Monday, 19 May 2014

BABY SANTIAGO, first Brazilian rock song-writer

Baby Santiago whose real name was Fulgêncio Santiago was the first Brazilian song-writer who actually sat down and wrote original lyrics in Portuguese for what was known as rock'n'roll. Fulgêncio born on 17 October 1933, in São Paulo-SP.

Some time in 1957, he went to see 'Don't knock the rock' (released in the USA in December 1956; in Brazil in mid-1957) and fell in love with Little Richard's crazy performance of 'Long tall Sally'. Fulgêncio then wrote Portuguese lyrics for it and showed it to his pal Wilson Miranda, an aspiring singer who eventually recorded it for Chantecler in 1960 as 'Bata baby' (Hit me, baby) that became Miranda's first hit.

Up to 1961, Brazilian rock was made up of a 100% of covers of US or European hits. Baby Santiago was the first guy who thought he could sit down and write an original rock tune in his own language.

In 1961, Santiago penned 'Adivinhão' for George Freedman and 'Rock do Sacy' for Demetrius, two young rockers who had a good teeny-bopper following. Both songs were co-written with Tony Chaves who was none other than Wilson Miranda himself whose real name was Antonio Wilson Chaves de Miranda.

Baby Santiago was also a singer in his own right having recorded 'Vem vem' and 'Seu Valério' for Carnaval 1961 for independent label California.

In 1962, with the twist craze raging all over the world, Santiago writes 'O twist é bom' for young Black singer Mario Augusto which goes up the charts and becomes Santiago's biggest hit. Tony Campello also records Baby's 'Vamos dançar o twist' (Let's dance the twist) for Odeon.

In 1962, in the wake of 'O twist é bom' chart action Continental Discos signs Baby Santiago as a singer and releases 'Xaxado rock'' b/w 'Estou muito louco'.  

In 1963, Santiago maybe inspired by Tony Campello's 'Boogie do bebê' which was #1 at the charts records 'Boogie do guarda' b/w 'Bola no taco' for independent label VS with arrangements by Rogerio Duprat who would become an avante-garde arranger for Tropicalia (1967-1968).

Here are some songs written by Santiago: 'Coisinha linda' by Tony Campello in 1963; 'A bruxa' (The witch) by Demétrius in 1964; 'Viver com você' by The Jet Blacks in 1965 and 'Lucifér' by Sergio Murilo in 1965.

Baby Santiago sings at TV Paulista's 'Ritmos para a Juventude', a rock show MCed by Antonio Aguillar - Radiolandia #382 - 1st October 1962
Baby Santiago as a singer in 'Xaxado rock' b/w 'To muito louco' for Continental in 1962. 

For some mysterious reason, Baby Santiago didn't fit in the Jovem Guarda format and by 1966 was completely ostracized. He then started performing as a crooner at night-clubs in São Paulo, having sung at the Holliday Inn in Campinas, Americana, Ribeirão Preto, São Bernardo do Campo and other venues in the state. 

Albert Pavão, former teen-heart-throb and a rock journalist says: 'I was at a record shop in October 2008, when I spotted a billboard announcing a Baby Santiago show accompanied by rockabilly band Ready Teds. I was really glad to know Baby was still very much active at 75, after all those years. Later on, I found some clips of Santiago and the Ready Teds on YouTube. He was still rockin'! God bless him!'

Here are some of Baby Santiago's best lyrics. They are really witty with a sexual undertone that is what rock'n'roll is all about. Santiago has been compared with Chuck Berry and it's not a long shot actually.

Adivinhão 

Você anda namorando a minha filha com segunda intenção
(adivinhão, adivinhão)
você anda namorando a minha filha p’ra querer botar a mão
(adivinhão, adivinhão)

o seu negócio é andar de Lambretta
quando falo em casamento você faz careta
vai dando o fora, playboy,
caso contrário eu lhe meto a mão

A noite ela falta a aula p’ra encontrar contigo
tomar coca cola
quando o chega o fim do ano ela leva bomba
e você nem dá bola.

recorded by George Freedman for RGE in 1961.

Rock do Sacy

Era noite de luar, sai p’ra namorar
quando ele pulou na minha frente a gritar

Cigarro, hei me dá um cigarro a ai
E e e e eu, quase que eu desmaiei

De boné vermelho  e uma perna só
boca bem aberta a me dizer sem dó.

