President João Goulart holds Football's World Cup.
1962 - CHICO VIOLA V
1. Amor Silvana & Rinaldo Calheiros Copacabana
2. Poema Renato Guimarães Chantecler
3. Trovador de Toledo (L’arlequin de Tolede) Gilda Lopes Odeon
4. Volta por cima Noite Ilustrada Philips
5. Suave é a noite (Tender is the night) Moacyr Franco Copacabana
6. Lembranças Miltinho RGE
7. Let's twist again Chubby Checker Parkway-Fermata
8. Lembrança (Un recuerdo) Creusa Cunha Copacabana
9. Luar de Vila Sônia Tito Martinez Chantecler
10. Leva eu, sodade Nilo Amaro & seus Cantores de Ébano Odeon
11. Come September Billy Vaughan Dot-RGE
12. Quem é? Silvinho Philips
13. Decisão cruel Mauricy Moura Chantecler
14. Multiplication Bobby Darin Atco-Fermata
15. Tito-tico no fubá Ray Conniff Columbia
16. Dumpy Ray Ellis RCA
17. Stella by starlight Ray Charles Polydor
18. El suco suco Poly Continental
19. Quem eu quero não me quer Raul Sampaio RGE
20. I can't stop loving you Ray Charles Polydor
21. O rei do gatilho Moreira da Silva Odeon
22. Cavaleiros do céu (Ghost riders in the sky) Carlos Gonzaga RCA
23. Frevo do Bi Jackson do Pandeiro Philips
24. Lembrança Lurdinha Pereira Chantecler
25. Confissão (Confesión) Clóvis Candal Copacabana
26. Preludio para ninar gente grande Luiz Vieira Copacabana
27. O canário (Yellow bird) Tony & Celly Campello Odeon
28. Amor de Terezinha Mario Augusto Copacabana
29. ...E você não dizia nada Gilberto Alves Copacabana
30. Et maintenant Gilbert Bécaud Odeon
31. Amorzinho querido (Mariquilla bonita) Idalina de Oliveira Chantecler
32. Samba da madrugada Dora Lopes Copacabana
33. E agora? (Et maintenant) Alda Perdigão RGE
34. Meu amor pertence a outra / O que é que eu faço? Leila Silva Chantecler
35. Gracias Bienvenido Granda RGE
36. Cinderella Paul Anka RCA
37. Sozinha Edith Veiga Chantecler
38. Inquietação Carlos Galhardo RCA
39. Segrêdo Francisco Petrônio Continental
40. Amor em serenata Carlos Nobre RCA
41. O passado não importa Hugo Santana Continental
1962 foi o ano da Copacabana.
1. Copacabana 
2. Chantecler 
3. RGE 
4. RCA 
5. Odeon 
6. Philips 
7. Continental 
8. Polydor 
9. Fermata-Atco & Fermata-Parkway 
10. Columbia 
Award ceremony was held at Teatro Record on 16 February 1963.
Idalina de Oliveira introduces the gala night at Teatro Record; Noite Ilustrada holds his Chico for 'Volta por cima'; Gilda Lopes receives her trophy for 'Trovador de Toledo'; Moreira da Silva sings 'O rei do gatilho'; Miltinho; Carlos Nobre; and Copacabana's roster: Mario Augusto, Moacyr Franco, Helio Ansaldo and Creusa Cunha.
Raul Sampaio at Radiolandia; Raul Sampaio gets his one and only Chico Viola for 'Quem eu quero não me quer' (She whom I want doesn't want me and she who wants me I have sent away).
Rinaldo Calheiros being sweet & tender to lovely Silvana.
1962’s best selling single was a Brazilian tango. Tangos had been present sparingly in the previous two years but suddenly it was supreme Were we in a time warp? Brazilian charts were dominated by the local product. Brazil was like an island with nothing to do with the rest of the world, not even with its neighbours in Latin America. Brazil had a mind of its own. Well, not quite because we had a lot of ‘versions’ in the charts, that is, Portuguese translations for hits made famous in other countries, mostly Latin countries though.
1962 was a great year. Ray Charles went to the top of the charts twice! The twist was all the rage. French music made a comeback. Spanish language hits reappeared and Brazil was FIFA’s World Champion for the second time.
