Thursday, 26 September 2013

NISSEI ROCK Guido Myioshi & Yoko Abe

Guido Miyoshi and Yoko Abe were two Brazilian youths from Japanese extraction who recorded rock'n'roll at its inception in Brazil circa 1958. 

At the turn of the century - circa 1900 there was a concerted effort of the Japanese government to promote migration of an ever increasing Japanese population to all parts of the world but especially to South America. Brazil and Peru were the preferred destinations. Japanese nationals started arriving in Brazil in 1908. They came in droves soon numbering hundreds of thousands. 

Japanese families settled mainly in the states of Sao Paulo and Parana, but there were a few thousands going to Para, Rio de Janeiro and other states. Due to the language barrier adults hardly ever mixed with Brazilians but their children started mingling and assimilating the local culture and by 1958, we had some children of Japanese parents who could not only sing samba but rock'n'roll. 

Yoko Abe, Brazilian pioneer Nissei  rock'n'roller  
TC-1012 - April 1959

A- Sayonara (Irving Berlin's fox-canção) translation: Kikuo Furuno - with Yoko Abe 
B- Futani yorisoni (Cabecinha no ombro) Paulo Borges; trans.: Kikuo Furuno; with Guido Miyoshi; recorded: 10 APR 1959.

TC-1033 - August 1959

A- Baião da Serra Grande (Fred Williams-Palmeira) trans.: Kikuo Furuno; with Guido Miyoshi 
B- Cachito - bolero (Consuelo Velasquez) trans.: Kikuo Furuno; with Yoko Abe; recorded: 19 JUN 1959.

TC-1065 - November 1959

A- India - guarânia (J.A.Flores-M.Ortiz Guerrero) trans.: Kikuo Furuno; Guido Miyoshi; recorded: 7 OCT 1959.
B- Be-bop-a-lula - rock (Gene Vincent-Davis) trans.: Seuti Yida; Yoko Abe; recorded: 14 AUG 1959. 

TC-1085 - December 1959 - Vagalumes do Luar 

A- Aki Kojima - marcha (Jaime Ribeiro-Carlos Ferlich)
B- Ignês  (J.Ribeiro-C.Ferlich) 

this is a single released for Carnaval 1960 in which the author make a pun with Akiko Kojima's name. Miss Japan, Akiko Kojima was elected Miss Universe 1959 to everyone's surprise.

TC-1086 - December 1959 - Guido Miyoshi

A- Oh! Carol - calypso-rock (Greenfield-Sedaka) trans.: Fred Jorge-Kikuo Furuno; reciting: Getúlio Alves
B- Noite azul - rock-ballad (Carlos Armando-Rogério Cardoso) recorded: 7 DEC 1959.

TC-1136 - 23 May 1960 - Guido Miyoshi 

A- Quero amar - calypso-rock (Deane-Weissman) trans.: Fred Jorge-Kikuo Furuno
B- Destino - tango (Mario Teresópolis) trans.: Kikuo Furuno 

TC-1137 - August 1960 - Yoko Abe 

A- My baby - calypso-rock (H.Balmes-C.Adams) trans.: M.A.Galvão-Ciro Cruz; recorded: 23 May 1960
B- Lampeão de gás - waltz (Zica Bergami) trans.: Kikuo Furuno; recorded: 7 AUG 1960.

TC-1184 - 10 October 1960 - Guido Miyoshi & Yoko Abe

A- Noite de paz (Stille Nacht) Franz Gruber; trans.: Kikuo Furuno
B- Sinos de Belém (Jingle bells) translation: Kikuo Furuno; arrangement: Evaldo Ruy

TC-1289 - 17 January 1962 - Guido Miyoshi 

A- Lamento - samba (Djalma Ferreira-Luiz Antonio) trans.: Kikuo Furuno
B- Naguissa nite - toada (Shichiro Onodera) 

Guido Miyoshi's solos:

1. Futani yorisoni (Cabecinha no ombro)
2. Baião da Serra Grande 
3. India
4. Oh! Carol
5. Noite azul

6. Quero amar
7. Destino
8. Lamento 
9. Naguissa nite
Yoko Abe in more traditional clothes
Yoko Abe's solos:

1. Sayonara 
2. Cachito
3. Be-bop-a-lula
4. My baby 
5. Lampeão de gás
'Sayonara' from the 1957 Hollywood movie of the same name was Yoko Abe's first recording.
Yoko Abe the Nissei rock'n'roll doll. 

