Caetano Emanoel Viana Teles Veloso (born August 7, 1942 in Santo Amaro, Bah… Read Full Bio ↴Caetano Emanoel Viana Teles Veloso (born August 7, 1942 in Santo Amaro, Bahia, Brazil), professionally known as Caetano Veloso, is a singer, composer, musician, producer, arranger, writer and political activist, being one of the most popular and influential Brazilian MPB artists of all time. With a career that exceeds five decades, Caetano has built a musical work marked by renewal and widely considered to possess great intellectual and poetic value.
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.
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.
Muito Romântico
Caetano Veloso Lyrics
Oh, oh, oh, oh, oh
Oh, oh, oh, oh (hum, hum, hum, hum)
Não tenho nada com isso, nem vem falar (oh, oh, oh)
Eu não consigo entender sua lógica (oh, oh, oh, lógica)
Minha palavra cantada pode espantar (oh, oh, oh, espantar)
(Oh, oh, oh, oh, oh)
E a seus ouvidos parecer exótica (oh, oh, oh, exótica)
Mas acontece que eu não posso me deixar (oh, oh, oh, oh)
(Me deixar)
Levar por um papo que já não deu, não deu (deu)
(Oh, oh, oh, oh, oh)
Acho que nada restou pra guardar ou lembrar (oh, oh, oh, oh)
Do muito ou pouco que houve entre você e eu (uh, uh, uh, uh, você e eu)
(Você e eu)
Nenhuma força virá me fazer calar (oh, oh, oh, oh)
(Oh, oh, oh, oh, oh)
Faço no tempo soar minha sílaba (oh, oh, oh, oh, sílaba)
Canto somente o que pede pra se cantar (oh, oh, oh, oh)
(Pra se cantar)
Sou o que soa eu não douro pílula (oh, oh, oh, oh)
Tudo o que eu quero é um acorde perfeito maior (oh, oh, oh, oh)
Com todo o mundo podendo brilhar num cântico (oh, oh, brilhar num cântico)
Canto somente o que não pode mais se calar (oh, oh, oh, oh)
Noutras palavras sou muito romântico (uh, uh, romântico)
Oh, oh, oh, oh (hum, hum, hum, hum)
Não tenho nada com isso, nem vem falar (oh, oh, oh)
Eu não consigo entender sua lógica (oh, oh, oh, lógica)
Minha palavra cantada pode espantar (oh, oh, oh, espantar)
(Oh, oh, oh, oh, oh)
E a seus ouvidos parecer exótica (oh, oh, oh, exótica)
Mas acontece que eu não posso me deixar (oh, oh, oh, oh)
Levar por um papo que já não deu, não deu (deu)
(Oh, oh, oh, oh, oh)
Acho que nada restou pra guardar ou lembrar (oh, oh, oh, oh)
Do muito ou pouco que houve entre você e eu (uh, uh, uh, uh, você e eu)
(Você e eu)
Nenhuma força virá me fazer calar (oh, oh, oh, oh)
(Oh, oh, oh, oh, oh)
Faço no tempo soar minha sílaba (oh, oh, oh, oh, sílaba)
Canto somente o que pede pra se cantar (oh, oh, oh, oh)
(Pra se cantar)
Sou o que soa eu não douro pílula (oh, oh, oh, oh)
Tudo o que eu quero é um acorde perfeito maior (oh, oh, oh, oh)
Com todo o mundo podendo brilhar num cântico (oh, oh, brilhar num cântico)
Canto somente o que não pode mais se calar (oh, oh, oh, oh)
Noutras palavras sou muito romântico (uh, uh, romântico)
Lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc.
Written by: Caetano Emmanuel Viana Teles Veloso
Lyrics Licensed & Provided by LyricFind
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Edgar Ferreira Gomes
Não tenho nada com isso nem vem falar
Eu não consigo entender sua lógica
Minha palavra cantada pode espantar
E a seus ouvidos parecer exótica
/
Mas acontece que eu não posso me deixar
Levar por um papo que já não deu, não deu
Acho que nada restou pra guardar ou levar
Do muito ou pouco que houve entre você e eu
/
Nenhuma força virá me fazer calar
Faço no tempo soar minha sílaba
Canto somente o que pede pra se cantar
Sou o que soa eu não douro a pílula
/
Tudo o que eu quero é um acorde perfeito maior
Com todo o mundo podendo brilhar num cântico
Canto somente o que não pode mais se calar
Noutras palavras sou muito romântico
Mauricio Urban
Essa versão, com o coral (que merece ser destacado), é de arrepiar...........
Regina Santtus
Cobra Coral
Edgar Ferreira Gomes
Não tenho nada com isso nem vem falar
Eu não consigo entender sua lógica
Minha palavra cantada pode espantar
E a seus ouvidos parecer exótica
/
Mas acontece que eu não posso me deixar
Levar por um papo que já não deu, não deu
Acho que nada restou pra guardar ou levar
Do muito ou pouco que houve entre você e eu
/
Nenhuma força virá me fazer calar
Faço no tempo soar minha sílaba
Canto somente o que pede pra se cantar
Sou o que soa eu não douro a pílula
/
Tudo o que eu quero é um acorde perfeito maior
Com todo o mundo podendo brilhar num cântico
Canto somente o que não pode mais se calar
Noutras palavras sou muito romântico
Silvania Cruz
Que maravilha de letra, poesia e acompanhamento. Caetano é patrimonio brasileiro.
Abraço.
Marcos Quevedo
A versão de Roberto Carlos também é maravilhosa....
Germano Machado
E pensar que a poucas horas eu vi, e ouvi o Caetano abrindo a live de Natal cantando essa música, foi o maior presente que eu poderia ter ganhado! 😍❤️
Rodrigo da Silva
Caetano fez essa música para "defender" Roberto Carlos que era "acusado" de só cantar músicas românticas e não se engajar na luta contra a ditadura militar.
Paulo Rocha
É de arrepiar. Nessas horas eu me orgulho da nossa língua portuguesa, dos nossos grandes artistas que sabem fazer arte, do nosso País!
Camila Mello
Nossa amo essa música e nunca achei pela internet...daí lembrei que existe Youtube :D
Rodrigo Fagundes Correia
Espetacular