Politics in South America was becoming more and more dangerous due to the Cuba crisis! Brazilian politics were on the verge of a nervous breakdown. Young and dinamic President João Goulart was hobbled by the right-wing military brass with the imposition of a spurious Parliamentary system hastily put in place by their ideologues. We were living on borrowed times... but people kept on buying 78 rpms singles made out of shellac even though 33 rpm-singles made out of vinyl were becoming more and more dominant.
Brazilian-owned Copacabana Records was the top label in 1962 followed closely by Chantecler Records. It looked like Brazilian-made products were the best and we lived in an island of our own. Television was becoming more and more popular with the masses and maybe that’s why we had so much local talent on the top of the charts.
Silvana & Rinaldo Calheiros were individual singers under contract with Copacabana but never had a major hit in their career. I don’t know who came with the brilliant idea of recording them as a duo as if they were an ‘item’. They cut ‘Amor’ [Love], a tango written by Antenógenes Silva an accordion-player who had recorded consistently in the 1950s, and started singing it on TV shows handing hands or looking at each other as they were sweethearts. People thought they were a ‘lovely couple’ and as the tune was melodic and catchy it went to number one almost instantly. It was the biggest hit of the year which made Copacabana rush and record ‘Ouvindo-te com amor’ [Listening to you with love], a whole album with the lovey-dovey couple, made up mainly of Argentine yester-year tangos like Mercedes Simone’s 1933’s ‘Cantando’ or ‘Onde estás coração?’. Silvana & Rinaldo usually sang the first part of the songs separately then joining their voices together for a ‘big finale’. Such an easy scheme and yet so successful. Even though they were so successful they went their separate ways soon after because reportedly they didn’t get along. Silvana soon got married with someone else [singer Marco Aurelio], and went on a succesful solo career. Rinaldo Calheiros never recovered from his musical partnership with Silvana.
Silvana & Rinaldo Calheiros lovey-dovey sweethearts...
Argentine Mercedes Simone wrote 'Cantando' in the 1931. All of a sudden 1930s tangos were back on the radio with Silvana & Rinaldo Calheiros.
1962 had one powerful hit after another. It looked like every few weeks we had a smash-hit of utterly different from the predecessor.
‘Poema’, a slick bolero coming from Chantecler’s hit-machine was huge. Renato Guimarães, a young black singer from Rio de Janeiro took the whole nation hostage with his magnificent tenor voice that reached the pinacles of heights. ‘Poema’ was a bolero with a strong rhythmic pace and a lush orchestration arranged by Chantecler’s Elcio Alvarez who probably never heard of Philly’s Phil Spector but devised his own ‘Wall of sound’ made up of dozens of violins, cellos, castanets etc. During the instrumental break the strong voice of DJ Enzo de Almeida Passos recited the lyrics in a dramatic way sending thrills through people’s spines. ‘Poema’ was a winner! It was actually a poem! It described what a poem means... ‘Poem is like a drunkard sitting at the gutter wanting to woo the moon!’ It sounds like nonsense but it was beautiful. Renato Guimarães never recovered from his monster-hit and ended up hitting the skid row dying of alcooholism before the 1960s were over.
Renato Guimarães shot to fame with 'Poema'.
Gilda Lopes was the female sensation of 1962. She was stunningly beautiful with a perfect body. No one knew much about her because she had lived in Europe for years. Her rendition of French tune ‘O trovador de Toledo’ [L’ Arlequin de Tolede] was spellbinding. Her soprano was something hard to explain. She must have had 4 octaves! She was compared to Yma Sumac... a gorgeous Sumac! ‘The Minstrel of Toledo’ was a moody story about a shady character who lived in a mysterious castle in Extremadura, Spain. No one knew what the matter was with the Minstrel. Some said he had been spurned by his lover and became hopeless recluse. He had a secret but no one knew exactly what kind of secret it was. Could it be that the Minstrel was gay? Maybe he was deformed! It’s funny but Gilda Lopes’ persona was a bit like that of the Trovador. She was mysterious too and some even started spreading rumours that she was actually not the real singer but only dubbed her part in front of the TV cameras. But then if she was not the real singer to whom then that amazing voice belonged? No one will ever know because Gilda Lopes disappeared from show business after a personal tragedy. Her beloved 9 year-old son Jean was the victim of a bus crash that cost him one of his arms while traveling to meet his mother who advised him not to travel by plane. Gilda went into a deep depression never managing to get out of it. No one knows her whereabouts up to day. Gilda Lopes had a follow up with ‘A hora do amor’ [Les filles de Cadiz] and even a minor hit with ‘Similau’ and then vanished completely from this world.
