1963 Chico Viola Awards VI

Moacyr Franco could do no wrong in 1963. His TV show on TV Excelsior was top-rating.

1963 –  CHICO VIOLA VI  (Official List) 

1. Doce amargura                           Moacyr Franco
2. Que será de ti?                           Moacyr Franco
3. Sonhar contigo                            Adilson Ramos
4. Tudo de mim                               Altemar Dutra
5. El relicario                                   The Clevers

6. Filme triste                                  Trio Esperança
7. Olhando para o céu                     Trio Esperança
8. Hava Nagila                                 Chubby Checker
9. Acorrentados                                Agnaldo Rayol
10. Esta noite eu queria que o mundo acabasse - Silvinho

11. Al di là                                         Emilio Pericoli
12. Romance                                     Francisco Petronio
13. Quem tudo quer nada tem          Anisio Silva
14. Afrikan beat                                 Bert Kaempfert

MY LIST

1. Doce amargura (Ti guarderò nel cuore)         Moacyr Franco       Copacabana
2. Sonhar contigo                                               Adilson Ramos        RCA
3. Filme triste (Sad movies)                               Trio Esperança        Odeon
4. Boogie do bebê (Babysittin’ boogie)              Tony Campello         Odeon
5. El relicario                                                      The Clevers             Continental

6. Afrikaan beat                                                   Bert Kaempfert          Polydor
7. Apache                                                            The Jet Blacks          Chantecler
8. Mas que nada / Por causa de você menina   Jorge Ben                  Philips
9. Al di là                                                             Emilio Pericoli            WB-Odeon
10. Uirapurú                             Nilo Amaro & seus Cantores de Ébano  Odeon

11. Que será de ti?                                              Moacyr Franco      Copacabana
12. Esta noite eu queria que o mundo acabasse   Silvinho               Philips
13. Samba em prelúdio                    Ana Lúcia & Geraldo Vandré     Audio-Fidelity
14. Legata a un granello di sabbia                        Nico Fidenco        RCA
15. Paz do meu amor                                            Luiz Vieira            Copacabana

16. Tudo de mim                                               Altemar Dutra            Odeon
17. Maria Cristina                                              The Clevers               Continental
18. Olhando para o céu (Ui o muite aruko)       Trio Esperança          Odeon
19. Hava Nagila                                                 Chubby Checker        Parkaway-Fermata
20. Tem bôbo p'ra tudo                                       Alcides Gerardi         Columbia

21. Não diga a ninguem                                    Leila Silva                   Chantecler
22. O amor mais puro                                        Francisco Petrônio     Continental
23. Romance                                                     Francisco Petrônio     Continental

24. Papa oom-mow-mow                                  The Rivingtons            Liberty-RCA
25. Acorrentados (Encadenados)                      Agnaldo Rayol            Copacabana

26. Quem tudo quer nada tem                           Anisio Silva               Odeon
27. Blame it on the Bossa Nova                         Eydie Gorme            Columbia
28. Baby elephant walk                                      Lawrence Welk         Dot-RGE
29. Blue star                                                       The Jordans              Copacabana
30. Na cadência do samba                                 Elizeth Cardoso        Copacabana

31. Balanço Zona Sul                                        Tito Madi                   Columbia
32. Bolinha de sabão                                         Sônia Delfino            Philips
33. Tamanco no samba                                      Orlann Divo              Musidisc

Moacyr Franco, 1963's biggest act.

1963 was a ‘transitional’ year. Bolero & guaranias acts were still strong sharing the limelight with completely new talent like samba and bossa-nova’s Jorge Ben or Orlann Divo. Brazilian instrumental rock bands like The Jet Blacks, The Jordans and The Clevers were strong new blood in the musical scene. The ‘modern’ Italian pop music showed up its first hits and would dominate the charts in the next few year.

Unfortunately I don’t have the complete list of those awarded with 1963’s Chico Violas. For some unknown reason, TV Record’s PR department released only a partial list of 12 acts and 14 songs to the media at the time so my research has come up against a wall of utter misinformation. I wouldn’t know how to get hold of the ‘real list’ due to Brazil's total lack of recording habits. Apart from newspapers and magazines that were published at the time, there are no other way of getting to know the facts. Following previous years tendency I decided to add 16 songs to ‘make up for’ the missing original list. I beg your pardon for having taken suchliberty but I must continue with this project somehow. In case I will get the ‘real list’ it will be my pleasure to post it here in the future.

Even though 1963 was a ‘transitional year’ boleros, guaranias and samba-canções still ruled  the roost. Moacyr Franco, no doubt, was the year's hottest act. He who started in 1960 with Carnival-march ‘Me da um dinheiro aí’ graduated into a full-romantic balladeer. Due to Moacyr’s weekly exposure on TV he could sing songs that would become hits automatically. ‘Doce amargura’ (Bitter sweetness) is a cover of ‘Ti guarderò nel cuore’ main-theme of 'Mondo cane' an Italian shock-movie that became a hit in the US as ‘More’ and in many parts of the world. The orchestral arrangement for Moacyr’s cover is intricate and exuberant with changing paces leading to a big finale. It became his signature-tune going up to number one. Moacyr’s second hit for 1963 was ‘Que será de ti?’ a beautiful Paraguayan guarania, probably the last of the Mohicans, as the times were really changing fast.

‘Sonhar contigo’ (To dream with you) with Adilson Ramos, a young powerful tenor from Rio was the biggest bolero of 1963. On the same vein, ‘Esta noite eu queria que o mundo acabasse’ (I wish the end of the world tonight) by Silvinho, a Rio tenor too, was controversial with the Catholic Church threatening with excomunication those who dared buy such a ‘devilish’ record. The title was pretty ‘shocking’ and the lyrics went on as: ‘Tonight I wish the world would end and the Lord would send me to hell to pay for all my sins. I caused a lot of suffering for someone who only cared for me. I made you, my dear, unhappy that’s why I want to die tonight!’ The irony of it all is that Silvinho is being penitent and only corroboring Catholic dogmas. Maybe the Church’s hierarchy didn’t like someone out of their own clergy ‘preaching’ to the masses... especially in 78 rotation per minute. Silvinho had a high-pitched voice and recorded a few more hits in the next few years.

 Adilson Ramos' profile

1963 ushered in a lot of new acts who would dominate the charts for decades. California's surf music made in Brazil by The Jet Blacks exploded with 'Apache', a cover of Britain's The Shadows. São Paulo instrumental rock bands The Jordans and The Clevers would soon follow on the steps of Gato & his Jet Blacks. 

In the bossa-nova or new-samba (sambanço) categories there were Jorge Ben, who would become internationally popular and Orlan Divo.

Trio Esperança was made up of teen-agers siblings Mario, Regina and Eva, their pre-teen sister who would go on a solo career later in the 70s. They came from a very musical Black family from Rio de Janeiro that had spawned The Golden Boys, a five-member vocal group that performed mainly rock’n’roll. Trio Esperança’s biggest hit was ‘Filme triste’ a cover of Sue Thompson's ‘Sad movies’. As a follow-up Trio Esperança covered Kyu Sakamoto's 'Ui o muite aruko' as ‘Olhando para o céu’  a Japanese romantic song the Americans erroneously translated as ‘Sukiaki’.

The Jordans in early 1963.

1963 was big in instrumental-rock. The Jet Blacks, a five-member instrumental rock band from São Paulo were the first to come out with ‘Apache’ which had been a hit in the US by Jorgen Ingmann and His Guitar in 1961. 

