01. Tropicália (Caetano Veloso) - 3:37
02. Clarice (José Carlos Capinam/Caetano Veloso) - 5:26
03. No Dia Em Que Eu Vim-Me Embora (Gilberto Gil/Caetano Veloso) - 2:26
04. Alegria, Alegria (Caetano Veloso) - 2:48                   play
05. Onde Andarás (Ferreira Gullar/Caetano Veloso) - 1:55
06. Anunciação (Rogério Duarte/Caetano Veloso) - 2:19
07. Superbacana (Caetano Veloso) - 1:25                        play
08. Paisagem Útil (Caetano Veloso) - 2:37
09. Clara (featuring Gal Costa) - 1:43
10. Soy Loco Por Tí, América (Capinam/Gilberto Gil) - 3:42
11. Ave Maria (Caetano Veloso) - 1:58
12. Eles (Gilberto Gil/Caetano Veloso) - 4:37

Personnel:
- Caetano Veloso – guitar, vocals

Caetano Veloso é o segundo álbum do cantor Caetano Veloso, sendo seu primeiro álbum solo, gravado em 1967 e lançado em 1968 pela gravadora Phillips. Teve arranjos de Júlio Medaglia, Damiano Cozzella e Sandino Hohagen. A música Tropicália, primeira faixa deste álbum, daria nome ao próximo álbum lançado por Caetano.

If I had to pick a "scene" in rock history that seems to transcend every pop staple, it would be those illuminary Brazillians from the late 60's. There are so many super-talented and visionary artists from that movement, I sometimes feel overwhelmed by the passion and exhuberance of these albums. Caetano Veloso is one of those artists. I sometimes feel like the romantic drama and devil-may-care virtuosity of this album could drive anyone to tears, or at least to youtube, trying to find any way to vicariously experience whatever socio-political hell was responsible for an artist like Veloso to grab everything meaningful in life, shoot it out of an existential cannon; watch it float through outerspace and land in the Amazon. It sounds so futuristic, so contemporary, so pre-historic. I still listen to this album, scratching my head, wondering: "How the hell did he do that? How can anyone evoke everything through sound with seeming effortlessness?" and then I realize it is the entire experience that he is channeling: the military overthrow, the intense repression of individualistic efforts, the racial conflict and an economic overhaul felt through the impoverished ranks of a sickeningly rapid transition to modernity. All of that and just drop you to your knees beautiful songs that the most hardened death-row inmate would fall in love to. Be careful who you are listening to this with; it's sensual allure is basically immutable. This album is absolutely fantastic, and there are several from this movement. Tracks 2 and 5 will absolutely break your heart, while track 12 will leave you sweating with abstract pop largesse. Keeping in mind, that this album starts off with a genre, and perhaps even nation-defining track: Tropicalia. Good God, just buy this album. I have never felt more comfortable recommending an album so unconditionally. ---Jules McCaffery

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1. Mamãe Natureza
2. Chuck Berry Fields Forever
3. São João, Xangô Menino
4. O Seu Amor
5. Let It Bleed                    play
6. Por Causa de Você - Uma Casa Portuguesa - Felicidade
7. Amante Amado                    play
8. Pecado Original
9. A Rã Caetano Veloso
10. Diamante Verdadeiro
11. O Bater do Tambor
12. Samba da Cabeça
13. Massa Real
14. Bom É Batuta
15. Encantado
16. Escândalo
16. Pipoca Moderna
17. Armandinho
18. Luz do Sol

Caetano Veloso y el Tropicalismo cambiaron, en los años 70, la música popular brasilera. Caetano es uno de los compositores más influyentes de la MPB desde que 1967 se editara su primer disco, compartido con Gal Costa: Domingo.

En 2007, con motivo de cumplirse los 40 años de aquel primer disco, comenzaron a re editarse todos los discos de Caetano en cajas . Por el momento sólo han editado dos, que abarcan los períodos 1967-1974 y 1975-1982. Cada una de estas cajas contiene diez discos de Caetano, incluyendo un disco extra con rarezas y material inédito.