Carlos Gonzaga with his tophies - gorgeous Gilda Lopes smiles on!
In 1961 more than 10 acts had their last hit saying good-bye to the charts. 1962 on the other hand introduced more than 14 new acts. Noite Ilustrada was a black samba singer from Minas Gerais who stormed the charts with ‘Volta por cima’ [Back on top again] an incredibly swinging samba record with a powerful brass section and pro-active lyrics written by Paulo Vazolini, a chemist turned song-writer. The song says: ‘I cried when you left me. I was low on the ground but someone has come along and offered me a hand... and now I’m back on my feet and playing the game again!’ It was a strongly positive statement while others wallowed in self-pity. Noite Ilustrada, whose real name was Mario de Souza Marques Filho, had a long and profitable career having recorded dozens of albums and singles.
smiling Mario de Souza Marques Filho aka Noite Ilustrada in 1959.
Noite Ilustrada [holding the ball] and his look-alike Pelé [holding the guitar] in Santos-SP.
Moacyr Franco, a comedian-cum-singer from Minas Gerais, who had the last ever Carnival hit in 1960 with ‘Me dá um dinheiro aí’ [Hey you, give me some money!] found a place for himself as a show-man presenting his own TV show. He would alternate comic tunes with soft wistful ballads that he sang in a tender way, usually shaking his head lightly. Moacyr never thought of becoming a ballad singer but that’s what he became. ‘Suave é a noite’ [Tender is the night] main theme from a movie based on the Scott Fitzgerald’s book went all the way to number one. Moacyr’s rendition was really heart-felt like most of the slow numbers he performed in his popular TV show.
Miltinho did it again in 1962 and this time with ‘Lembranças’ [Mementos] his biggest hit ever. Beautiful melody and good lyrics made it to the top. Lyrically it says: ‘It reminds me a place, it reminds me your loved silhouette, it reminds me of a smile and a paradise I spent by your side. It reminds me of a nostalgia [saudade] that today invades my days and, finally, it reminds me of a sad good-bye.’ It’s funny that in 1962 we had three different tunes with the same title. Copacabana’s Creuza Cunha, from Pernambuco, hit with ‘Lembrança’ [Un recuerdo] a ‘classical’ Mexican bolero translated in Portuguese. I'f you want a memento from me you’d better ask now because I’m about to leave and will travel to far away places and may not return her no more. A kiss from you, a sweet kiss is a memento I will never forget!' Simple lyrics but they did the job. And then there was Lurdinha Pereira from Chantecler who hit with ‘Lembranças’ [Mementos] a guarania written by rural music’s José Fortuna.
Miltinho could do no wrong in 1962.
Miltinho had other hits in 1962. Actually ‘Lembranças’ was a double-sided hit, initially pressed as a B-side to ‘Meu nome é ninguém’ [My name is nobody]. ‘Meu nome é ninguém’ comes to mind because it had a lot of double-entendres in its lyrics. Miltinho sang: ‘It was like this: the lights went out, everything went dark and a kiss was given. And after that kiss only God knows what happened...’ People followed the lyrics of this song as if it was a movie plot. It was a sexual intercourse described poetically. Actually there was a popular anedocte at that time that went like: Nelson Gonçalves pleads with his lady ‘Stay with me tonight and you will not regret!’ Then someone asks what happened after, and Miltinho answers: ‘It was like this: the lights went out and a kiss was given...’ And tell me, what’s next? Next comes Silvana and belts out: ‘I suffered but I was happy’ ... the last sentence coming from ‘Amor’ sung by her. It may not be as funny as it was in 1962 but it goes to show that the charts then were charged with sexual innuendo.
Before 1962 was through Miltinho had two more hits: ‘Confidencia’ [Secrets] written by Raul Sampaio & Benil Santos plus ‘Poema do olhar’ [Poem of a gaze] written by Jair Amorim & Evaldo Gouveia. Miltinho never had it so good as in1962.
