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Caetano Veloso

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. Following his sister Maria Bethânia (a very successful singer in her own right) to Rio in the early '60s, the 23-year-old Veloso won a lyric-writing contest with his song "Um Dia" and was quickly signed to the Philips label. It wasn't long before Veloso (along with other Brazilian stars such as Gal Costa and Gilberto Gil) represented the new wave of MPB (i.e., musica popular brasileira), the all-purpose term used by Brazilians to describe their pop music. Bright, ambitious, creative, and given to an unapologetically leftist political outlook, Veloso would soon become a controversial figure in Brazilian pop. By 1967, he had become aligned with Brazil's burgeoning hippie movement and, along with Gilberto Gil, created a new form of pop music dubbed tropicalia. Arty and eclectic, tropicalia retained a bossa nova influence, adding bits and pieces of folk-rock and art rock to a stew of loud electric guitars, poetic spoken word sections, and jazz-like dissonance. Although not initially well received by traditional pop-loving Brazilians (both Veloso and Gil faced the wrath of former fans similar to the ire provoked by Dylan upon going electric), tropicalia was a breathtaking stylistic synthesis that signaled a new generation of daring, provocative, and politically outspoken musicians who would remake the face of MPB.

This was a cultural shift not without considerable dangers. Since 1964, Brazil had been ruled by a military dictatorship (a government that would rule for 20 years) that did not look kindly upon such radical music made by such radical musicians. Almost immediately there were government-sanctioned attempts to circumscribe the recordings and live performances of many tropicalistas. Censorship of song lyrics as well as radio and television playlists (Veloso was a regular TV performer on Brazilian variety shows) was common. Just as common was the persecution of performers openly critical of the government, and Veloso and Gil were at the top of the hit list. Both men spent two months in prison for "anti-government activity" and another four months under house arrest. After a defiant 1968 performance together, Veloso and Gil were forced into exile in London. Veloso continued to record abroad and write songs for other tropicalia stars, but he would not be allowed to return to Brazil permanently until 1972.

Although his commitment to politicized art never wavered, Veloso, over the next 20 years, went from being a very popular Brazilian singer/songwriter to becoming the center of Brazilian pop. For decades he kept up a grueling pace of recording, producing, and performing and, in the mid-'70s, added writing to his résumé, publishing a book of articles, poems, and song lyrics covering a period from 1965 to 1976. In the '80s, Veloso became increasingly better known outside of Brazil, touring in Africa, Paris, and Israel, interviewing Mick Jagger for Brazilian TV, and in 1983, playing America for the first time. (He sold out three nights at the Public Theater in New York with shows that were rapturously reviewed by then-New York Times pop critic Robert Palmer.) This steady increase in popularity occurred despite the fact that Veloso's records were extremely hard to find in American record stores, and when one could locate them, they were expensive Brazilian imports. Still, the buzz on Veloso grew, thanks in part to Palmer, Robert Christgau, and other critics writing about pop music outside of the contiguous 48 states. But Veloso never seemed bothered by his low profile outside of Brazil, and his work over the years, even after he became a more well-known international pop figure, remained challenging and intriguing without being modified for American (or anyone else's) tastes -- that is, Veloso sang in English (most of his recorded work is sung in Portuguese) when he felt like it, not because he had to sell more records in America. He hung out with fairly trendy New York musicians (Brazilian native Arto Lindsay and David Byrne), but never made a big deal about it. Veloso was one of the rare musicians who was popular, sold a lot of records (at least in Brazil), was a certifiable superstar, but was never self-aggrandizing, narcissistic, or overly concerned with how hip he was.