Meu broto viu, mas logo fugiu
quando aquela voz fanhosa ouviu.

Medroso fui, podem falar
mas eu queria ver vocês no meu lugar.

Correr eu quis, mas foi em vão
estava em minha frente estendendo a mão.

Eu lhe dei o cigarro e fiquei olhando
saindo como um louco pulando e gritando.

recorded by Demétrius for Continental in 1961.

O twist é bom

Jeny, telefone p’ra Marly
Guiomar, tire a mesa do lugar
Dora, põe o disco na vitrola
olha, tem que ser agora
que o twist já vai começar

O twist é bom p’ra se dançar
eu tenho certeza que vocês vão gostar.

recorded by Mario Augusto for Copacabana in 1962.

To muito louco 

Dou–lhe um murro na cabeça que estoura o seu sapato
meus amigos me disseram que você me fez de pato

Estou louco, meu bem, estou muito louco porque, hum
disseram que um broto estranho saiu com você, meu bem

Quando chego na escola todos ficam me olhando
tenho a nítida impressão que é de mim que estão falando

Fui correndo p’r’o cartório p’ra meu nome retirar
me disseram que não pode, que eu preciso me casar

Estou louco, meu bem, estou muito louco porque, hum
disseram que sou obrigado a casar com você, meu bem.

(Instrumental break)

Você sabe muito bem que eu nunca fui de negócio
Um amigo me falou que queria ser meu sócio

Estou louco, meu bem, estou muito louco porque, hum
ele queria ser meu sócio pensando em você, meu bem

Fui dar parte p’ra polícia, não quiseram me atender
me disse o delegado que ele conhece você

Estou louco meu bem, estou muito louco porque
eu soube que o delegado conhece você, eh eh.

recorded by Baby Santiago for Continental in 1962. 

A bruxa

Velha medonha, de faca na mão
voando sentada no vassourão
olha a bruxa, olha a bruxa, yeah
a velha quer pegar criança p’ra fazer sabão, ah han

Voando baixo, me apavorei
passou raspando, e eu até gritei
olha a bruxa, olha a bruxa, yeah
a velha quer pegar criança p'ra fazer sabão, ah han

Vai pilotando seu vassourão
se não desvio vou p'ro caldeirão
olha a bruxa, olha a bruxa, yeah
a velha quer pegar criança p'ra fazer sabão, ah han

Ela tinha boca escancarada
e na sua boca tinha um dente só
cinco metros de altura
no pescoço tinha um nó

Avise a polícia, avise Mané
avise a garotada para dar no pé
olha a bruxa, olha a bruxa, yeah
a velha quer pegar criança p'ra fazer sabão, ah han.

recorded by Demétrius for Continental in 1964.


Lucifer

No meio da sala ele apareceu
e de-repente tudo escureceu
alguém num canto o reconheceu

é o Lucifér, o diabo chifrudo, é o Luciér uh uh uh  
a turma que estava dançando logo deu no pé, ah aha

A turma do conjunto se apavorou
preto ficou branco, branco amarelou
o homem que era mudo, sem querer gritou:

é o Lucifér, o diabo chifrudo, é o Lucifér uh uh uh  
a turma que estava dançando logo deu no pé, ah aha

Isto acontece com quem dança e canta
em tempo de quaresma ou na semana santa
foi  isso mesmo que aconteceu e foi por isso que ele apareceu.

recorded by Sergio Murilo for RCA Victor in 1965.


Baby Santiago in his eighties...

Tuesday, 13 May 2014

TONY CAMPELLO

Tony Campello sharing a table with Dolores Duran and Comendador Bahar - who was the spitting image of British actor Sydney Greenstreet in 'Maltese Falcon' -  at a TV show in Rio de Janeiro's TV Tupi, Channel 6 in 1959. The lady giving her lovely back to the camera is Alaide Costa.
From left to right: singer-song-writer Dolores Duran holds an album Tony Campello probably brought to promote on a TV Rio programme in  1959; Ely Celano, TV Rio stage-designer and an unidentifed man.


Tony Campello was one of the first Brazilian rock'n'rollers. He started singing and playing his guitar as soon as he listened to the first Elvis Presley record back in his hometown Taubaté-SP. He formed his own band called Ritmos OK and started performing at dances and balls.