‘Luar de Vila Sonia’ [Moon over Vila Sonia] is the story of a prisoner who gazes at the moon at night from inside his cold cell and regrets the things he misses in his life of a convict man. Tito Martinez’s rendition is gloomy as it should be. In the interlude DJ Moraes Sarmento recites a long poem describing the routine of an inmate at a maximum security jail. The soulful curfew played by a lonely horn, the dark night descending on the cold walls of a damp building, the sameness of every night. It’s indeed a somber tune. Tito Martinez was a one-hit wonder. No one knows where he came from or where he went after that.
Tito Martinez glum rendition of 'Luar de Vila Sônia' was heart-rendering.
On the other hand ‘Confissão’ [Confession] was the usual thread-of-the mill. ‘Sexual-desire-followed-by-deep-guilt’ in the shape of a real Roman Catholic confession. That’s the story of a guy who enters a church goes to the confessionary and starts telling the priest his sins. ‘Dear Priest, I come here to confess. I’m married but live in agony because I’m not happy. I’ve been married in your church and separation [remember there was no divorce in Brazil then] is out of the question because I believe in God. I belong to her but I don’t want her. For my sin I will be chastised, please, give me your pardon!’ That’s pathetic, I would say. But that was the way things were then. Clovis Candal a new talent from the Copacabana Records stable did an excellent job belting out this bolero of Mexican origins. Mexico, Bolivia, Uruguay and some other Latin American countries had divorce in their Constituions but Brazil had none of that. Reactionary Roman Catholicism had the nation in its grips and the common people suffered the consequences of its backwardness.
‘Preludio p’ra ninar gente grande’ [Prelude to lullaby grown-ups] is singer-song-writer Luiz Vieira’s masterpiece. Supposing Chico Viola Awards were the US’s Grammy Awards then that would have been the ‘song of the year’ and ‘Trovador de Toledo’ the ‘record of the year’. Luiz Vieira hails from northeastern Brazil and had been around since the early 50s but only hit the big time with this precious song that is a prelude and a poem and says: ‘‘When I’m in your arms I feel the world yawn [what an original idea!], when you are in my arms I feel life slows down. In the warmth of your embrace I am a bird-boy willing to fly!’ What a tour-de-force! Vieira’s masterpiece, indeed.
Talking about masterpieces try and listen to ‘Leva eu, sodade’, a folk song sung divinely by Nilo Amaro & His Ebony Singers, a black-ensemble choir. It was heavenly listening to this song every time they played it on the radio.
Nilo Amaro & His Ebony Singers
In the ‘novelty’ department old timer Moreira da Silva showed up with ‘Rei do gatilho’ [King of the trigger] a samba-de-breque, a half-spoken sycopated samba. Moreira parodies Hollywood western movies in a story in which he is Kid Morangueira who will have his high noon duel with the local baddie! There are Injuns, scared ladies and a lot of bullets flying around. Moreira da Silva had been around since the 1930s and re-invented himself with this sort of novelty-comedy tunes. Moreira had other hits in the same vein; ‘O último dos Mohicanos’ [The last of the Mohicans], ‘The Untouchables’ [Os Intocáveis] etc. but none was as successful as the King of the Trigger!
The twist, a dance-craze that had hit the US since 1960 finally made up to Brazil with ‘Let’s twist again’. We had missed the first twist wave but caught up with its second coming. Chubby Checker was huge and visited the country twisting away on the stage of Teatro Record in S. Paulo. He went swimming at Rio’s Copacabana beach and almost drowned in the sea. Chubby was saved at the last minute by a life-guard so the King of Twist could continue his reign unabatted.
Even though 'Breaking up is hard to do' didn't make it to Chico Viola's list Neil Sedaka sang at Teatro Record for a few days.
New comer Mario Augusto, a thin black kid had a hit with ‘O twist é bom’ [The twist is good] but was awarded a Chico Viola for ‘O amor de Terezinha’ [Terezinha’s love] which was not as exciting as his twist tune that said: ‘Jenny try and phone Marly, Marly try and move the table to one side, Dora, put a record on the pick-up because the twist lesson will start soon...’ Not very smart lyrics but the twist was not a very smart dance either.