After the initial period of recording 78 rpms for California, Yoko Abe & Guido Miyoshi kept on working performing at Japanese-style night clubs mainly in São Paulo. Here is an ad taken from daily 'O Estado de S.Paulo' where both singers perform at different places. Yoko at Cherry, next to Praça João Mendes and Guido Miyoshi at Elite on Avenida Irerê. 

9 September 1962 - At Black Jack Boite, Avenida Ceci (final do bonde São Judas) singer Lili Ozawa and dancer Taki Noboru plus The Four Coins with their progressive jazz;  at night club Cherry (Rua Americo Campos, 84, next to Praça João Mendes) Kiochi Hisa & his Modern Jazz combo with singers Yoko Abe & Nelson Luiz

22 April 1962 - Nissei-rock singer Yoko Abe performed at Cherry (next to Praça João Mendes) with Kioshi Hisa, The Four Coins plus Kamimura & his accordion; at Elite – another Japanese-style night-club on Av. Irerê, 1072, in Moema; Antonio Arruda Orquestra & Conjunto Diamond plus Nissei-rock Guido Miyoshi.

1957's 'Sayonara'
A poster used in Japan to attract immigrants to Brazil. It reads: 'Let's go to South America (Brazil) with the family.'

The poster is pre-1904, because the state of Acre, bought by Brazil from Bolivia in 17 November 1903, was not part of the Brazilian map. Brazil paid Bolivia 2 million sterling pounds for Acre, plus the pledge to build 'Estrada de ferro Madeira-Mamoré' a railway to ship out Bolivian production through the Amazon River. 

Takashi Ikeda sings rock'n'rolll in Rio de Janeiro - July 1960

Even though Japanese national Takashi Ikeda is obviously not part of what we call Nissei Rock, it is worth mentioning his sourjourn to Brazil during 1960.

He spent some time singing nightly at a Rio de Janeiro night club called Little Club. He played the guitar and was accompanied by famous guitar virtuoso Bola Preta (who would soon move on to the USA) and Brazilian pianist Ze Maria. Judging by this article, Ikeda was very popular among this Brazilian crowd and created a good following among Copacabana kids. According to the article he sang 'Tutti Frutti', 'Hound dog', 'Mean woman blues' and other rock classics. 

Com originalidade, o cantor Takashi Ikeda vem se apresentando no Little Club, com o qual assinou contrato para sua 1ª temporada no Brasil. Japonês, filho de família nobre, Takashi, adepto do Zen-Budismo, é um bom interprete do rock’n’roll, marcando suas interpretações com o traço de sua simplicidade oriental.

Seu repertório é verdadeiramente de um cantor que se presa. E suas interpretações de ‘Tutti frutti’, ‘Hound dog’, ‘Mean woman blues’ com o apoio melódico e rítmico da guitarra de Bola Sete e do piano de Zé Maria, faz vibrar o público que prorrompe em gritos a cada número. Mas a platéia barulhenta emudece ao ouvir ‘Sayonara’, com um sotaque japonês, quando o cantor consegue exprimir toda sua arte de intérprete internacional.

‘Correio da Manhã’, domingo, 24 Julho 1960
10 October 1959 - Takashi Ikeda at Black Jack Boite sang rock'n'roll when Japanese-Brazilians wouldn't dare it... 

Guido Miyoshi & Yoko Abe photos on 'O Dia' 24 May 1959.

Saturday, 27 July 2013

THE AVALONS 1959-1960

Dudú plays his banjo before forming The Avalons

The Avalons were the first ever Brazilian rock'n'roll band. They started in 1958 as an instrumental trio made up of Dudú (Francisco Eduardo de Souza Pereira) on guitar, his older brother Paulinho (Paulo Hermínio de Souza Pereira) on drums and Daniel Grizanti (Dracula) on bass.

