| 1. Os Passistas (Carnaval Dancers) |
| 2. Livros (Books) |
| 3. Onde O Rio E Mais Baiano (Where Rio Is Most Bahian) |
| 4. Manhata (Para Lulu Santos) (For Lulu Santos) |
| 5. Doideca |
| 6. Voce E Minha (You Are Mine) |
| 7. Um Tom |
| 8. How Beautiful a Being Could Be |
| 9. O Navio Negreiro (The Slave Ship) (Excerto) [Excerpt] |
| 10. Não Enche |
| 11. Minha Voz, Minha Vida (My Voice, My Life) |
| 12. Alexandre (Alexander) |
| 13. Na Baixa Do Sapateiro (In Baixa Do Sapateiro) |
| 14. Pra Ninguem (For No One) |
Editorial Reviews
Amazon.com
Caetano Veloso has been tied in a kind of historical knot for decades with Gilberto Gil, with whom Veloso helped spur the Tropicalia movement in the 1960s. And just as Gil's moved on to reference and discuss a panoply of themes in his music, so too is Veloso on an extended foray into nonmusical subjects. The sprawl of this package, with its lengthy, swirly-painted accompanying booklet, is aided by Veloso's essay on pop culture in his native Brazil. And while the points he makes--mainly about what literary theoreticians call the "simulacrum"--are cogent, you can't really hear the mark of his ideas in the music. No matter, really, since the music itself is a vertical stack of styles that's both tall and thick. On top of Bahian rhythms, frequently played in the style of drum troupe Olodum, are strong, swaying samba elements. On top of that are riffing, sometimes mellifluously floating horns, and on top of that is Veloso's smooth voice, which moves at an eased speed that counters the thronging sound of all the instruments under his voice. As a whole, the sound is aptly luxurious, with flügelhorns and double reeds and strings, but there's always a rhythmic parade underneath. --Andrew Bartlett
Caetano Veloso has been tied in a kind of historical knot for decades with Gilberto Gil, with whom Veloso helped spur the Tropicalia movement in the 1960s. And just as Gil's moved on to reference and discuss a panoply of themes in his music, so too is Veloso on an extended foray into nonmusical subjects. The sprawl of this package, with its lengthy, swirly-painted accompanying booklet, is aided by Veloso's essay on pop culture in his native Brazil. And while the points he makes--mainly about what literary theoreticians call the "simulacrum"--are cogent, you can't really hear the mark of his ideas in the music. No matter, really, since the music itself is a vertical stack of styles that's both tall and thick. On top of Bahian rhythms, frequently played in the style of drum troupe Olodum, are strong, swaying samba elements. On top of that are riffing, sometimes mellifluously floating horns, and on top of that is Veloso's smooth voice, which moves at an eased speed that counters the thronging sound of all the instruments under his voice. As a whole, the sound is aptly luxurious, with flügelhorns and double reeds and strings, but there's always a rhythmic parade underneath. --Andrew Bartlett
Livro,Caetano Veloso,Polygram Int'l,Brazil,Brazilian,Int'l & World Music,MPB,Pop,Tropicalia
Latin Music:
- Lo Mejor de Alberto y Roberto
- Lo Mejor De
- Los Anos Dorados
- Luz de Mi Vida [Enhanced]
- Maria [Import]
- Marronero Mix: Reggaeton Non-Stop Club Hits
- Mejor de Hermanos Rosario
- Morir de Amor
- Musica de Rafael Hernandez
- Nuestro Aniversario
Latin Music
Mojo Presents... An Introduction to Mott the Hoople [Import]
Music: Gems For Oboe And Piano
Siberie M'etait Conte [Limited Edition] [Import]
Richard Strauss: Also Sprach Zarathustra/Don Juan/Till Eulenspiegel
Seattle, Washington, November 6, 2000 [Box set] [Live]