Then came the incredible Clevers, who were 5 talented young men from São Paulo too, whose virtuoso saxophonist Manito was a multi-instrumentalist who had started his career playing accordion in a band with his father and brothers when he was a boy. Manito had migrated from Spain with his family in the early 50s. The Clevers first hit with ‘El Relicario’ an old Spanish tune re-modeled as a twist. The Clevers were really smart guys who not only played instruments but also were a little zany which amused their audience. ‘Maria Cristina’ was their second hit in the year. 

Finally, at the very end of 1963, The Jordans, who came before The Clevers hit with beautiful ‘Blue star’. Chantecler's Jet Blacks, Continental's Clevers and Copacabana's Jordans were the inspirations for hundreds of new guitar-bands all around the country. These instrumental rock bands were the new face of Brazilian rock'n'roll.

The Clevers showing off their Chico Viola Award they got for 'El relicario' and 'Maria Cristina'. From left to right: Neno (bass), Mingo (rhythm-guitar), Netinho (drums), Risonho (lead-guitar) & Manito (saxophone).

Antonio Rosas Sanches, aka Manito, the Clevers' virtuoso saxophone player as a child with his father at the drums.

What a quirk Brazilian record market! German-language 'Baby-sitter boogie' with Ralf Bendix also hit.

Tony Campello (wearing sun-glasses) with sister Celly and their father, hit with 'Baby sitting boogie'

Tony Campello was still 28 years old but was already Old rock'n'roll. It's ironic that it took his sister Celly retirement from show-business for Tony to reach the top of the charts with 'Boogie do bebê’, a cover of Buzz Clifford's 'Babysitting boogie'. The funny thing is that this song charted both in Portuguese (sung by Tony) and in the German language sung by Ralf Bendix.

Suzanne Pleshette & Troy Donahue in hugely successful 'Rome Adventure'.

Italian music that had been all but forgotten since 1959’s ‘Ciao ciao bambina’ had a ressurgence with ‘Al di là’ (Beyond there) by Emilio Pericoli. As in 1962’s ‘Come September’, 1963's romantic US movie made in location in Italy was ‘Rome adventure’ called ‘Candelabro Italiano’ in Brazil. Audiences were enthralled by the two romantic couples [again], this time Angie Dickinson & Rossano Brazzi as the older couple and teen heart-throb Troy Donahue and lovely Suzanne Pleshette as the young ones. Differently from ‘Come September’, ‘Rome Adventure’ had an Italian sound-track and Emilio Pericoli’s rendition of ‘Al di là’ wowed audiences here, there (USA) and everywhere. ‘Al di là’ turned out to be the first of dozens of Italian hits that took over Brazilian charts. This was called the 'Italian invasion' and lasted around five years.

Nico Fidenco hit with 'Inprisoned in a grain of sand'.

‘Legata a un granello di sabbia’ (Inprisoned in a grain of sand) was 1963’s second Italian hit. Nico Fidenco had taken it to number one in many European countries and did it in South America too.

Jorge Ben's 'New Scheme Samba' - coolest album of 1963

In the bossa-nova or new-samba [sambanço] category there were Jorge Ben, who would become internationally famous later and Orlan Divo, who still has an international following up to date. Jorge Ben played acoustic guitar a bit like the Bossa Nova crowd even though his harmonies were not as sophisticated. His type of music was classified as ‘Samba Esquema Novo’ – a new scheme of samba. The word ‘novo’ was there as in bossa-nova, but Jorge was something different. His first hit was ‘Por causa de você’ [Because of you] followed up instantly by ‘Mas que nada’, actually his was a double-sided hit. His album went to number one too.  Orlann Divo, a young man from Rio too, played samba differently too. Not exactly bossa-nova but it was plain to see he was influenced by the new beat.  ‘Tamanco no samba' [Samba blim, blim blau...’ was one of his hits and Sonia Delfino made Orlann Divo’s ‘Bolinha de sabão’ into a hit too.

Orlann Divo played 'sambalanço' (swing-samba).

Tito Madi, who had been a regular hit maker for 10 years could be included in this quasi-bossa nova group. His ‘Balanço Zona Sul’ is 88% bossa-nova.

‘Samba em prelúdio’ is not a samba but a very slow number sung beaufifully by Ana Lucia, a bossa-nova singer who had been in the famous bossa-nova concert in New York’s Carnegie Hall in November 1962 – and Geraldo Vandré, a singer song writer who would become very famous by the end of the decade. ‘Samba em preludio’ is not a samba-canção nor a bossa-nova either but something in between. Maybe a simple song with some dissonant chords added by the genius of Banden Powell and made it more beautiful still by the words of Vinicius de Moraes. That soared to number one on the basis of its pure quality and beauty.

Geraldo Vandré plus Ana Lucia hit with 'Samba em Prelúdio'.

Talking about preludes... Luiz Vieira came back with ‘Prelude no. 2’ or ‘Paz do meu amor’ [Peace of my love] a ‘sequel’ to 1962’s ‘Preludio p’ra ninar gente grande’ [Prelude to lullaby grown-ups]. Vieira did it again. This is as beautiful as the former. ‘You are an immense beauty... you are tenderness’s labour ... peace of my love’. Such powerful lyrics for such a beautiful melody.

Nilo Amaro and his Black Singers did it again in 1963 with ‘Uirapurú’, about an Amazonian bird whose singing is purportedly the most beautifu in the world. This is even better than 1962’s Ebony Singers' single.

Nilo Amaro, here minus His Ebony Singers - hit with 'Uirapurú'.

As to traditional samba we had Alcides Gerardi hit for the last time in his career with ‘Tem bobo p’ra tudo’ [There are fools for all seasons], a funny sort of lyrics; veteran Elizeth Cardoso with ‘Na cadencia do samba’ [In samba’s cadence], a good Ataulpho Alves composition and Chantecler’s Leila Silva with ‘Não diga a ninguem’ (Don’t tell anyone).

Leila Silva made a habit of hitting every single year from 19650 to 1964. 

Francisco Petrônio had his second good year hitting twice with ‘O amor mais puro’ [The purest love] written especially for Mother’s Day and ‘Romance’ a thread-of-the-mill stuff. On the same vein of boleros we had Anisio Silva hitting for the last time with ‘Quem tudo quer nada tem’ [He who want all gets nothing] and Agnaldo Rayol’s ‘Acorrentados’ [Chained] a Mexican bolero translated into Portuguese for a market that refused to die of natural causes. Bolero maybe was not king anymore but it still was a prince.

Agnaldo Rayol had a big voice and good looks too.  

As Anisio Silva was exiting the bolero scene, young hopeful Altemar Dutra was checking in with ‘Tudo de mim’ [All of me]. Altemar came from Minas Gerais and took the bolero-crown left by Anisio... both singers recorded for EMI’s Odeon. Altemar’s powerful and melodious voice would be heard for many years to come.

As foreign acts are concerned Bert Kaempfert’s ‘Afrikan beat’ was 1963’s biggest hit. That song is so infectious that it is played up to date. Kaempfert had been a good album seller but this was his first time in the single’s charts. Lawrence Welk’s rendition of Henry Mancini’s ‘Baby elephant’s walk’ from John Wayne’s ‘Hatari’ sound-track was big. Eydie Gorme’s ‘Blame it on the Bossa Nova’ didn’t have anything to do with the real bossa-nova but it was a hit anyway.

Chubby Checker hit for the last time with a ‘twisted’ version of ‘Hava Nagila’ the Jewish folk song. It seemed like the dance craze infecting the charts was in its death bed. The Rivingtons’ ‘Papa oon mow mow’ a non-sense do-wop rock US hit caught the ears of many Brazilians too.

Chubby Checker twisting away.