Ray Charles, the Genius, was the biggest foreign act in 1962. Ray started the year with plaintive ‘Stella by starlight’ and finished it off with C&W ‘I can’t stop loving you’. What can one say about the Genius? Nothing that anyone doesn’t already know. He visited Brazil in 1963 and sang at TV Excelsior the newest and state-of-the-art TV station. Brazilian TV usually re-used their video-taped shows so we don't have any images of the 60s but one of Ray Charles demands was to be given a video-tape copy of all his presentations. His 1963 Brazilian TV-show was released recently by a US company and one can see what Ray Charles looked and sounded like then.
‘Come September’ [Quando setembro vier] was a popular technicolor Hollywood flick filmed in Rome with Gina Lollobrigida, Rock Hudson and teen-age idols Bobby Darin and Sandra Dee. ‘Come September’ main theme was recorded by Billy Vaughn and played on the radio day and night. It is actually a baião, and was written by Bobby Darin who had a hit of his own with ‘Multiplication’ from the same movie. People loved to watch films made in location in Italy. Gina & Hudson plus Darin & Dee rode their Lambrettas all around the Eternal City to the delight of those who could only dream of visting those places.
'Quando setembro vier' [Come September] 1962's 'hip' movie.
France’s Gilbert Bécaud was all the rage with his haunting ‘Et maintenant’ [What now my love?] that was a hit world wide. In Brazil it was a hit both in the original French and Portuguese. RGE released ‘E agora?’ with Alda Perdigão who had been popular earlier in the 50s. Copacabana had Agnaldo Rayol singing ‘E agora?’too. Chantecler could not be left out and released Wilson Miranda version of the same tune. The three of them were hits. I don’t know why Alda Perdigão’s disc was the one awarded the trophy. Maybe Jose Scatena, RGE’s boss had more clout at TV Record than the others.
Gilbert Becaud doing what comes naturally to him.
Talking about TV – I remember advertising was done ‘live’ in those days. TV stations had a few beautiful girls on stand-by to promote products from electrical appliances to cars, clothes and household goods. Those well coiffed girls were known as ‘garotas-propaganda’ [advertising girls] and some of them became famous just for being gorgeous or friendly. They usually stood by the side of the advertised product and talked about their qualities looking at the camera. We had three networks then: TV Tupi [the oldest], TV Record and TV Excelsior. In S.Paulo there were also TV Paulista and TV Cultura, two smaller, ‘independent’ stations. Idalina de Oliveira was one of the most popular add-girls. Chantecler decided to record her and it paid off when ‘Amorzinho querido’ [Mariquita linda] a Mexican hit translated into Portuguese went to number one. Idalina, understandably, was not much of a singer but the record was good. Chantecler went a step further and recorded a whole album with her but it never made it.
Idalina de Oliveira smashes with 'Amorzinho querido'.
Bienvenido Granda, Cuba’s eternal ‘bigode que canta’ [the moustache that sings] – had been a favourite of Brazilians with a bolero penchant since the 50s. ‘Gracias’ [Thanks] was Bienvenido’s last enter in the charts. The times were changing fast and Spanish-language bolero-singers were becoming an endangered species by the day.
Rock’n’roll was nowhere to be seen either. It looked like rock had died and the twist, the hully-gully and all those dance-fads were all the fun. Carlos Gonzaga, the only act to be awarded a Chico Viola every single year since its inception did it again in 1962... his 5th time [and his last]. This time Gonzaga recorded ‘Cavaleiros do céu’ – Vaugh’s 1942 big hit ‘Ghost riders in the sky’. His rendition was not up to Vaughn’s amazing original but was a hit anyway.
Paul Anka got his Chico Viola for ‘Cinderella’ which was a minor hit. Anka was not as big as he had been and this his last hit in Brazil for a long time. When Paul moved to RCA from ABC-Paramount he didn’t have Don Costa to make those lush arrangements for his songs anymore and one could tell they were much poorer for that.
Ray Conniff conducts 'Tico tico no fubá'.
