Caetano Veloso (from Bahia) expanded the horizons of Brazilian music by turning it into a highly personal experience. Veloso debuted with a collaboration with Gal Costa, Domingo (1967), which was still in the tradition of bossanova (Coracao Vagabundo), but in the same year he wrote Alegria Alegria (1967) and Tropicalia (1967), two songs that, together with the album Tropicalia ou Panis et Circensis (1968), defined tropicalismo. Veloso found his most poetic voice in the two following albums, from the "psychedelic" Caetano Veloso (1968), containing Superbacana, to his most accomplished collection, Caetano Veloso (1969), containing Os Argonautas and Irene. They introduced an austere, vulnerable and introverted voice. After being expelled from Brazil, Veloso proved that he was not afraid to experiment with the format of the anglosaxon singer-songwriters of the era with Caetano Veloso (1971) and the moving Transa (1972). In fact, Araca Azul (1971) was an experimental collage of noise, tribal drumming and musical parodies. Upon returning to Brazil, Veloso wrote most of his classics: Blue Araca', Tigresa, Um Indio, Terra, Lua de Sao Jorge, Beleza Pura, Menino do Rio, Sampa. The simple and quiet Qualquer Coisa (1975) Joia (1975), that originated from the same sessions, were the best album of the period. Most of the others were live or full of covers.
Doces Bararos (1976) was a supergroup made up of Gil, Veloso, Gal Costa and Maria Bethania.
Transfigured elements of funk and reggae percolated into Bicho (1977) and especially Muito (1978), but Cinema Transcendental (1979), Outras Palavras (1981), with Rapte-me Camaleoa, Cores Nomes, Uns, Velo' were inferior albums. Simple and relaxed ballads such as Meu Bem Meu Mal, Eclipse Oculto, Voce E' Linda, Podres Poderes, marked Veloso's middle age.
His "no-wave" album Estrangeiro (1989), containing O Estrangeiro, featured Arto Lindsay, Bill Frisell and Marc Ribot, and marked the beginning of a new phase in his career. Circulado (1991) featured Arto Lindsay, Marc Ribot, Butch Morris, Melvin Gibbs, but was less experimental. But then Veloso wasted a collaboration with Gil to record Tropicalia 2 (1992), while Fine Estampa (1994) was more form (sophisticated arrangements) than content. Livro (1998) summarized the experiments of the decade with a lush, eclectic sound. Noites do Norte (2001) was a more overt appropriation of American styles, from hip-hop to rock, a program made explicit by A Foreign Sound (Nonesuch, 2004).
In the 1990s, he also directed a film and published a book. He reached a new level of sophistication (but a rather harmless one) with Prenda Minha (1999), Noites do Norte (2000) and the film soundtrack Orfeu (2000).
1967 - Domingo (con Gal Costa) Philips
1968 - Caetano Veloso Philips
1968 - Tropicália ou Panis et Circensis (con Gilberto Gil, Os Mutantes, Nara Leão, e Gal Costa) Philips
1968 - Ao Vivo (with Os Mutantes) Philips
1969 - Caetano Veloso Philips
1971 - Caetano Veloso
1972 - Transa Philips
1972 - Barra 69 ao vivo na Bahia (with Gilberto Gil) Philips
1972 - Caetano e Chico - Juntos ao Vivo (with Chico Buarque) Phonogram
1973 - Araçá Azul Phonogram/Philips
1974 - Temporada de Verão - ao vivo na Bahia (with Gilberto Gil and Gal Costa)Phonogram
1975 - Jóia Philips
1976 - Doces Bárbaros (with Gal Costa, Gilberto Gil and Maria Bethânia)Philips
1977 - Bicho Philips
1977 - Muitos Carnavais Phonogram/Philips
1978 - Muito (dentro da estrela azulada) Philips
1978 - Maria Bethânia e Caetano Veloso ao Vivo Phonogram
1979 - Cinema Transcendental Polygram/Philips
1981 - Outras Palavras Philips
1982 - Cores, Nomes Philips