Esos discos extras son los que hoy publicamos en Bienvenidos a la Monga. Pipoca Moderna, compila temas raros y no editados del período 1975-1982.

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01. You don't know me - 3:48
02. Nine out of ten - 4:55
03. Triste Bahia (Caetano Veloso/Gregório de Mattos) - 9:46
04. It's a long way - 6:05
05. Mora na filosofia (Monsueto Menezes/Arnaldo Passos) - 6:16
06. Neolithic man - 4:54
07. Nostalgia (That's what rock'n'roll is all about) - 1:20

Personnel:
- Caetano Veloso - guitar, vocals

This record is a masterpiece of tropicalia music. The Context: The tropicalia poet has been sent into exile in London by the forces of repression and artistic control in Brasil.

London, 1970: at the height of hippie culture. Surrounded by the sounds of 1960's British rock, the harsh noise of the English language, with the warmth of tropical Brasil and the soft Portuguese language only dreams and memories in a primitive, neolithic, rock-dominated nightmare of exile. He wakes up in the morning, singing an old Beatles song. It is a long way back to his homeland.

At home, in Brasil, the Poet is a star. In England he is a just a long-haired South American man with a guitar and a funny accent. He hears his voice among others... just a common man. His presence in London goes unnoticed. ... "You don't know me..." he says and "You won't see me." He feels anonymous and the feeling pervades these songs.

He has no idea when or if he will ever be allowed to return to his homeland. He might as well learn to play rock chords and sing in English. But it is awkward. He cannot take the hippies or the rock-&-rollers completely serious. He is an outsider to their ideas and life style. He mocks them: "You sing about waking up in the morning but your never up before noon!"

And he cannot escape his memory and his language. Bits of Portuguese surface up from his subconscious, even as he struggles to sing and write in this new, rhyme-less language. Verses in Portuguese force themselves into his English songs. The sound of cuicas and bossa nova chords intervene, even as he tries to play his guitar in the English style. But the sounds of Brasil, and the sounds of Portuguese words, come across as hallucinations, chunks of dream, trance-inducing (trance, a play on words on the title "transa", which is itself a word full of sexual, sensuous overtones).

The Poet goes into the streets of London. He walks down the street and hears a tropical sound: but it is just reggae, not the samba and bossa nova sound of his home land. He remembers a lesson from his days as a school boy, another poet 300 years his elder, Gregorio de Mattos, whose outrageous art earned him the nickname "Hell Mouth" and earned him an exile in Angola. "Triste Bahia" becomes a sort of seance, a dialogue of exiled poet to exiled poet, across the cosmos and the centuries, a communion of language and rhythms that evoke a homeland, Bahia, from which they have both been expelled.

So much for the context, now for the music. It is amazing how dreamy it is while maintaining a bare, minimalist production. No lush tracks recorded one on top of the next. Just a man, a microphone, an acoustic guitar, some background percussionists, and a bassist. If you close your eyes it almost sounds like you are in the sound studio with Caetano as he plays. And how he plays! Every one of these tracks is an amazing typically tropicalia journey to the limits of the accepted, conventional norms of mainstream music. Each starts off soft and conventional, and then builds, builds, repeats, repeats, until finally you are overwhelmed with the absolute force of the noise coming out of your speakers. And then silence. And typically a return to the beginning again. --- Salty Saltillo, amazon.com

Transa é um álbum do cantor brasileiro Caetano Veloso. O disco foi lançado em LP em 1972. Exilado em Londres desde 1969, Caetano Veloso obteve permissão para ficar um mês no Brasil em janeiro de 1971 para assistir à missa comemorativa dos 40 anos de casamento de seus pais. No Rio de Janeiro, o cantor foi interrogado por militares que pediram para que fizesse uma canção elogiando a rodovia Transamazônica - na época em construção. Caetano não aceitou a "proposta", mas de volta a Londres, gravou no final do ano o LP com o nome de "Transa", lançado em território brasileiro em janeiro de 1972, quando o cantor voltou definitivamente ao país.