Dudú had played banjo previously with a jazz combo called Paulistânia Jazz Band which changed its name to São Paulo Dixieland Jazz Band due to its playing mostly the New Orleans type of jazz.

In 1959, a little before radio DJ Miguel Vaccaro Netto set up his Young Records label, The Avalons became a sextet adding singers Solano Ribeiro, Passarinho (Nilton) and Bob Wong, a Hong Kong Chinese who lived in São Paulo then.

The Avalons were the first act to have a 78 rpm / 45 rpm released by newly-founded label Young Records. 'China Rock' was an original instrumental written by Dudú himself which entered Brazilian rock history as being the very first guitar riff ever recorded in the land. 

Lee Pockriss & Paul Vance's 'Valentina my Valentina' was the B-side where the other 3 newer members had a chance to sing it in English. Both songs had a fairly good air-play but only 'China Rock' became a classic.

Celly Campello at her TV show having The Avalons in the back wearing striped shirts and being cool while Celly sings accompanied by another band. 'Programa da Juventude' started on 10 October 1959; it changed its name to 'Crush in Hi-Fi', then to 'Celly & Tony in Hi-Fi' and lasted until 1962.

The Avalons' singles released by Young

Y-45-100 – China Rock (Dudú) / Valentina, my Valentina (Lee Pockriss-Paul Vance)
Y-45-104 – Rebel rouser (Duane Eddy-Lee Hazlewood) / All the time (Solano Ribeiro)
Y-45-111 – Come softly to me (Troxel-Christopher-Ellis) / Baby talk (Melvin Schwartz)
Y-45-112 – Here come the Avalons (Dudú) / Believe me

The Avalons recorded a single for RGE in 1961.

The eyes of Texas are upon you (John Sinclair) / No. 13 (Dudú)

The same tracks were added to an EP where The Avalons accompanied Galli Jr.

1. The eyes of Texas are upon you
2. No. 13

1. Because I love you
2. Tell me, darling

academic work about Dudú:
Dudú's latest band with his two sons:

Dudú plays his guitar at TV Record in an afternoon-show when The Avalons were an instrumental trio. They were watched by Solano Ribeiro who was mesmerized by their performance and suggested The Avalons would add a vocal section comprising of Solano himself plus Passarinho (Nilton) and Robert Wong. Next step was to record 3 singles for Young Records as a sextet. 

História de The Avalons 

The Avalons foi o primeiro grupo a gravar no novo selo Young, lançado em Junho 1959 pelo DJ Miguel Vaccaro Netto, da Radio Panamericana de São Paulo, em parceria com Enrique Lebendiguer, da Fermata do Brasil. Dudú na guitarra, Daniel no contra-baixo e Paulinho na bateria, além dos vocalistas Solano Ribeiro, também compositor, Passarinho (Nilton) e o chinês Bob (Robert) Wong.  

Dudú (Francisco Eduardo de Souza Pereira) nascido em 4 Junho 1935, tocava violão e cavaquinho desde menino, tendo aprendido o baião 'Brasileirinho', de Waldyr de Azevedo, e tocando-o exaustivamente até a perfeição, chamando a atenção dos adultos para seu talento.

Em 1955, com 21 anos entra para um conjunto de jazz, convidado pelo clarinetista Luiz Fernando Mendes, que trabalhava com seu irmão Paulo Herminio de Souza Pereira (3 anos mais velho que ele) no Tribunal de Contas de São Paulo. Paulinho aprendia bateria. O conjunto veio a se chamar Paulistânia Jazz Band e logo em seguida São Paulo Dixieland Jazz Band, pois tocavam o jazz tradicional de New Orleans. Dudú deixou o violão para tocar um banjo que tinha sido de seu avô materno e estava 'encostado' desde os anos 1920, e que Dudú usava eventualmente como pandeiro.

Em 1956, os Dixielanders ganham a adição de Booker Pittman, um clarinetista norte-americano, neto do educador negro Booker T. Washington, que depois de ter tocado em Paris antes da II Guerra acabou desembarcando no Brasil e 'sumido' pelo interior do estado do Paraná. Esse foi o auge da banda. Com a saída do 'Buca', em 1958, Dudú também saiu e se interessou pelo rock'n'roll vindo dos USA.