The biggest instrumental hit of 1962 was Ray Conniff’s rendition of Brazil’s very own ‘Tico tico no fubá’ [Tico Tico]. Conniff had been a big album seller since the late 50s and went to number one with his amazing rendition of Zequinha de Abreu’s old tune. Poly hit for the third concecutive time with ‘El suco suco’ a Bolivian folk tune that was very popular among kids who danced professionally at Ginkana Kibon a kid’s top TV show on Record every Sunday afternoon.
Celly Campello said good-bye to all her fans and got married in May 1962. But before she said ‘Yes’ to the priest she recorded ‘O canário’ [The canary], a free-translation of ‘Yellow bird’, singing a duet with her brother Tony Campello. That was Celly’s farewell song. She married and left show business forever. Forever is a long time... Celly had second thoughts a few years later and differently from Greta Garbo she came out of retirement to record again in 1967. But it was too late and a big letdown. The times had changed and Celly could never catch up with them. It is a pity she retired in the first place and then it’s a pity she returned in such bad conditions.
Celly Campello ties the knot and leaves show biz.
There were a few songs awarded with 1962’s Chico Violas that have been lost in people’s memories. I particularly don’t remember Edith Veiga’s ‘Sozinha’ [Lonely], Hugo Santana’s ‘O passado não importa ’ [The past doesn’t matter] or Carlos Nobre’s ‘Amor em serenata’ [Love in serenade]. I might be wrong but I assure you I used to listen to the radio every single day and if I don’t remember those songs chances are they didn’t go as high in the charts as they should have to be elegible to get those Chico Violas.
Elza Soares swings while Garrincha watches. Even though Elza didn't hit in 1962, she actually ended up hitting Garrincha at the World Cup in Chile and they became an item.
Boleros and samba-canções were still popular. Raul Sampaio had been a singer with Trio de Ouro in the early 50s, a popular outfit that had many formations but whose boss was Herivelto Martins. Raul moved to São Paulo becoming a songwriter and producer for RGE. In 1962 he decided to release a single himself with ‘Quem eu quero não me quer’ [Whom I want doesn’t want me... and who wants me I turned away...]. It hit a chord with a lot of people and went to number one.
Raul Sampaio [the thin fellow] with Trio de Ouro's Lourdinha Bittencourt & Herivelto Martins at a Rio radio station in 1952.
Leila Silva, Chantecler's great hope in 1960, was lured away to RCA Victor and recorded ‘Meu amor pertence a outra’ [My love belongs to someone else] a ballad based on Beethoven’s Minuet in G. The problem with RCA was they had money to pay for singers who were hitmakers in smaller labels but they did not have the right songwriters to churn out material for their new hires. Leila Silva, for example, lingered at RCA with not much to do until she switched over to Continental two years later.
Jackson do Pandeiro from Paraíba.
Almira & Jackson do Pandeiro.
As Brazil won FIFA’s World Cup in Santigado de Chile in June 1962. For the second time the nation went wild about them players. Old timer Jackson do Pandeiro came out with ‘Frevo do Bi’ which exulted Brazilian football players' best qualities in the field. Pelé, Didi, Garrincha and others were national heroes and were sung in verse and prose.
Mauricy Moura proudly holds his Chico Viola trophy.
‘Samba da madrugada’ [Dawn’s samba] was Dora Lopes biggest hit. Dora had been a crooner with big bands in the late 40s and a radio singer in the 50s who turned into a night club manager in the 60s and 70s.
Dora Lopes and her biggest hit to date 'Samba da madrugada'.Gilberto Alves did it again this year with ‘... E você não dizia nada’ [...And you said nothing] a samba about a man whose woman goes out to dance and have a good time with other guys without having to put up a fight with her man. In other words, her man is condenmed by all the other males for not enforcing male’s dominance code over his woman who should be home scrubbing the floor and cooking. Brazil’s been a male dominated society for honker years and this tune attest for that.
Silvinho being mobbed by his countless fans.
Finally we had ‘Quem é’ a bolero by Rio de Janeiro’s Silvinho that had a catchy melody and still plays on oldies but goodies radio shows. Mauricy Moura, a black singer who emulated old timer Sylvio Caldas’ style had his biggest hit with ‘Decisão cruel’ [Cruel decision] a beautiful guarania produced at Chantecler.
Antonio Rago & his regional combo would accompany singers on the radio.
