sexta-feira, 5 de agosto de 2016


Edição Original em LP PHILIPS R 765.026 L 
(Brasil, Março 1968)

A1. Tropicália (Caetano Veloso) 3’40
A2. Clarice (Caetano Veloso / Capinam) 5’30
A3. No Dia Em Que Eu Vim-me Embora 
      (Caetano Veloso / Gilberto Gil) 2’27
A4. Alegria, Alegria (Caetano Veloso) 2’50
A5. Onde Andarás (Caetano Veloso / Ferreira Guilar) 1’57
A6. Anunciação (Caetano Veloso / Rogério Duarte) 2’01

B1. Superbacana (Caetano Veloso) 1’28
B2. Paisagem Útil (Caetano Veloso) 2’39
B3. Clara (Caetano Veloso) Com Gal Costa 1’45
B4. Soy Loco Por Ti, América (Gilberto Gil / Capinam) 3’45
B5. Ave Maria (Caetano Veloso) 2’21
B6. Eles (Caetano Veloso / Gilberto Gil) 4’40

Capa – Rogério Duarte
Foto – David Drew Zingg
Arte Final – Liana e Paulo Tavares
Direção de Produção – Manuel Barembeim

Try to explain Caetano Veloso to an Anglo-American audience and you end up constructing some fabulous hybrid of Brian Wilson, Stevie Wonder, Bob Dylan, Syd Barrett, John Lennon, and Bob Marley. The English-speaking pop world does not really have a Caetano Veloso, which is probably why the likes of Beck, Kurt Cobain, and David Byrne have worshipped him. Androgynous, profoundly intellectual, yet gloriously irreverent, he performs to packed soccer stadiums while playing unashamedly highbrow music. This self-titled solo debut (after an album called “Domingo” that he had recorded the year before with Gal Costa) was a key text in the formation of Tropicalia, a slyly seditious pop art movement of late 1960s Brazil. Veloso unwittingly unified a mix of leftish poets, painters, dramatists, and film-makers with his defiantly Brazilian response to the “neo-rock” of The Beatles. It is bossa nova played by psychedelic rockers and orchestrated by classical composers, complicated by horn arrangements and baroque vocal harmonies. The music is stunning – the wobbly psychedelic rock of “Clarice”, the haunting, complex chord changes of “Clara”, the jaunty Che Guevara tribute “Soy Loco Por Ti, América” – but even those who do not speak a word of Portuguese may be intrigued by Veloso’s concrete poetry lyrics. Brzil’s teenagers loved it; the military dictatorship of the time did not. Within two years Veloso was forced out of Brazil into exile in London, something that only confirmed his legendary status and propagated a remarkable career. (John Lewis in “1001 Albums You Must Hear Before You Die”)

2 comentários:

onzichtbaredj disse...

Rato this is really great! Thanks for sharing Caetano from 1968.
The first time my attention to Caetano was raised was by a song I heard on "Worldreceiver" a radioprogramme on VPRO radio some 15 years ago. He sung It's a long long long long road etc. I was immediately affected.
However it is diffiult in The Netherlands to get a comprehensive understanding of Caetano and most Brasilian musicians as the country is very much under the Anglo-Saxon influence.
I will shut my eyes and listen further to your gift to the free space, a present from the time that the world seemed to have a choice how to continue in the future...
Onzichtbaredj world community.

Eddie Riff disse...

I have only found a compilation of his work on cd. It's great to hear a full album to get the effect he wanted. Thanks very much!

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