Essa lista pode ter algum erro, já que a TV Record mandou uma relação truncada dos premiados para os jornais e revistas.  No "press-release" da Record havia apenas 14 contemplados, tendo eu "completado" a lista tendo por base minha lembrança pessoal de 1963. Portanto pode haver alguma discrepância aí. "Boogie do bebê", com o Tony Campello, por ex. não está na lista, mas ha uma foto do Tony segurando o troféu "Chico Viola", publicada nas revistas "Melodias" e "Intervalo".

SONG WRITING CREDITS 1963

1. Doce amargura (Ti guarderò nel cuore) (Riz Ortolani-Nino Oliviero-M. Ciorciolini; v.: Nazareno Brito) – Moacyr Franco - originally recorded for the sound-track of 'Mondo Cane'.
2. Sonhar contigo (Adilson Ramos-Armelindo Leandro) – Adilson Ramos
3. Filme triste (Sad movies) (J. D. Loudermilk; v.: Romeu Nunes) – Trio Esperança
4. Boogie do bebê (Babysittin’ boogie) (Parker-Relin; v.: Fred Jorge) – Tony Campello
5. El relicario  (Jose Padilla) – The Clevers

6. Afrikaan beat (Bert Kaempfert) - Bert Kaempfert
7. Apache (Jerry Lordan)  – The Jet Blacks
8. Por causa de você, menina / Mas que nada (Jorge Ben) – Jorge Ben
9. Al di là (Mogol-Donida) – Emilio Pericoli
10. Uirapurú (Murillo Latini-Jacobina) – Nilo Amaro & seus Cantores de Ébano

11. Que será de ti? (Demétrio Ortiz-Maria Teresa Marques; v.: Hélio Ansaldo) – Moacyr Franco
12. Esta noite eu queria que o mundo acabasse (Silvio Lima-Luiz Carvalho) – Silvinho
13. Samba em prelúdio (Vinicius de Moraes-Baden Powell) – Ana Lúcia & Geraldo Vandré 
14. Legata a un granello di sabbia (Nico Fidenco-Marchetti) – Nico Fidenco
15. Paz do meu amor (Luiz Vieira) – Luiz Vieira

16. Tudo de mim  (Evaldo Gouveia-Jair Amorim) – Altemar Dutra
17. Maria Cristina (Domínio Público) - The Clevers
18. Olhando para o céu [Ui o muite aruko] [Rokusuke Ei-Hachidai Nakamura; v.: Romeu Nunes] –  Trio Esperança
19. Hava Nagila  (J. Sheldon-A.Z. Idelsohn) – Chubby Checker
20. Tem bôbo p'ra tudo (Manuel Brigadeiro-J. Corrêa da Silva) – Alcides Gerardi

21. Não diga a ninguém (José Messias) – Leila Silva
22. O amor mais puro (Palmeira) – Francisco Petrônio
23. Papa oom-mow-mow (Carl White-Al Frazier-Sonny Harris-Turner Wilson Jr.) – The Rivingtons
24. Romance (adapt.: Salatiel Coelho-Oswaldo Montanha) –  Francisco Petrônio
25. Acorrentados (Encadenados) (Carlos A. Briz-J. Miranda; v.: Genival Melo) – Agnaldo Rayol

26. Quem tudo quer nada tem (Evaldo Gouveia-Jair Amorim) – Anísio Silva
27. Blame it on the Bossa Nova (Cynthia Weil-Barry Mann) – Eydie Gorme
28. Baby elephant walk (Henry Mancini) – Lawrence Welk
29. Blue star (Victor Young-R. Heyman) – The Jordans
30. Na cadência do samba (Ataulpho Alves-Paulo Gesta) - Elizeth Cardoso

31. Balanço Zona Sul (Tito Madi) - Tito Madi
32. Bolinha de sabão (Orlann Divo-Adilson Azevedo) – Sônia Delfino
33. Tamanco no samba  (Orlann Divo-Elton Menezes) – Orlann Divo

while in Miami-FL, Miss Brazil would become Miss Universe in June 1963... 

Yeda Maria Vargas, Miss Brazil and Miss Universe 1963.

Miss Brazil finally makes it into Miss Universe in 1963.

1964 Chico Viola Awards - VII

Italian volcano Rita Pavone broke all the records in Brazil in 1964.

1964 - CHICO VIOLA VII

1. Datemi un martello (If I had a hammer)       Rita Pavone               RCA
2. Io che amo solo te                                       Sergio Endrigo           RCA
3. Dominique                                                    Giane                         Chantecler
4. Rua Augusta                                                Ronnie Cord               RCA
5. Una lacrima sul viso                                     Bobby Solo                Ricordi-Chantecler

6. Que queres tu de mim?                                Altermar Dutra            Odeon
7. Deixa isso p'ra lá                                          Jair Rodrigues             Philips
8. Cin cin (Cheat cheat)                                    Richard Anthony         Odeon
9. Roberta                                                         Peppino Di Capri        Odeon
10. Pombinha branca (Vola colomba)               Silvana                        Copacabana

11. Ritmo da chuva (Rhythm of the rain)           Demétrius                   Continental
12. Trem das Onze                                            Demônios da Garôa   Chantecler
13. O divorcio (El divorcio)                                Oslain Galvão             RGE
14. Sabe Deus (Sabrá Diós)                             Carlos Alberto             CBS
15. I want to hold your hand                              The Beatles                 Odeon

16. Scrivi (Lady Love)                                        Rita Pavone               RCA
17. Sapore di sale                                              Gino Paoli                  RCA
18. La Bamba                                                    Trini Lopez                  Reprise-Odeon
19. Michael                                                        Trini Lopez                  Reprise-Odeon
20. Separação                                                   Claudio de Barros       RCA

21. Juramento de amor                                                José Lopes                 Chantecler
22. Bicho do mato                                                        Jorge Ben                    Philips
23. É proibido fumar                                                     Roberto Carlos            CBS
24. Deixa p'ra mim a culpa (Echame a mi la culpa)     Agnaldo Rayol             Copacabana
25. Zimbo Trio - musical album of the year                  Zimbo Trio                   RGE
26. Vozes da Amazônia - special album                      Johann Dalgas Frisch  Sabiá-Copacabana


1. Odeon [6]
2. RCA [5]
3. Chantecler [4]
4. Copacabana [3]
5. Philips [2]
6 RGE [2]

7. CBS [2]
8. Continental [1]

article in 'Intervalo' about 1964's Chico Viola Awards gala.

What a year 1964 was. There was nothing like 1964. Everything changed in 1964. There were signs of changing coming in 1963 but nothing so radical was expected. There was a total upheavel in the charts. From the 25 most popular songs, 17 of those were done by a new talent that had never been in the charts before. That’s a lot of new stuff.

The year started with ‘Dominique’ sung by Giane, a nice young lady who harmonized with herself accompanied by one acoustic guitar in a adaptation of Soeur Sourire’s telling of Saint Dominic’s life. Paulo Marques the man who did the translation job for Chantecler thought that maybe a song about a monk’s life in the Middle Ages wouldn’t be very popular so he changed the story willy-nilly and made the saint become a young lass who was waiting for her Prince Charming. Some elements in the Catholic Church didn’t like the saint’s sex-change at all but they couldn’t grumble much because the final product was ‘harmless’. After all, Dominique, the young lady was not a wanton woman but prim-and-proper, just biding her time until her dream came true. In the end her Prince turns out to be just another worthless dude who deserts her. Well, that’s life.