Tony whose real name was Sergio Benelli Campello had a younger sister called Célia who had a golden voice and ended up being more famous than him. She actually became Celly Campello, the Queen of Brazilian Rock selling heaps of records and being at #1 in the charts more than anyone else in Brazilian show business at the time. Celly though had other plans than being famous. She simply got married in May 1962 and just like Greta Garbo went into retirement at the age of 22.  

Even though Celly became bigger than himself, Tony never had a chip on his shoulder. On the contrary, he enjoyed his sister's success and usually toured with her around the country being part of the band that accompanied her.

It looks like Fate had something in store for him because 1963 turned out to be Tony Campello's biggest year ever when 'Boogie do bebê' (Babysitting boogie) went to Number One in the singles' chart. Tony Campello had come of age.

1963



1. Não te esqueças de mim (Non ti scordar di me) versão: Fred Jorge
2. Esta noite (Tonight) v.: Romeu Nunes
3. Presa a um grãozinho de areia (Legata a un granello di sabbia) v.: Nazareno de Brito
4. Moon River (Henry Mancini-Johnny Mercer)
5. Quando, quando, quando (Tony Renis) v.: Teixeira Filho
6. Vamos fingir (Making believe) v.: Fred Jorge

1. Como sinfonia (Come sinfonia) v.: Romeu Nunes
2. Não toque esta canção (Don't play that song) v.: Hamilton Di Giorgio
3. Non esser timida (Del Prete)
4. Pingo d'água (Raindrops) v.: Nick Savoia
5. Quem me faz sofrer (Mattinata) v.: Fred Jorge
6. O dia do amor (Our day will come) v.: Fred Jorge



same photo of  Rio de Janeiro's TV Tupi, Channel 6 studio in 1959.


1963's 'Boogie do bebê' (Babysitting boogie) was Tony Campello's greatest hit ever.




Circa 1964 Tony tried to get into the Italian pop-music boom but with no great success, because, differently from a few years back, the originals from Italy were more popular than the Brazilian covers. Times had changed quickly! Here's the Brazilian lyrics for Richard Anthony's 'Cin cin' which in Portuguese was 'Tchin tchin'. Tony might be busy talking on two phones at the same time but the record-buying public was interested in something else.



Tony Campello at the back-cover of Revista do Rock; Celly Campello & Sergio Murilo as Queen & King of Brazilian Rock'n'roll at the cover of Revista do Rock; add for Celly Campello's first 'Programa da juventude' on TV Record in 1959; 1960s list of best selling records.


Celly Campello, Brenda Lee & Tony Campello in September 1959 when Brenda visited Sao Paulo and sang at Teatro Record. 


Tony Campello on the cover of 'São Paulo na TV' - November 1965 - Tony tried to conform with the new trends. His hair went down a little but it was not long enough to those of the British pop groups and of the guys who made the new Brazilian rock called Jovem Guarda.

Teresinha Sodré became Mrs. Tony Campello

Tony's career became erratic after 1964. With the Italian music invasion Odeon thought Tony could capture some of that market but translations were not as successful as they had been up to 1963.
Tony tried all formulas and dance crazes with no avail. 'Pertinho do mar' was actually a medium-sized hit but it was a bit too little too late.

Bobby de Carlo & Tony Campello - Revista do Radio 1960.

Tony's flat on Rua Amaral Gurgel, 471 was broken into and reported by Revista do Radio #600 - 18 March 1961. 
'Revista do Radio' 31st January 1959 - in what must have been Tony Campello's first exposure in the Brazilian media. The headlines says: A North-American who was born in Sao Paulo

Revista do Radio was the most popular show-business weekly in the country and they usually showed all their contempt & sarcasm towards foreign acts or Brazilian acts who showed any inclination to perform rock'n'roll or any 'imported' rhythm. 

Who's it flying up there?
Is it a bird? Noooo.
Is it a plane? Noooo.
Is it Tony Campello? Yeahhh!
Flying Tony Campello in late 1958...

Odeon-14.328 - 'Forgive me', Tony Campello's 1st single for Odeon b/w 'Handsome boy' sung by his sister Celly Campello.
Odeon-14.384 - 'My special angel' b/w 'Louco amor' a cover of Paul Anka's 'Crazy love' that was covered by Carlos Gonzaga for RCA Victor. 
Odeon-14.492 Tony covers Ricky Nelson's 'Poor little fool' (Pobre de mim) b/w Paul Anka's 'Pity pity' (Tenha pena).