Veloso is the fifth of the seven children born to José Telles Veloso ("Seu Zezinho") and Claudionor Vianna Telles Veloso ("Dona Canô"). His younger sister Maria Bethânia, another popular and renowned artist in Brazil, preceded him to fame as a singer in the mid-1960s. He began his career around 1965 singing bossa nova and he has cited his greatest musical influences from his early period as João Gilberto and Dorival Caymmi. (João Gilberto would say later about Caetano's contribution that it added an intellectual dimension to brazilian popular music.) But with such musical collaborators Gilberto Gil, Gal Costa, Tom Zé, Chico Buarque, and Os Mutantes, and greatly influenced by the later work of The Beatles, developed tropicalismo, which fused Brazilian pop with rock and roll and avant garde art music resulting in a more international, psychedelic, and socially aware sound. Veloso's politically active stance, unapologetically leftist, earned him the enmity of Brazil's military dictatorship which ruled until 1985; his songs were frequently censored, and some were banned. Veloso was also alienated from the socialist left in Brazil becasue of his acceptance and integration of non-nationalist influences (like rock and roll) in his music. Veloso and Gilberto Gil spent several months in jail for "anti-government activity" in 1968 and eventually exiled themselves to London. Caetano Veloso's work upon his return in 1972 was often characterized by frequent appropriations not only of international styles, but of half-forgotten Brazilian folkloric styles and rhythms as well. In particular, his celebration of the Afro-Brazilian culture of Bahia can be seen as the precursor of such Afro-centric groups as Timbalada.
In the 1980s, Veloso's popularity outside Brazil grew, especially in Israel, Portugal, France and Africa. By 2004, he was one of the most respected and prolific international pop stars, with more than fifty recordings available, including songs in soundtracks of movies such as Pedro Almodovar's Hable con Ella (Talk to Her), and Frida. In 2002 Veloso published an account of his early years and the Tropicalia movement, Tropical Truth: A Story of Music and Revolution in Brazil.
His first all-English CD was A Foreign Sound (2004), which covers Nirvana's "Come as You Are" and compositions from the Great American Songbook. Five of the six songs on his third eponymous album, released in 1971, were also in English.
Mel
Caetano Veloso Lyrics
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Um instrumento do seu prazer
Sim, e de tua glória
Pois se é noite de completa escuridão
Provo do favo de teu mel
Cavo a direita claridade do céu
E agarro o sol com a mão
Lambe olhos, torce cabelos, feiticeira vamo-nos embora
É meio-dia, é meia-noite, faz zumzum na testa
Na janela, na fresta da telha
Pela escada, pela porta, pela estrada toda a fora
Anima de vida o seio da floresta
O amor empresta a praia deserta zumbe na orelha, concha domar
Ó abelha, boca de mel, carmin, carnuda, vermelha
Ó abelha rainha faz de mim um instrumento do seu prazer
The lyrics of Caetano Veloso's song "Mel" shows the singer's surrender to the queen bee as he asks to be used as an instrument of her pleasure and glory. He describes himself as the bee's servant and embraces the darknesses to taste and dig into her honeycomb in search of light and glory. The song's meaning is open to interpretation, but it can be seen as a metaphor for love, particularly a surrender to a woman.
As the song progresses, the singer continues to sing about his devotion to the bee, saying that he will go with her anywhere, expressing a willingness to go to any extreme for the love of the queen bee. He sings about how the queen bee can bring life to the forest and the love that vibrates in the emptiness of deserted beaches. Overall, the lyrics of the song show the singer's deep devotion to the queen bee, and his willingness to follow her anywhere in pursuit of true love, a dangerous yet exhilarating journey.
Line by Line Meaning
Ó abelha rainha faz de mim
The singer is comparing themselves to a queen bee, wanting to be used and manipulated for pleasure.
Um instrumento do seu prazer
The singer wants to be used solely for the queen bee's pleasure and enjoyment.
Sim, e de tua glória
The singer is aware that their purpose is to also bring glory to the queen bee.
Pois se é noite de completa escuridão
Even in the darkest night, the artist will still serve the queen bee.
Provo do favo de teu mel
The artist tastes the honey from the queen bee's hive.
Cavo a direita claridade do céu
The singer is seeking clarity from the queen bee and their actions.
E agarro o sol com a mão
The singer feels they have the power to grab and control the sun.
É meio-dia, é meia-noite, é toda hora
The artist is constantly thinking about and serving the queen bee, no matter the time of day.
Lambe olhos, torce cabelos, feiticeira vamo-nos embora
The artist is willing to do anything the queen bee asks of them, even if it's strange or uncomfortable.
É meio-dia, é meia-noite, faz zumzum na testa
The artist is constantly buzzing with thoughts of the queen bee, no matter the hour.
Na janela, na fresta da telha
The singer is always on the lookout for the queen bee.
Pela escada, pela porta, pela estrada toda a fora
The artist is ready to follow the queen bee anywhere.
Anima de vida o seio da floresta
The queen bee brings life and energy to the forest.
O amor empresta a praia deserta zumbe na orelha, concha domar
Love and the queen bee's presence bring life to even the most desolate beaches.
Ó abelha, boca de mel, carmin, carnuda, vermelha
The singer is admiring the queen bee's beautiful and enticing appearance.
Ó abelha rainha faz de mim um instrumento do seu prazer
Repeating the first line for emphasis, the artist again expresses their desire to serve the queen bee for her pleasure.
Lyrics © Warner/Chappell Music, Inc.
Written by: CAETANO VELOSO, CAETANO EMMANUEL VIANA TELES VELOSO, WALY SALOMAO, WALY DIAS SALOMAO
Lyrics Licensed & Provided by LyricFind