As soon as ‘Dominique’ left the scene, there was a procession of Italian hits starting with amazingly beautiful ‘Io che amo solo te’ [I who love only you] written and sung by lovable Sergio Endrigo who had a most agreeable voice. Italian music was suddenly hip! Endrigo not only sold singles but thousands of albums and extended-plays that were played constantly on the radio. ‘Basta così’, ‘Se le cose stanno così’, 'Annamaria', 'Era d'estate' and ‘Aria di neve’ are some that come to my memory.

Incredibly talented Sergio Endrigo on Italian TV.

RCA Italiana was at the head of the Italian invasion. They would release compilation albums made up of sides A and B of singles that would play on the radio all year long. ‘Sapore di sale’ [Taste of salt] a splendid tale about summer loving sung charmingly by singer-songwriter Gino Paoli was number one. Other Italian hits that made the charts are Michele’s ‘Se mi vuoi lasciare’, Nico Fidenco’s ‘Tutta la gente’, Edoardo Vianello’s ‘Abbronzadissima’ and ‘O mio Signore’, Rita Pavone’s ‘Cuore’ etc.

Gino Paoli's amazingly beautiful 'Sapore di sale'.

Gino Paoli's tortured soul gave us beautiful music.

Italian teen-ager Rita Pavone was 1964’s sensation. Pavone's first album and an extended-play had already been released in 1963, but what took her to the top of the charts was ‘Datemi un martello’ a free-adaptation of Pete Seeger and Lee Hays’ ‘If I had a hammer’, a folk song they wrote in 1959 and turned into an anthem for justice & freedom during the Civil Rights marches in the USA. Trini Lopez was the first to trifle with ‘If I had a hammer’ when he recorded it ‘live’ in a Los Angeles whiskey-a-go-go venue filled with drunks and merry-makers. Trini’s version was supposed to launch a new dance called ‘surf’. A song that started as a protest march anthem against injustice turned into a ‘surf’ craze. Then, Italian lyricist Sergio Bardotti at RCA Italiana took it a step further. He simply tore up the original lyrics and wrote a completely new story about a girl being bored at a teenager party because they wouldn’t play up-tempo records. She wishes she’d have a hammer to start breaking everything in sight, including a few hammer blows on the heads of those terrible kids who danced to slow tunes. From the sublime to the ridiculous. Nonetheless, ‘Datemi un martello’ is fun and it was supposed to be danced to as a ‘surf’.

Rita Pavone arriving in Brazil for her 1964 tour.

'Scrivi', Rita Pavone's 2nd hit-single for 1964.

'Sul cuccuzzolo'/'Bianco Natale', Pavone's 3rd hit-single for 1964.

Rita Pavone had been a phenomenal success in her native Italy in 1963. Then her manager tried to introduce her to US audiences but due to the language barrier she never quite made it there. On her way back to Italy from the States, Rita came through South America where she was greeted as a statesperson such was her personal success. Rita performed to crowded venues in Buenos Aires, Rio de Janeiro and São Paulo. She mesmerized the whole country when her video-taped show was aired on TV Record on a Thursday night. Rita broke all the records: best selling single, extended-play and album. While in Brazil Rita was accompanied by Brazilian rock band The Clevers who were hot property since mid-1963 and had a hit of their own with ‘Il tangaccio’. Rita received two Chico Violas; one for ‘Datemi un martello’ and the other for ‘Scrivi!’ [Write to me] a Charlie Rich minor C&W hit called ‘Lady love’ which Pavone transformed into a slick pop tune. Rita could do no wrong!

Rita Pavone was bigger than The Beatles who showed up with ‘I want to hold your hand’. It took a while for the Beatles to ‘catch on’ in Brazil. Brazilians were in the midst of appreciating Italian music which is more melodic and slower. For many people, it was the first time they heard Italian music. I include myself in this group. You see, I am half Italian. My father was Brazilian but my mother was ethnically Italian since both her mother and father had migrated from Italy in late 19th Century. Lots of Brazilians [as well as Argentinians] are half or a quarter Italian. So it was good to hear a bit of our cultural heritage being played on the radio. I guess that explains why Italian music was so popular for approximately half-a-decade... until we got bored with it [around 1968].

Rita Pavone was so successful she had a lot of 'look-alikes' who tried their chances on TV's talent scout competions like Chacrinha's famous 'Gong Show'. 

‘Una lacrima sul viso’ [A tear on the face] was Bobby Solo’s entry at famous San Remo Festival in 1964. It didn’t win but became the most popular song immediately after. It was the first million-seller single in Italy’s story. Mr. Solo was an Elvis Presley emulator who made it good.

Richard Anthony, an Egyptian national who sang in French but could also sing well in Italian went straight to the top with infectious ‘Cin cin’ [Cheers] translated from a US hit called ‘Cheat cheat’.

Peppino di Capri, an Italian rocker from Naples who had ridden the top of the twist craze suddenly turned mellow with marvelous ‘Roberta’, that had won the 1963 Cantagiro, an Italian summer song competion and became one the first Italian hits in Brazil.  It is so melodic and beautiful it is hard to fathom. We must admit Italians are good at creating melodies.  'Roberta’ is not Nat King Cole but it’s unforgetable. .

 São Paulo's Rua Augusta was the 'in' place to be.

Instrumental rock had been big in 1963. In ’64 it was the rock singer’s turn. First came Ronnie Cord who finally recorded in his own native language taking ‘Rua Augusta’ to number one. Some music critics consider ‘Rua Augusta’ as the first truly Brazilian rock number because it was the first time a real rock tune – not a ‘rock ballad’ – was written in Portuguese. Don’t forget that up to then most of our rock tunes were translations or adaptations of US or European originals. Ronnie’s dad, Herve Cordovil wrote this youth-oriented song although he was already past his sixties being old enough to be a great-grand-father.

Singer Roberto Carlos was the second act with a real Brazilian rock tune. ‘Parei na contra-mão’ [I stopped at a wrong way street] was penned by Roberto Carlos himself and his best friend Erasmo Carlos [no relation]. Both songs dealt with cars and speed – a male-oriented subject. Well, some say rock is pure testoterone. I guess there’s some truth in that. Roberto Carlos, a young man from Espirito Santo, a state north from Rio, would become the greatest show business act in Brazil in a few years. But in 1964 he was only a rock’n’roll singer. I almost forget to mention  that Roberto got his Chico Viola not for ‘Parei na contra-mão’ but for ‘É proibido fumar’ [No smoking allowed] written by him and Erasmo, too. It is a rocker too but not as good as the first though.

Roberto Carlos' breakthrough album.

Demétrius, who started in 1959 singing only in English at rock laber Young Records, then moved to Continental Records, had his biggest hit ever with 'Ritmo da chuva', a translation of The Cascades' 'Rhythm of the rain'. Demétrius version was really close to the American original and we have to agree he's got a pleasant singing voice. 

Oslain Galvão & Trio Cristal sing boleros.

Oslain Galvão not only sang well but became a DJ at Radio Piratininga. He eventually went to Medical School and became a doctor.

Even though we were in a topsy-turvy year boleros and samba-canções wouldn’t miss it for the world. Boleros were too ingrained in the Brazilian soul to just die peacefully. ‘Que queres tu de mim?’ [What do you want from me?] was a typical bolero sung by Altemar Dutra in his only second year in the charts. Oslain Galvão, a young black singer who had won ‘A voz de ouro ABC’ –  a talent contest, two years before, hit it big with ‘O divorcio’ [The divorce] a translated hit from Mexican songwriter Pepe Avila. It is ironic that someone in his right mind could sing a song titled ‘The divorce’ in a country where there was no such a thing. Brazil, being a Roman Catholic country, was banned from having anything resembling a divorce. For Catholics a marriage is forever. But even if you were not of the Catholic persuasion you were not allowed to divorce someone you didn't like anymore. Talking about Muslim fundamentalism... how about a bit of Vatican’s dictatorship? Thank God we live in different times now.

