Caetano Veloso ‎– Caetano Veloso - 1968 Psych Tropicália Brasil - Mono 180 Grm LP

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Caetano Veloso ‎– Caetano Veloso

Third Man Records ‎– TMR-548, Universal Music Special Markets ‎– B0028134-01
Vinyl, LP, Album, Reissue, Remastered, Mono, 180 Gram

From hype sticker: "Caetano Veloso's debut solo album gave Tropicália its name. Sounds of psychedelia, rock, pop, Indian, bossa nova, Bahian and so much more. Remastered from the original 1967 mono mixes. First ever authorized North American vinyl release."

A Universal Music Brasil / Verve Label Group release; Originally released 1968 ©2018 UMG Recordings, Inc. Manufactured by Universal Universal Music Enterprises, a Division of UMG Recordings, Inc.

08 Mar 2019


A1 Tropicália 3:40
A2 Clarice 5:31
A3 No Dia Em Que Eu Vim-Me Embora 2:26
A4 Algeria, Algeria 2:43
A5 Onde Andarás 1:55
A6 Anunciação 3:00


B1 Superbacana 1:28
B2 Paisagem Útil 2:35
B3 Clara Featuring – Gal Costa 2:43
B4 Soy Loco Por Tí, América 3:40
B5 Ave Maria 2:06
B6 Éles 4:40



Companies, etc.

Record Company – Universal Music Brasil
Record Company – Verve Label Group
Copyright (c) – UMG Recordings, Inc.
Manufactured By – Universal Music Enterprises
Record Company – UMG Recordings, Inc.
Remastered At – Third Man Mastering
Lacquer Cut At – Third Man Mastering
Pressed By – Third Man Pressing


Artwork – Liana, Paulo Tavares
Lacquer Cut By – WTS
Layout – Rogério Duarte
Photography By – David Drew Zingg
Producer – Manuel Barenbein
Remastered By – Bill Skibbe, Warren Defever
Sleeve Notes – Caetano Veloso

Barcode and Other Identifiers

Barcode (Text): 8 13547 02669 9
Barcode (String): 813547026699
Matrix / Runout (Side A): TMR-548 A A WISH TO BE DIFFERENT WTS
Matrix / Runout (Side B): TMR-548 B NOT TO BE DEFENSIVE WTS

The Tropicália art movement of the late 1960s, with flourishes in visual art, poetry, theatre and music, is one of Brazil’s most adored cultural concoctions. It was a movement which began out of necessity, shortly after a repressive military dictatorship seized power after 20 years of peaceful democracy. The term Tropicália first came from the mind of Brazilian visual artist Hélio Oiticica, whose eponymous piece consisted of a sandy maze bordered by tropical Brazilian flora and, at the end, a television set.

Through satirizing symbols of their homeland and rejecting a pre-established national culture, the Tropicalists constructed a new form of “aggressive nationalism” outside of an innately anti-imperialist Left and an unthinkingly patriotic Right. By refusing to accept underdevelopment as their identity and excitedly “devouring” disparate culture (low and high brow, domestic and foreign, etc.), the Tropicalists carved out a unifying creative space, a universal sound, different from the older, bourgeois bossa nova movement and the newer, undiscerning rock movement.

Caetano Veloso’s self-titled debut solo album is one of the most important and influential Brazilian (and, dare we say, South American) albums of all time. With the release of this seminal album, Veloso would become the leading voice of Tropicália.

The songs on this album immediately connected with people. Alegria, Algeria was his breakout hit that gained traction as a hymn for liberty advocates, juxtaposing images of Coca Cola, guerrilla groups, bombs and Brigitte Bardot as part of the everyday experience. The album’s first song Tropicália was an anthem for the whole movement; it’s a fragmented allegory, a structure borrowed from friends

in the concrete poetry scene, touching on divergent cultural symbols, events, allusions and idioms, nimbly representing and critiquing the many contradictions in the new Brazilian dictatorship.

Superbacana (translated as “Supergroovy”) follows a hyperbolic superhero’s use of technology to fight a gang of cowboys led by the money-hungry Uncle Scrooge, serving as allusions to American imperialism and greed felt in their country, all in the rapid-fire structure of a comic book. The subtext in all these songs, which the dictatorship would not immediately catch, were that these repressed but glaring contradictions, not the bountiful sunny paradise that the military regime was pushing, were the true national identity.

Unfortunately, these cleverly veiled jabs in Veloso and his contemporaries’ bodies of work gained greater and greater exposure as the movement became more and more popular, leading to the arrest, imprisonment and forced exile of Veloso and many of his cohort. Despite these difficulties, the Tropicalists continued creating in exile, strongly influencing artists both at home and abroad.

This is the first authorized North American vinyl issue of Caetano Veloso. Whether you’re a longtime fan or first-time listener, Third Man Records could not be more proud to spread the compelling story of this album, this artist and the Tropicália movement. (Third Man Records)

"At the time, the album struck a balance between the polemics of communism on the Left and the crushing military might on the Right, sloughing off the nationalism and patriotism on either side while embracing a love of country in the shadow of the American Empire. And at the center of it all was Veloso and his supple, silken voice, a Bing Crosby croon delivered with a glint in his eye and Che Guevara’s The Motorcycle Diaries surreptitiously tucked into his back pocket.

The seeds of Tropicália’s revolution were planted the year prior when Veloso submitted “Alegria, Alegria” (“Joy, Joy”) to the TV Record Festival. Featuring a burst of fuzz guitar and electric organ it became Veloso’s first anthem, his self-described “(I Can’t Get No) Satisfaction.” It’s also his Breathless, his “Chicken Noodle Soup,” at once a critique and embrace of 20th-century pop culture. Veloso drinks Coca-Cola, quotes Sartre, name-drops Brigitte Bardot and Claudia Cardinale, all while slyly quoting fellow Brazilian pop star Chico Buarque’s “A Banda” and shrugging his shoulders at the end with the line: “Why not?” It set the themes for the movement to come in Tropicália: courting mass media, distancing themselves from the Left and silently protesting the powers that be. As Veloso later told the New York Times: “It was against the dictatorship without saying anything about it.”

The success of “Alegria, Alegria” emboldened Veloso as he worked on a new album. During lunch at a friend’s house one day, he sang some of the new songs, including one that still didn’t have a title. Brazilian film producer and screenwriter Luiz Carlos Barreto suggested the name of a recent piece from visual artist Hélio Oiticica, an installation that required the viewer to follow a path through sand, lined with tropical plants, until they ended at a television set. “Until I could find a better title the song would be called ‘Tropicália,’” Veloso wrote. “I never did find a better one.”

“Tropicália” opens with Dirceu’s recitation about Brazil as a “tropical paradise,” shouted amid a clatter of jungle drums, tympani, shakers, agogô bells, and the piercingly high frequency of flutes imitating bird song, "

More Information
Condition New
Format LP, 180 Gram
Label Universal Music Enterprises
Color Black