Sobre o álbum, Caetano declarou em uma entrevista ao Jornal do Brasil: "Chamei os amigos para gravar em Londres. Os arranjos são de Jards Macalé, Tutti Moreno, Moacyr Albuquerque e Áureo de Sousa. Não saíram na ficha técnica e eu tive a maior briga com meu amigo que fez a capa. Como é que bota essa bobagem de dobra e desdobra, parece que vai fazer um abajur com a capa, e não bota a ficha técnica? Era importantíssimo. Era um trabalho orgânico, espontâneo, e meu primeiro disco de grupo, gravado quase como um show ao vivo".

Na mesma entrevista: "Foi Transa que me deu coragem de fazer os trabalhos com A Outra Banda da Terra. Tem a Nine out of Ten, a minha melhor música em inglês. É histórica. É a primeira vez que uma música brasileira toca alguns compassos de reggae, uma vinheta no começo e no fim. Muito antes de John Lennon, de Mick Jagger e até de Paul McCartney. Eu e o Péricles Cavalcanti descobrimos o reggae em Portobelo Road e me encantou logo. Bob Marley e The Wailers foram a melhor coisa dos anos 70. Gosto do disco todo. Como gravação, a melhor é Triste Bahia. Tem o Mora na Filosofia, que é um grande samba, uma grande letra e o Monsueto é um gênio. Me orgulho imensamente deste som que a gente tirou em grupo".

Esse álbum foi eleito em uma lista da versão brasilieira da revista Rolling Stone como o oitavo melhor disco brasileiro de todos os tempos. ---wiki

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1 - Uns                        play
2 - Musical 
3 - Eclipse oculto 
4 - Peter gast 
5 - Quero ir a cuba 
6 - Coisa mais linda 
7 - Você é linda               play
8 - Bobagens, meu filho, bobagens 
9 - A outra banda da terra 
10 - Salva vidas 
11 - E hoje

Caetano Veloso – Vocals, Guitar
Luciano Alves - Keyboards
Maria Bethânia 	- Vocals
Sonia Burnier - Vocals (Background)
Chacal - Percussion
Robson Jorge - Keyboards
Edson Lobo - Cello
Zé Luiz - Saxophone
Paula Martins - Vocals (Background)
Annie Marie Munsen - Cello
Lincoln Olivetti - Keyboards
Piska - Bass, Drums, Guitar (Electric), Keyboards
Serginho Trombone - Keyboards

Uns opens with the swinging title track, with its rhythmic poetry based in the word that means "some people," opening endless possibilities: "Musical" is a melancholic and delicate melody, delivered with simplicity; "Eclipse Oculto" was the big hit of the album with its hybrid reggae rhythm and lyrics that are a monologue directed to a former lover; "Peter Gast" is the best melody/arrangement of the album, a sophisticated ballad; "Quero Ir Aa Cuba" has swinging Caribbean rhythms; "Coisa Mais Linda" (Carlos Lyra/Vinícius de Moraes), a bossa classic, is delivered in the purest bossa style; "Você É Linda," which also was a hit, is a ballad whose lyrics describe in detail the charms of a certain Bahian girl; "Bobagens, Meu Filho, Bobagens" (Marina Lima/Antônio Cícero) is a minor pop ballad; "A Outra Banda da Terra," a reggae song, talks about territorialism with redneck accent; the samba-funk "Salva Vida," with special guest Maria Betânia, provokes conservatives with references to masculine beauty; and the classic, beautiful samba-enredo "É Hoje" (Didi/Mestrinho) closes the album. ---Alvaro Neder, Rovi

Caetano Emanuel Viana Teles Veloso (Santo Amaro da Purificação, 7 de agosto de 1942) é um músico e escritor brasileiro. Considerado um dos melhores compositores do século XX, já foi comparado, em termos de relevância para a música pop internacional, a nomes como Bob Dylan, Bob Marley e Lennon/McCartney. Nascido na Bahia, é o quinto dos oito filhos de José Teles Velloso (Seu Zezinho), empregado dos Correios falecido em 13 de dezembro de 1983 aos 82 anos, e Claudionor Viana Teles Velloso (Dona Canô), nascida em 16 de setembro de 1907. Casaram-se em 7 de janeiro de 1931.