Carlos Alberto, the man who sang with a tear in his throat. 

Carlos Alberto was CBS’s answer to Odeon’s Altemar Dutra. Altemar though, had the best songwriting team to write him original material whereas Carlos Alberto had to make do with translations from Mexican or Latin American hits.  ‘Sabe Deus’ [Sabra Diós] that translates as ‘God only knows’ was Carlos Alberto first big hit. He would go on to record dozens of albums of similar stuff during the next few years. Carlos had a tear in his voice. He sang as if he was weeping!

Agnaldo Rayol was Copacabana’s answer to Odeon’s Altemar Dutra or CBS’s Carlos Alberto. Although Agnaldo had been around for more than 10 year since he was only a boy when he started in show business – that was the first time he recorded boleros specifically. Most of them translations from the same source, that is, Mexico and assorted Latin American countries. Rayol’s bolero this year was ‘Deixa p’ra mim a culpa’ [Echame a mi la culpa] that translates as ‘Let the blame on me’.

Claudio de Barros who started the decade so well at Chantecler never had a really big hit at RCA, his new label. ‘Separação’ [Separation] was his last hit. Times were really catching up with a lot of acts, unfortunately. Silvana who skipped 1963 altogether was back with a vengeance. And now she was flying solo with ‘Pombinha branca’ [Vola colomba] a 1952 Italian tune done originally by Nilla Pizzi that sounded more like something coming out straight from Mexico.

Chantecler’s José Lopes’ ‘Juramento de amor’ [Love’s pact] is a really idyosincratic song. It’s not a bolero, it’s not a samba-canção, it’s not a guarania. It’s a slow number, very soulful and beautiful, but strange nonetheless. Chantecler was losing ground quickly to the multinationals but could still churn out a hit or two. Actually, with the advent of the Italian invasion Chantecler was in a solid position for it pressed and distributed Ricordi’s records here. Ricordi being Italy’s second biggest label after RCA Italiana and was the first label, with ‘Una lacrima sul viso’ to sell a million  singles.

Chantecler also had the year’s brightest idea. They re-recorded Demônios da Garôa, a vocal & instrumental samba group who had been very popular eight years before working at Odeon. Chantecler re-recorded all their old hits plus a brand-new one, ‘Trem das Onze’ [Eleven o’clock train] that went straight to number one. Most of their songs were penned by Adoniran Barbosa an  old-timer who had been a comedian, singer, song-writer and poet. All of a sudden it felt like it was 1956 again.

The biggest samba record was a novelty. ‘Deixa isso p’ra lá’ [Leave it all behind] was a  half-spoken, half-sung samba done magistrally well by Jair Rodrigues, a new face that would be around for the longest time. Jair was a black kid from the São Paulo hinterland who made it good in the city and had the biggest smile in the world. He was that kind of people who is at the right place at the right time. I’ll explain that later.

Jorge Ben who had been 1963’s biggest sensation was somewhat lacklustre in ’64. He made the airwaves with ‘Bicho do mato’ [Bush animal] a complete detour from what he had done at his ground breaking 1963 'Samba Esquema Novo'. It was not a samba but something shouted and ‘strange’.

Johan Dalgas Frisch, a son of Danish nationals who migrated to Brazil in 1927, was born in 1930. He got a degree in Engeneering and later became an ornithologist who went bush to record the sounds of Brazilian wild birds.

In 1962, Frisch records 'Canto das Aves do Brasil' [Brazilian Birds' Singing] an album he tried to synchronize birds' singing with instrumental popular music. It sold thousands of vynil records. In 1964, he goes back to the jungle and records uirapurú's singing which was a major feat due to uirapurú's being a very shy bird. This second album was called 'Vozes da Amazônia' [Amazon's Voices] and it sold in the hundreds of thousand too.

Johan Dalgas Frisch's 1962's first album 'Cantos de Aves do Brasil'.

'Vozes da Amazônia' [Voices from the Amazon] a special-album produced by Johan Dalgas Frisch for Sabiá a Copacabana subsidiary won a Chico Viola.

Bossa Nova had been changing since its early days in 1958. There were a lot of ‘different’ bossa-novas. The best album of 1964 went to Zimbo Trio, a typical ‘bossa-nova-trio’ made up of piano, drums and double-bass. Does it sound like jazz? Well, some people would say it’s not different at all. Zimbo Trio would play bossa-nova tunes in a jazzy sort of way that only reached those with ‘specially trained ears’. Even though they were so sophisticated they sold enough albums to be qualified to get their Chico Viola, a prominently popular award.

Zimbo Trio's album of the year.

Last but not least, after all the Italian hits we had a new act in the person of Trini Lopez. As we mentioned before, Trini had been huge in the US and Europe in 1963 with his version of Lee Hays and Pete Seeger’s ‘If I had a hammer’. Trini had conquered Paris and the French  performing at the same stage as the Beatles.

 

Trini Lopez hit with 'La bamba' and 'Michael'.

José Scatena, the owner of independant label RGE, knew Trini would be a hit in Brazil and before Odeon had time to release Trini’s records, Scatena, who was also a talent-scout went around São Paulo night-clubs and discovered José Gagliardi, a young man who could really sing and swing fronting rock instrumental band The Jet Blacks at Lancaster, a famous twist dive. Scatena made a deal with José and changed his name for Prini Lorez. Then he took Prini to his studio and made him record all Trini Lopez’s hits, released them in the market before Odeon could have a chance.

All of sudden we had Prini Lorez singing ‘America’ on the radio day and night. One could not distinguish between the original Trini and the ‘copy’ Prini. Prini had had his homework done while he recorded in English for Young Records in 1959 and 1960. He was pretty sure of himself and knew what he was capable of.  Actually Prini had opened for Paul Anka when he toured Brazil in September 1960 and was used to the hustle-and-bustle of night club life.

‘La bamba’ was Prini’s second release and it was even bigger than ‘America’. Now, Odeon finally caught up with RGE and released the original Trini Lopez. It was funny listening to the radio then. Sometimes you listened to ‘La bamba’ twice and you would hardly know which was which. There was a period that nobody knew for sure who was Prini or Trini.

That went on until Odeon who represented US’s Reprise Records in Brazil released ‘Michael’ by Trini Lopez. That made all the difference. ‘Michael’ had been just a ‘track’ at Trini Lopez ‘Folk Album’, but for us, Brazilians, it was like the second coming of Jesus. 'Michael’ went straight to number one and wowed radio listeners and the record buying public. It a simple song but recorded in such an exquisite way by genius Don Costa [remember Paul Anka’s first and most important phase?] that made all the difference. The gradual changing of key, half a tone each time, the female choir responses and rapturous final followed by Trini’s cristal-clear Gibson guitar chords make it a classic! Listening to Trini Lopez’s rendition of ‘Michael’ was like a religious experience. Brazilians loved it and I must admit I relished it. I became a Trini Lopez fan right there and then.

Actually I must make a confession. I became an ardent fan of Italian Rita Pavone as well, if you haven’t realized it by now. 1964 was the year I bought my first record player and my first album, Rita Pavone’s ‘Meus 18 anos’.

After the deceit became public knowledge Prini Lorez was never the same. He was still a good performer but he knew he was in a mess for having gone along with such a sham act. He didn’t realize at first he was spending his artistic capital when he agreed to take part in such a swindle. Prini never recovered from that. He continued recording for RGE but never made the charts anymore. It is a pity because Prini or Zezinho or José Gagliardi or even Galli Jr. was a good  performer.

