Caetano Veloso 1968

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!.

A true heavyweight, Caetano Veloso is a pop musician/poet/filmmaker/political activist whose stature in the pantheon of international pop musicians is on a par with that of Bob Dylan, Bob Marley, and Lennon/McCartney. And even the most cursory listen to his recorded output over the last few decades proves that this is no exaggeration.
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 1950s) that formed the foundation of Veloso's intensely eclectic pop.

As Sergio Mendes reached the peak of his first A&M period with Brasil '66, his old company, Atlantic, continued to release new instrumental Mendes albums, of which this was the last. As on the Brasil '66 recordings of the time, Mendes exposes fresh material from the '60s bumper crop of great Brazilian songwriters: Edú Lobo, Dori Caymmi, Baden Powell, Chico Buarque, and Caetano Veloso. Dave Grusin returns with his swirling, ambitious orchestral arrangements; John Pisano is back on rhythm guitar (along with a lounge-like bossa nova take of his "So What's New"); and Mendes continues to toy with the Fender Rhodes electric piano and electric harpsichord on a number of cuts. Yet this album has an entirely different sound than Mendes' A&Ms, with a typically trebly Nesuhi Ertegun production and more varied rhythm tracks (only on the title track does the rhythm section sound like that of Brasil '66).

As Sergio Mendes reached the peak of his first A&M period with Brasil '66, his old company, Atlantic, continued to release new instrumental Mendes albums, of which this was the last. As on the Brasil '66 recordings of the time, Mendes exposes fresh material from the '60s bumper crop of great Brazilian songwriters: Edu Lobo, Dori Caymmi, Baden Powell, Chico Buarque, and Caetano Veloso.