SONG WRITING CREDITS 1962
1. Amor [Antenógenes Silva –Ernani Campos] – Silvana & Rinaldo Calheiros
2. Poema [Fernando Dias] – Renato Guimarães
3. O Trovador de Toledo [L’arlequin de Tolede] [Hubert Giraud-Jean Drejac; v.: Romeu Nunes] – Gilda Lopes
4. Volta por cima [Paulo Vanzolini] – Noite Ilustrada
5. Suave é a noite [Tender is the night] Paul Francis Webster-Sammy Fain; v.: Nazareno de Brito] – Moacyr Franco
6. Lembranças [Raul Sampaio-Benil Santos] – Miltinho
7. Let's twist again [Kal Mann-Dave Appell] – Chubby Checker
8. Lembrança [Un recuerdo] [Chucho Navrro-Alfredo Gil-Martinez; v.: Serafim Costa Almeida] – Creuza Cunha
9. Luar de Vila Sônia [Paulo Miranda] – Tito Martinez
10. Leva eu, sôdade [Tito Neto-Alventino Cavalcanti] – Nilo Amaro &
seus Cantores de Ébano
11. Come September [Quando Setembro vier] [Bobby Darin] - Billy Vaughan
12. Quem é? [Silvio Lima-Maurilio Lopes] – Silvinho
13. Decisão cruel [Diogo Mulero 'Palmeira'] – Mauricy Moura
14. Multiplication [Bobby Darin] – Bobby Darin
15. Tito-tico no fubá [Zequinha de Abreu] – Ray Conniff
16. Dumpy [Paul Anka] – Ray Ellis
17. Stella by starlight [Ned Washington-Victor Young] – Ray Charles
18. El suco suco [Tarateño Rojas] – Poly
19. Quem eu quero não me quer [Raul Sampaio-Ivo Santos] – Raul Sampaio
20. I can't stop loving you [Don Gibson] – Ray Charles
21. O rei do gatilho [Miguel Augusto] – Moreira da Silva
22. Cavaleiros do céu [Ghost riders in the sky] [Stan Jones; v.: Haroldo Barbosa] – Carlos Gonzaga
23. Frevo do Bi [Braz Marques-Diógenes Bezerra] – Jackson do Pandeiro
24. Lembrança [José Fortuna] – Lurdinha Pereira
25. Confissão [Confesión] [Joaquim Oliver; v.: Genival Melo] – Clóvis Candal
26. Preludio para ninar gente grande [Luiz Vieira] – Luiz Vieira
27. O canário [Yellow bird] [Norman Luboff-Marilyn Keith-Alan Bergman; v.: Fred Jorge] – Tony & Celly Campello
28. O amor de Terezinha [Rubinho-Oiram Santos] – Mario Augusto
29. ...E você não dizia nada [Hélio Sindô-J. Saccomani-Jorge Martins]
– Gilberto Alves
30. Et maintenant [Gilbert Becaud-Pierre Delanoe] – Gilbert Becaud
31. Amorzinho querido [Mariquita linda] [Jose Luis Martinez; v.: Joaquim Gustavo] – Idalina de Oliveira
32. Samba da madrugada [Dora Lopes-Carminha Mascarenhas-Herotildes de Campos] – Dora Lopes
33. E agora? [Et maintenant] [Gilbert Becaud-Pierre Delanoe; v.: Paulo Queiróz] – Alda Perdigão
34. Meu amor pertence a outra [Adapt.: Teixeira Filho from Beethoven’s Minuet in G] / O que é que eu faço? (Ribamar-Dolores Duran) - Leila Silva
35. Gracias [G. Midiguilar-R.G. Velarde] – Bienvenido Granda
36. Cinderella [Paul Anka] – Paul Anka
37. Sozinha [Teixeira Filho-Antonio Rago] – Edith Veiga
38. Inquietação [Carlos Morais] - Carlos Galhardo [bolero]
39. Segrêdo [Daniel Magalhães-Cid Magalhães] - Francisco Petrônio [bolero]
40. Amor em serenata [Raul Sampaio-Ivo Santos] – Carlos Nobre
41. O passado não importa [Alberto Roy-Frederico Rossil] - Hugo Santana [guarânia]
The Brazilian National Footbal Team wins the World Cup in 1962, in Chile.
Garrincha looks at the Jules Rimet cup with wonder.