O nome da irmã foi por ele escolhido inspirado em uma canção famosa da época (18 de junho de 1946) na voz do cantor Nélson Gonçalves, Maria Bethânia, do compositor Capiba. Na infância, foi fortemente influenciado por arte, música, desenho e pintura; as maiores influências musicais desta época foram alguns cantores em voga na época, como "o rei do baião" Luiz Gonzaga, e canções de maior apelo regional, como sambas de roda e pontos de macumba. Em 1956 frequentou o auditório da Rádio Nacional, na capital fluminense, que contava com apresentações dos maiores ídolos musicais brasileiros. Em 1960 mudou-se para Salvador, onde aprendeu a tocar violão. Apresentou-se em bares e casas noturnas de espetáculos. Nesta época, o interesse por música se intensificou. Cedo na carreira retirou um "l" de seu nome, optando por Caetano Veloso.

Uns é o álbum de Caetano Veloso lançado em 1983, com os sucessos da música pop como "Eclipse Oculto" e "Você é Linda" Um grande disco. O lado B é desigual, mas os grandes momentos são muitos. É um disco mais pop que Cores Nomes. Mais fácil de ser digerido. E se não tem faixa tão genial quanto "Rapte-me Camaleoa" e "Ele me Deu um Beijo na Boca", tem as deliciosas "Uns", "A Outra Banda da Terra" (que exemplifica essa fase com precisão), "Vocé é Linda" e "Eclipse Oculto", música irmã de "Queixa", mas, como notou o amigo Alexandre Xavier, fotógrafo da Paisà , uma irmã mais descompromissada e solta, disposta a novas aventuras e a perdoar o outro lado.

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01.Perdeu
02.Sem cais
03.Por quem
04.Lobão tem razão
05.A Cor Amarela		play
06.Base de Guantánamo
07.Falso Leblon
08.Incompatibilidade de gênios
09.Tarado in voce
10.Menina da Ria
11.Ingenuidade
12.Lapa
13.Diferentemente		play

Marcello Callado - Drums, Handclapping, Vocals (Background)
Ricardo Dias Gomes - Bass, Fender Rhodes, Handclapping, Vocals (Background)
Pedro Sá - Guitar (Electric), Handclapping, Producer, Vocals (Background)
Caetano Veloso - Guitar (Acoustic), Handclapping, Vocals

After over three decades of building a body of work that stands as one of the most mesmerizing and groundbreaking in any musical language of the past 50 years, Caetano Veloso seems to have hit a hitherto unimaginable creative slump in the early 21st century. His controversial 2006 album, Cê, was a deliberate attempt on Veloso's part to rejuvenate himself with a full immersion in electronic noise. Regardless of its largely disappointing results, it is clear that Veloso conceived the album as a new turning point, and that its 2009 successor, Zii e Zie, was intended as a logical continuation, both in the sound and in the central role of sex in many of his lyrics. Essential to Veloso's new minimalist approach is the reduction to a four-piece electric band, consisting of guitarist Pedro Sá, bassist Ricardo Dias Gomes, and drummer Marcelo Callado, plus Veloso on vocals and guitars. The three musicians that form BandaCê, as the band was put together for the Cê tour, all belong to a much younger generation than Veloso's, and come from the Brazilian rock scene, rather than MPB (Musica Popular Brasileira). The music of Zii e Zie was developed with the band -- demos and ideas were also posted online on Veloso's official site as "work in progress," for colleagues, friends, and fans to discuss and make suggestions. In fact, the entire creative process behind this album is dissected by Veloso on his site in a way that is unprecedented for any of his records. Allegedly, the main concept was the creation of "transambas": transforming the spirit of samba through an ascetic, acerbic, and electric sound, better fitted for the harsh urban realities of a Brazil trying to balance a soaring economy with ever-increasing social inequality and violence. This Veloso set to accomplish with a remake of two classic sambas by Serafim Adriano, as well as in a series of compositions dealing with the city of Rio de Janeiro. Most of all, he accomplishes this in the elemental rhythmic motif that opens the album, and in fact dominates throughout via a samba pattern laid out obsessively by an electric guitar. The results are primitive but hypnotic; certainly Zii e Zie cannot be faulted for lack of consistency. Still, while most of the debate over Veloso's new music inevitably centers around his rediscovery of electronic sounds, it should not cloud the main issue: it is not the sound, but the songs that are lacking here. Veloso has always been first and foremost an exceptional songwriter. This has allowed him to experiment in any direction he chooses and, improbably, make it all work -- simply because a great song always waited at the bottom of it all. Unfortunately, this no longer seems to be the case. While Zii e Zie is an utterly compelling listen, one that has to be regarded as a definitive improvement upon Cê, yet there are really few individual songs here that match Veloso's (granted, insanely high) standards. This becomes particularly evident in tracks that reference earlier songs, such as "Guantanamo" and "Menina da Ria." Even if the latter is actually one of the album's most beautiful moments, these songs still pale in comparison to the masterpieces they are ostensibly revisiting (1994's "Haiti" and 1979's "Menino do Rio," respectively). Time will tell what place this electric phase will ultimately take in Caetano Veloso's long and fabulous discography. Zii e Zie certainly deserves to be heard, even if only because it would be most unwise to pass judgment too quickly on such a proven visionary. --Mariano Prunes, Rovi