Even when he approached the age of normal retirement, Veloso showed no signs of slowing down. After his 1989 recording Estrangeiro (produced by Ambitious Lovers' Arto Lindsay and Peter Scherer) became his first non-import release in America, Veloso's stateside profile increased significantly, reaching its highest point with the release of 1993's Tropicália 2, recorded with Gilberto Gil. A brilliant record that made a slew of American Top Ten lists, Tropicália 2 proved once again that Veloso's talent (as well as Gil's) had not diminished a bit. His early-'90s recordings, Circuladô, Fina Estampa, and Circuladô ao Vivo (the latter of which includes versions of Michael Jackson's "Black and White" and Dylan's "Jokerman"), were uniformly wonderful, and in the summer of 1997 Veloso embarked on his largest American tour to date.

Two years later, Veloso was the subject of an extensive, flattering portrait in Spin on the eve of the American release of his acclaimed 1998 album, Livro. In 1999, he released Omaggio a Federico e Giulietta, a tribute to auteur Federico Fellini and his wife, actress Giulietta Masina. He also won a Grammy for the Best MPB Album for 1998's Livro at the first annual Latin Grammy Awards. After the end of the millennium, Veloso delivered a bossa nova album, the spirited Noites do Norte, a live record from Bahia, a collaboration with poet Jorge Mautner, and the songbook album A Foreign Sound. In 2006, Veloso returned with , a typically diverse and interesting album co-produced by his son Moreno. Veloso took some time out to tour and begin another book; he released Zii e Zie in 2009 on Nonesuch through World Circuit. Live at Carnegie Hall, a record documenting a very special collaborative concert he and longtime friend David Byrne gave in 2004 as part of Veloso's residency at the renowned venue, was issued in 2012, a year that also saw the release of Abraçaço, the third part of the trilogy of studio albums -- and Zii e Zie being the first two -- that placed the artist in the company of much younger players. The album was issued in North America by Nonesuch in March of 2014. ~ John Dougan, Rovi
full bio

Selected Discography

Comments

Caetano Veloso , e molto piacevole ! grazie !
caetano vc e demais a cAda dia melhor adoro
rausilveira
Salvador, de tardezinha.. . . .
barbferry1
Caetano may be considered the Bob Dylan of Brazil, but he certainly has a better voice.
lrangel689
Me encanta, por eso voy a Brasil every year.
Minha cidade My city thank you Caetano I love u
i'm so in love with him. get out of town is such a great song. beautiful artist!
i love this!
One of the greatest musicians ever. I've been listening to his music since I was a little kid in Buenos Aires. My father was passionate with Brazilian music and with jazz. Caetano, um grande.
This is a great music right here give it a listen. Even if you don't understand the words you will feel the "Sentido."
In a word, Veloso is blessed w/ an abundance of talent, and one of the finest male voices in recorded sound. In my humble opinion he is absolutely the most important singer/songw r i t e r that Brasil has produced!
I love this station
ldasilva39
I grew up listening to Caetano in Brazil and at 43 is like you are listening to his songs for the first time every time. I have never seen music stay so fresh and transgress time like his songs/melodi e s .
Love it!!! Great artist
vdersahak
I don't think anybody has rendered "Cucuru Cucu Paloma" like Mr Veloso. I am big fan of his. Just wish I knew Portugese!!! !
Super cool ! Thank you Caetano
like buttah.
rosiemadalen a
The best of the best
kk2000_90505
I now have another favorite to listen to...just love this song...and thank you for playing this...Khin Khin
wow - that voice!
THANK YOU!!!!!!!
jlja21
Bahia!!!! Que bom que CV ta no circuito internaciona l !
maristela.sp i e g e l
"Olodum" would be the word, but that was pretty good ;) I am very proud to say that my father was born in Bahia, which capital is Salvador. My family absolutey loves that State and its artists.
fantastic musician.saw him on pbs going around salvator showing off carnival bands.banda oludum?hope i spelled that corectly was incredible.g o o d music is everywhere.
Gosto muito de voce leaozinho.
virago2004
What the heck is a "Bahian"!? We are Baianos!
what can I say as a Bahian myself he is just briliant!!!

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