Three members of The Jordans with future Prini Lorez [sitting] in 1963.

 SONG WRITING CREDITS  1964

1. Datemi un martello [If I had a hammer] [Pete Seeger-Lee Hays; v.: Sergio Bardotti] – Rita Pavone
2. Io che amo solo te [Sergio Endrigo] - Sergio Endrigo
3. Dominique [Soeur Sourire; v.: Paulo Queiróz] – Giane
4. Rua Augusta [Herve Cordovil] – Ronnie Cord
5. Una lacrima sul viso [Lunero-Mogol] – Bobby Solo

6. Que queres tu de mim? [Evaldo Gouveia-Jair Amorim] – Altermar Dutra
7. Deixa isso p'ra lá [Edson Menezes-Alberto Paz] - Jair Rodrigues
8. Cin cin [Cheat cheat] [Charles Blackwell-Pallavicini] – Richard Anthony
9. Roberta  [Lepore-Nadeo] – Peppino Di Capri
10. Pombinha branca [Vola colomba] [C. Concina-B. Cherubini; v.: Genival Melo] – Silvana

11. Ritmo da chuva [Rhythm of the rain] [John Gummoe; v.: Demétrius] – Demétrius
12. Trem das Onze [Adoniran Barbosa] – Demônios da Garôa
13. O divorcio [El divorcio] [Pepe Avila; v.: Benil Santos] – Oslain Galvão
14. Sabe Deus [Sabra Diós] [Alvaro Carillo; v.: Nelly Pinto] – Carlos Alberto
15. I want to hold your hand [Lennon-McCartney] – The Beatles

16. Scrivi [Lady Love] [Charlie Rich-Carlo Rossi] – Rita Pavone
17. Sapore di sale [Gino Paoli] – Gino Paoli
18. La Bamba [Traditional] – Trini Lopez
19. Michael [Dave Fisher] – Trini Lopez
20. Separação [Claudio de Barros-Torrinha] – Claudio de Barros

21. Juramento de amor [Maximino Parisi-Canarinho-José Lopes] – José Lopes
22. Bicho do mato [Jorge Ben] – Jorge Ben
23. É proibido fumar  [Roberto Carlos-Erasmo Carlos] – Roberto Carlos
24. Deixa p'ra mim a culpa [Echame a mi la culpa] [Jose Angel Espinosa; v.: Nilza Maria] – Agnaldo Rayol

1964 foi o ano que tudo mudou!  A musica taliana invadiu o Brasil. Rita Pavone era a Rainha do yé yé; the Beatles apareceram para ficar e Roberto Carlos veio lá do Espirito Santo, com estadia no Rio, para tomar de assalto a Parada Brasileira. Os "Demônios da Garôa" voltaram, depois de 8 anos de ausência, e levaram o "Trem das 11" para o mundo inteiro. Trini Lopez ‘bambou’, e "Michael" tocava 24 horas por dia nos céus do Brasil. O ano abriu com "Dominique" e fechou com "Bianco Natale" da Rita Pavone, ainda tendo muito "Cin Cin" [Tchin Tchin] com Richard Anthony, um egípcio-francês que cantava em italiano. O Brasil era um país multi-cultural.  Hoje é apenas um entreposto do imperialismo norte-americano. Carlus Maximus [representante do Imperialismo Romano.]

Meanwhile in Rio de Janeiro, Vera Lucia Couto was elected the first ever Black Miss Brazil...

Vera Lucia Couto, Miss Guanabara 1964 & Miss Brazil #2 - went to Long Beach, California and was placed #3 as Miss International Beauty.

1965 Chico Viola Awards VIII

1.   Io che non vivo (senza te)                             Pino Donaggio          Columbia-Odeon
2.   Perfidia                                                         Trini Lopez                 Reprise-Odeon
3.   Carcará / Missa Agrária                                Maria Bethania          RCA Victor
4.   Amore scusami                                             John Foster               Style-Fermata
5.   Se piangi, se ridi                                            Bobby Solo               Ricordi-Chantecler

6.   Pau de arara                                                 Ary Toledo                 Fermata
7.   From Russia with love                                  Matt Monro                Odeon
8.   Il mondo                                                       Jimmy Fontana           RCA Victor
9.   Ma vie                                                           Alain Barrière             RCA Victor
10. Emoção                                                        Os Vips                       Continental

11. História de um homem mau (Ol’ man Mose)  Roberto Carlos             CBS
12. Festa de arromba                                          Erasmo Carlos              RGE
13. Shame & scandal in the family                      Shawn Elliott                 Chantecler-Roulette
14. Menina linda (I should have known better)   Renato & seus Blue Caps     CBS
15. Il silenzio                                                        Nini Rosso                   Fermata

16. A casa d’ Irene                                              Nico Fidenco               RCA Victor
17. Preste atenção (Fais attention)                    Giane                           Chantecler
18. Trem das Onze                                             Demônios da Garôa    Chantecler
19. Baile da saudade                                          Francisco Petrônio       Continental
20. Arrastão                                                        Elis Regina                   Philips

21. Red roses for a blue lady                              Bert Kaempfert             Polydor
22. Festa do Bolinha                                           Trio Esperança             Odeon
23. O principio e o fim  (Ma vie)                          Agnaldo Rayol              Copacabana
24. O professor apaixonado                                Nilton Cesar                 Continental
25. La danse de Zorba                                        Dalida                           Barclay-RGE

26. Oferenda / O trovador                                   Altemar Dutra               Odeon
27. Canção falando mal de você                        Moacyr Franco             RCA Victor
28. Não quero ver você triste                              Roberto Carlos             CBS
29. Seleção de sambas                                      Jair Rodrigues               Philips
30. Dois na Bossa  (best album)                       Elis Regina & Jair Rodrigues  Philips

1. Odeon [5]
2. RCA [5]
3. Chantecler [4]
4. Philips [3]
5. CBS [3]
6. Continental [3]
7. Fermata [3]
8. RGE [2]

1965 only consolidated the Italian hold onto the charts with not less than 6 Chico Violas going abroad to the Peninsula. Trini Lopez was still riding high with ‘Perfidia’ and other Spanish-language favorites from his 'Latin Album'.

But there was something new in the air. The Brazilian political scene had changed dramatically in April 1964 with a fascist military coup-de-etat against democratically elected President João Goulart. The right-wing putsch showed its true colours gradually threatening to shut down Congress which they eventually did four years later. The military junta exiled many prominent citizens who did not agree with their atittudes. Brazilian democracy, so hard earned after WWII’s end, was back on square one. Authoritarianism was back to stay for a few decades.

Brazilian bossa-nova had been branching out into different formats and one of them was the synergy between its highly sophiticated urban sound and shanty towns’ samba. Bossa nova also crossed over with the rural Northeastern music that came along with the internal migration from drought stricken areas to the southern cities.

Maria Bethania's rendition of 'Carcará' was amazingly stunning.

 Maria Bethania had a keen sense of drama.

‘Carcará’ with new face Maria Bethania was the result of such a marriage. It was originally from a theatre play called ‘Opinião’ [Opinion] being shown in Rio where the three musical elements [urban music, shanty town samba and Northeastern rural music] converge into one. Nara Leão represented city life, Zé Keti’s the favela [slums] and João do Vale the rural poor. Nara Leão fell sick during the show and was substituted by Maria Bethania who became famous overnight due to her true grit, powerful voice and wild gestures. Carcará is a hawk that survives in the harshest environment of drought-stricken areas of the Northeast. Carcará is better than men because men have to flee his home land when drought strikes. Carcará stays put and eats even burned snakes and young burros who are born in the lowlands. But man has to migrate and slave away for big capital in the southern cities. It is such a powerful song that when it was released as a single it went straight to number one even if people didn’t know it was part of a theatre play. Maria Bethania had arrived to be the princess of Brazilian music for decades to come.

the original play 'Opinião' with Zé Keti, Nara Leão & João do Vale.

