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.
Poet and musician, the true soul of cultural Brazil: this is Caetano Veloso. This live set features him in two delicious duets with fellow musician Lulu Santos, and also contains great reworkings of some little heard Jobim tunes. Most interestingly, it includes a lot of material from Veloso's 'Tropicalia' era, with many songs in Portuguese.
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.
Longtime friends and collaborators Caetano Veloso and David Byrne joined forces for a special Carnegie Hall concert broadcast on National Public Radio in the spring of 2004. Eight years later, Live at Carnegie Hall is released, containing highlights from this stripped-down, primarily acoustic meeting of one of Tropicalia's biggest artists with one of the pillars of art rock. Sequenced in the order the concert was played, the disc begins with a solo set by Veloso ending with his cover of the Talking Heads' "The Revolution" to segue into Byrne's set. While not exactly a hushed affair, there's a quietly breezy feeling throughout the recording. Veloso's incredibly smooth voice is the definition of Brazilian pop: laid-back and welcoming at all times.
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!.
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.