!.

Caetano Veloso - Caetano Veloso (1971) {Philips–Universal 838 561-2 rel 2006}
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© 1971, 2006 Philips / Universal | 838 561-2
MPB / Tropicalia / Folk Rock / Melancholy / Brazilian Traditions

One look at the doleful expression that Caetano Veloso wears on the cover of his third self-titled album, from 1971, and it's clear that the listener is in for a bummer. It's a dead-eyed look that says, "Friend, sit down, have a drink, and listen to my weary tale." And a weary homesick tale it is, for the man who only a few years earlier had been one of the catalysts in a revolution that sent the Brazilian music world on the psychedelic Beatles-lovin' roller coaster of Tropicalia was now living in the U.K. in a government-imposed exile. Gone are the Day-Glo flashes of his earlier albums, replaced by the realism of a revolutionary whose dreams have been shuttered.

Caetano Veloso e Gilberto Gil - Tropicalia 2 (1993) {PolyGram-Philips 518 178-2}
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© 1993 PolyGram / Philips | 518 178-2
Música popular brasileira / MPB / Tropicalia / Brazilian Traditions / Brazilian Pop / World Music

Between harsh criticism (due to the retro opportunistic use of Tropicália), and sectarian defense, Tropicália 2 yielded a Caetano Veloso/Gilberto Gil tour through E.U.A. and Europe one year after this release. The reference to Tropicália was used as a safe-conduct for the duo's incursions in electronics, axé music (the contemporary and pragmatic sound of Bahia) and other commercial exploitation – since under Tropicália everything goes (or used to go, some 30 years ago). The album opens with "Haiti," a dry percussive electronic pattern over which Caetano and Gil speak verses dealing with racism; "Cinema Novo" is a beautiful samba, whose lyrics "explain" and greet the Brazilian cinema movement which gained the world. "Nossa Gente" brings the percussive sounds of axé music together with funk brass attacks.