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01. Samba em Paz
02. Cavaleiro
03. Yes, Nós Temos Bananas
04. Ai de Mim, Copacabana
05. É Proibido Proibir - Ambiente de Festival
06. A Voz do Morto
07. Baby
08. Saudosismo
09. Marcianita
10. Torno a Repetir
11. Cinema Olympia
12. Hino do Esporte Clube Bahia
13. Charles, Anjo 45
14. Barão Belleza
15. Pula, Pula
16. Cada Macaco no Seu Galho
17. É Coisa do Destino
18. Frevo do Trio Elétrico
19. Tudo Se Transformou

Caetano Veloso y el Tropicalismo cambiaron, en los años 70, la música popular brasilera. caetano es uno de los compositores más influyentes desde que 1967 se editara su primer disco, compartido con Gal Costa: Domingo.

En 2007, con motivo de cumplirse los 40 años de aquel primer disco, comenzaron a re editarse todos los discos de Caetano en cajas . Por el momento sólo han editado dos, que abarcan los períodos 1967-1974 y 1975-1982. Cada una de estas cajas contiene diez discos de Caetano, incluyendo un disco extra con rarezas y material inédito.

Esos discos extras son los que hoy publicamos en Bienvenidos a la Monga. El primero de ellos Cinema Olympia incluye material raro e inédito del período 1967-1974.

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01 - Vaca Profana
02 - Oba Lá-lá-Bim Bom
03 - O Quereres
04 - Nosso Estranho Amor
05 - Calúnia
06 - Nature Boy				play
07 - Estranha Forma de Vida
08 - Kalú
09 - Totalmente Demais
10 - Pra que Mentir
11 - Dom de Iludir
12 - Solidão					play
13 - Cuesta Abajo
14 - Lealdade
15 - Todo o Amor que Houver Nessa Vida
16 - Amanhã

Caetano Veloso - guitar, vocals

This live album had a big hit with "Vaca Profana," re-recorded by Gal Costa and several other artists. Veloso recovers two of João Gilberto's delicate jewels, "Oba-lá-Lá" and "Bim Bom"; "Pra Que Mentir," a fundamental song by the fundamental duo Noel Rosa/Vadico, with an excellent violão arrangement; and the classics "Calúnia," "Kalú," "Solidão," "Lealdade," and the Gardel tango "Cuesta Abaixo." "Nosso Eestranho Amor," and "Dom de Iludir" are Veloso's creations that deserve mention. This is one of the delicate albums by Veloso, singing alone with his violão (which reaches considerable sophistication here). ---Alvaro Neder, Rovi

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