João do Vale & his idol Luiz Gonzaga [holding the accordion].

Zé Keti, on the right & Paulinho da Viola with his guitar. 

The queen of Brazilian music had come from the south and her name was Elis Regina. She had been around for a few years trying to make it but never reached her full potential until she went to Rio de Janeiro and started mingling with the bossa-nova crowd who congragated in night clubs around Beco das Garrafas [Bottles’ Alley] where she became a local celebrity. Next, she was competing at the first Brazilian music festival in Guarujá-SP, a San Remo-like  competition broadcast by TV Excelsior. Elis won first prize with ‘Arrastão’ written by veteran Vinicius de Moraes and new-comer Edu Lobo. Elis was different, she sang not only with her vocal chords but with her arms and whole body. She was a sensation and couldn’t be ignored anymore. Philips released her new album but Elis had to be seen in person to be fully appreciated. She was dynamite when she sang live.

Walter Silva, the same DJ who had been instrumental in consolidating João Gilberto’s career in 1958 was a show promoter then and decided to pair off Elis Regina with Jair Rodrigues. Silva planned three shows at huge Paramount Theatre with accompaniment by Jongo Trio [piano, double-bass and drums] that was an instant sell out. From these shows Walter Silva produced a ‘live’ album called ‘Dois na Bossa’ [Two at Bossa] whose main track was a seven-minute-long samba meddley that would play on the radio incessantly. Elis & Jair ruled the air-waves. This was ‘album of the year’. I would say it was album of the decade. Soon after that Elis was invited to compere ‘O Fino da Bossa’ a weekly TV show that was the best thing one could possibly think of. The best musicians in the country would play there and it became the base for future TV  musicals and future ‘music festivals’ that would stir the whole country many times in the next few years. Elis went from strength to strength soon to become the biggest female singer in Brazil’s history.

Jair & Elis & Jong Trio in May 1965

Elis & Jair at 'O Fino da Bossa' TV show.

‘Pau de arara’, the ‘novelty’ single of the year was a five-minute-long performance by singer-comedian Ary Toledo who accompanies himself with his acoustic guitar. It was recorded live at TV's ‘O Fino da Bossa’. Recording acts ‘live’ was cheaper for the record companies and sold a lot of discs. ‘Pau de arara’ is the story of a destitute migrant from the Northeast who comes to Rio and makes a fool of himself busking his ‘hunger’ in the parks. He debases himself telling stories about his hunger and homelessness while people laugh and guffaws. The more bizarre the tale, the more people laughed. ‘Pau de arara' is a derogative way of calling those victims of drought who migrated to the southern cities looking for a better life. Actually it means ‘bird’s roost’... because those drought victims came all huddled up in the back of trucks that traveled weeks until reaching final destination in the south. Those poor migrants looked like birds on a roost... and that’s how they got their names from. Actually ‘Pau de arara’ was part of another theatre play called ‘Pobre menina rica’ [Poor rich girl] written by Carlos Lyra, one of the greats of bossa-nova who suddenly became aware of the countries segregated under-class and  rebelled against bossa-nova’s tenets of ‘loving, smile and the flower’

Quite a few politically motivated songs broke into the charts in 1965. It is really ironic that it took a right-wing coup-de-etat against a legitimate elected government to awaken the left-wing artistic militancy. Or maybe it was already there and it only burst out into the scene in 1965.

At the same time that a sector of bossa-nova became very outspoken politically the other side of the coin was just around the corner doing very well, thanks. Indigenous rock’n’roll had definitely come of age and young  people were writing their own material instead of just translating foreing hits. All of a sudden we had a left-wing Brazilian music pitted against a ‘right-wing’ Brazilian rock, which was also called ‘alienated’ because they only thought about having a good time with cars and girls or the other way around.

Roberto Carlos, a young man from Espirito Santos, represented well this ‘alienated’ crowd. Roberto got two Chico Violas in 1965: one for ‘A historia do homem mau’ a free translation of Louis Armstrong’s ‘Ol’ man muse’ and Carlos’ own ‘Não quero ver você triste’ [I don’t want to see you sad] a poem recited over a musical instrumental arrangement. Roberto Carlos actually had more than two hits. His album 'Roberto Carlos canta para a juventude' would play non-stop on radio stations. In August 1965, RC was invited by TV Record, the same station that had Elis Regina & the new bossa-nova musicians in its roster, to compere ‘Jovem Guarda’ [Young Guard] a Sunday afternoon show that catapulted him sky-high to become the biggest male singer in the country for decades to come.

Roberto Carlos sings for young people. 

‘Jovem Guarda’ was a show-case for a lot of young talent, especially those who recorded for Rio’s CBS [Columbia Records’ new name] as Roberto Carlos himself, Wanderlea and Renato & seus Blue Caps, a five-member band who copied the Beatles in style and content. ‘Menina linda’ [Beatiful girl] was a free-translation of  ‘I should have known better’ and was on top.

Erasmo Carlos was Roberto Carlos’ song writing partner and himself a singer. Even though he recorded for São Paulo’s RGE he was part of Jovem Guarda’s royalty. Erasmo hit with ‘Festa de arromba’ [A swell of a party] in which he presented all the young stars who sang at Jovem Guarda to the adoring public who wouldn’t miss one TV programme.

Nilton Cesar was not exactly a ‘Jovem Guarda’ member but his ‘Professor apaixonado’ was ‘rock’ so he qualified for it. From 1965 on Brazilian music would be divided in two segments: MPB [popular Brazilian music] and JG [young guard].  MPB was ‘real Brazilian’ and JG only an ‘americanized’ sop. Brothers Marcio and Ronaldo Antonucci who called themselves Os Vips, were good as a harmonizing duo took ‘Emoção’ [Emotion] to number one.

Trio Esperança who had been big since breaking with ‘Filme triste’ in 1963, joined Jovem Guarda and recorded ‘Festa do Bolinha’ [Tubby’s party] an original song from Roberto & Erasmo Carlos depicting famous comic-book characters Tubby, Little Lulu and their friends.

This was all new Brazilian show business. As concerning the ‘old’ scene... most of the old acts were ostracized or dying of ‘natural causes’. There was absolutely no one left alive from the Old Guard. Literally a slaughter!

Moacyr Franco signed with RCA Victor with hopes of much larger sales but it backfired badly because record-buying public tastes had changed dramatically in the 1965-1965 period. 

‘O baile da saudade’ [The nostalgia ball] was actually very-old music style but done by newish act Francisco Petrônio who loved the ‘old ways’ but was himself from a younger generation. The song remembers the old balls given by olden families.  Moacyr Franco who had been ‘the greatest’ only two years before hit with ‘Canção falando mal de você’ [A song talking evil about you]... but it was a minor hit because Moacyr was not on TV anymore. Tastes had changed dramatically in only two years. Moacyr was old news now.

Altemar Dutra had a steady following. His music style was ‘old’ but he was young, healthy and had the best possible team producing for him at EMI’s Odeon. This was a double-sided hit with  ‘Oferenda’ [Offering] and 'O trovador' - both songs as good as most of Altemar’s material.

Agnaldo Rayol was young in age but ‘old’ in style. Agnaldo was a power-tenor who wowed audiences whenever he opened his mouth to utter his high notes. He had good-looks to boot. TV Record gave him a weekly Friday night show in November 1965, that soon became the most popular programme in the network. With ‘Ma vie’ [My life] strangely translated as ‘O princípio e o fim’ [The beginning and the end] Agnaldo received his Chico Viola for 1965.

Giane was back in ’65 with the translation of another French hit ‘Fais attention’ that became [correctly] ‘Preste atenção’ [Pay attention] a half-spoken, half-sung ballad.

Giane did it again with 'Preste atenção'.

‘Ma vie’, the original French song Agnaldo Rayol copied, burst into the Brazilian charts in its original version. Was it possible that after 1963’s Italian invasion we would be ‘invaded’ by the French in 1965? Not exactly but almost. A lot of French acts started playing on the radio and Alain Barrière’s ‘Ma vie’, a beautiful ballad, was the first and biggest.

Alain Barrière took 'Ma vie' to Number One while Agnaldo Rayol's rendition of the same song in Portuguese topped the charts too. 

Dalida's rendition of 'La danse de Zorba' caught Brazilians' ears.

Italian-Egyptian Dalida had her biggest hit in Brazil with ‘La dance de Zorba’ from the popular movie ‘Zorba, the Greek’ portrayed by Anthony Quinn.

Talking about movies, ‘From Russia with love’ was the second James Bond flick and the first with a hit-song in its sound-track. British Matt Monro took it to number one. And what a beautiful song it is!

But the most sensational foreign hit of the year was ‘Shame and scandal in the family’ by Shawn Elliott. It had been banned from the US air-waves because it told a story of incest, a subject not very common in every day conversation. Even though the English language is not understood in Brazil, DJs would tell the story’s meaning over the radio and due to the tune’s nice melody and rhythm plus the sensational subject it went straight to number one. You see, it’s the story of a young man who meet the girl of his dream and tell his father that he wants to marry her. His father tells him not to marry this girl because she is his half-sister even though his mother doesn’t know. The dejected young man goes to his mother and tells the story his father’s just told him. His mother turns and tell him not to worry: ‘Go ahead and marry the young girl. She cannot be your sister. Your father is not your father but your father don’t know!’ Well, that’s the big ‘scandal’ in the title.

Shawn Elliott's banned hit.

There were two instrumental hits in 1965. ‘Red roses for a blue lady’ had German band-leader Bert Kaempfert back in the charts again. ‘Il silenzio’ was a haunting piece of horn-playing done magnificently well by Italian Nini Rosso. That song would be played for years to come.

Now, the Italian invasion was at its peak, I suppose. Number one hit of the year was doubtless ‘Io che non vivo senza te’ a song Pino Donaggio presented at San Remo Festival. It didn’t win the Festival but it went on to become the biggest hit in Italy and everywhere including the USA where it was translated as ‘You don’t have to say you love me’ sung by Dusty Springfield, Elvis Presley and everyone else and his dog. ‘Io che non vivo’ was really big. You know a hit is big when you watch a talent-contest TV show. There was this ‘gong-show’ where would-be singers try and sing a tune and if he-she don’t do it well he-she is ‘gonged’. Well that was Chacrinha’s popular weekly programme. I remember watching it and there was an instance when more than 20 candidates chose the same tune: ‘Io che non vivo’! They would queue up and be gonged one after the other after just a few bars into ‘Io che non vivo’... until a would-be-star would carry the tune all the way to its conclusion.

Bobby Solo finally won San Remo in 1965 with ‘Se piangi, se ridi’ [Whether you cry or laugh]. It was a hit in Brazil too but nothing compered to Donaggio’s song. San Remo was a funny place. Except for one or two songs, winning the competition didn’t mean one had made it.. the underdog always carried the day and 1965 was not different.

‘Amore scusami’ with Italian jounalist turned singer John Foster was really popular too, a really beautiful ballad reminiscent of US Big Band era.

‘Il mondo’ [The world] was huge too. It’s one of those ballads that start very soft and goes on a crescend to burst into an explosion of sounds. Italian Jimmy Fontana’s biggest hit by far.

‘A casa d’Irene’ [At Irene’s house] was Nico Fidenco back again. Fidenco had been one of the first Italian acts to break into Brazil's charts in 1963. This time he tells us a story of a brothel. Irene is a madam who runs a brothel. Nico tells the story half spoken. Irene’s house is involved in a aura of mystery and its walls are surmounted by shards of broken glass. It is very 'atmospheric' and filled with desire and forbidden feelings. Brazilians usually understand half of what is spoken in Italian... the other 50% is guessed. Brazilians knew that Irene was a prostitute and her was a house of 'tolerance'... and he-she had to imagine the rest of the story.

Trini Lopez sang old 'Perfidia' as if it were a rock song, adding his famous 'sha la la la la'. It was probably the most played song on the radio for the whole year. 

Trini Lopez could do no wrong in 1965.

SONG WRITING CREDITS 1965

1.   Io che non vivo [senza te] [Pino Donaggio-Pallavicini] –   Pino Donaggio
2.   Perfidia [Alberto Dominguez] – Trini Lopez
3.   Carcará – Missa Agrária [João do Vale-José Cândido] – Maria Bethania
4.   Amore scusami [Pallavicini-Mescoli] – John Foster
5.   Se piangi, se ridi [Roberto Satti-Marchetti-Mogol] - Bobby Solo

6.   Pau de arara  [Carlos Lyra-Vinicius de Moraes] – Ary Toledo
7.   From Russia with love [Lionel Bart] – Matt Monro
8.   Il mondo [Gianni Meccia-Jimmy Fontana-Pes] - Jimmy Fontana
9.   La danse de Zorba [Milis Thèodorakis-F. Dorin] - Dalida
10. Emoção [Roberto Carlos-Erasmo Carlos] - Os Vips

11. História de um homem mau [Ol’ man Mose] [Louis Armstrong-Zilner Randolphv; v.: Roberto Rei] – Roberto Carlos
12. Festa de arromba [Roberto Carlos-Erasmo Carlos] – Erasmo Carlos
13. Shame & scandal in the family [Donaldson-Brown) - Shawn Elliot
14. Menina linda [I should have known better] [Lennon-McCartney; v.: Renato Barros] – Renato & seus Blue Caps
15. Il silenzio [transcription: Nini Rosso-Brezza] - Nini Rosso

16. A casa d’ Irene  [Maresca-Pagano] – Nico Fidenco
17. Preste atenção [Fais attention] [Jean Loup Chauby; v.: Paulo Queiróz] – Giane
18. Trem das Onze [Adoniran Barbosa] – Demônios da Garôa
19. O baile da saudade [Palmeira-Zairo Marinozo] –  Francisco Petrônio
20. Arrastão [Edu Lôbo-Vinicius de Moraes] – Elis Regina

21. Red roses for a blue lady [Sid Tepper-Roy Brodsky] - Bert Kaempfert
22. Festa do Bolinha [Roberto Carlos-Erasmo Carlos] – Trio Esperança
23. O principio e o fim [Ma vie] [Alain Barrière; v.: Nazareno de Brito] - Agnaldo Rayol
24. O professor apaixonado [Moacyr Gomes] – Nilton Cesar
25. Ma vie [Alain Barrière] - Alain Barrière

26. Oferenda [Evaldo Gouveia-Jair Amorim] - Altemar Dutra
27. Canção falando mal de você [Moacyr Franco-David Nasser] – Moacyr Franco
28. Não quero ver você triste [Roberto Carlos-Erasmo Carlos] – Roberto Carlos

The Award gala night was held at Teatro Record in 29 January 1966.