Dudú toca seu banjo antes de formar The Avalons. 

Dudú declarou ao Diário Catarinense em 2002: 'Fiquei deslumbrado com o rock'n'roll. Antes o mundo era certinho. Mudou tudo, os costumes, as meninas, tudo ficou menos certinho. Em cidades provincianas como São Paulo, o impacto foi enorme'

Dudú e Paulinho, que então já mantinha bem o ritmo com as baquetas, formaram o conjunto Crazy Boys, com o baixista Daniel Grizanti (Drácula) e o cantor Badico, um jovem negro que cantava e dançava como o Little Richard. A guitarra de Dudú, na verdade um violão modificado, fora financiada por Roberto Mena Loureiro, um grande amigo. O violão foi transformado pelo pai de outro amigo, fanático por eletrônica, instalando um captador muito antigo no corpo do instrumento ligando-o a dois controles de volume mais um de timbre. 

Os Crazy Boys tocaram em vários lugares, mas como era difícil de receberem pagamento, o conjunto se desfez, principalmente porque Badico, que morava num cortiço na Liberdade tinha que trabalhar para ganhar a vida. O grupo tornou-se um trio apenas instrumental. Foi justamente nessa altura que Solano Ribeiro viu os 3 rapazes tocando num programa vespertino da TV Record e entrando em contato com eles, sugeriu que o trio virasse um sexteto, adicionando 3 vocalistas: o próprio Solano, Passarinho e Bob Win, um chinês de Hong Kong vivendo em São Paulo na época. Essa é a gênese do conjunto The Avalons, que passou então a ensaiar no porão da casa de Dudú e Paulinho, na Liberdade.

Solano Ribeiro conta a história dos Avalons em seu livro 'Prepare seu coração', lançado em 2002 pela Geração Editorial. 

‘Em 1959, ao assistir um programa vespertino pela TV, vi a apresentação de um trio instrumental composto de guitarra (Dudú), baixo (Daniel) e bateria (Paulinho), senti que estava diante de um grupo que fazia o melhor e o mais atual rock fora da matriz (USA). Imediatamente resolvi me juntar a eles. Foi uma carreira fulminante. A primeira apresentação dos Avalons aconteceu para um grupo de amigos na casa da jovem idealista Regina Helena Dias da Silva, a futura marchand Regina Boni, ao lado de seu então namorado José Bonifácio de Oliveira Sobrinho, o Boni, que mais tarde viria a ser um dos responsáveis pelo sucesso da TV Globo.

Entre a estreia dos Avalons naquela noite e a gravação do primeiro disco se passaram apenas 15 dias. O grupo era formado por Dudú na guitarra, Daniel no baixo e Paulinho na bateria. Os vocais eram feitos pelo Passarinho, por um chinês chamado Bob e por mim, Solano Ribeiro.

Com seu violão modificado, Dudú causou sensação e discussão em quem ouvia o 78 ou 45 rpm de 'China Rock', um agitado rock-a-billy com uma melodia que mesclava escalas orientais ao ritmo do rock  instrumental. Ele utilizou a 'técnica da palhetada', desenvolvida com seu banjo durante seu tempo no jazz. Todos perguntavam quantas guitarras solavam alucinadamente naquela gravação, Dudú respondia: 'só uma!' A técnica consistia em solar em acordes, tocando duas ou mais notas ao mesmo tempo, ao invés de apenas uma nota, o que dava a impressão de haver mais de uma guitarra tocando.

'China Rock' teve bastante exposição nas radios paulistanas, mas 'Valentina my Valentina' também ficou conhecida. Dudú lembra à Instrumental Newsletter, das dificuldades da gravação dela no estúdio alugado da Continental Discos no Largo da Misericórdia em São Paulo, já que a Young não tinha instalações próprias:

- 'As gravações eram 'ao vivo', em apenas 4 canais. Se houvesse qualquer erro, por menor que fosse, tínhamos que regravar tudo. Durante a gravação de 'Valentina my Valentina', o trio vocal, de jovens entre 19 e 22 anos (Solano, Passarinho e Bob Win), nunca tinham entrado em estúdio de gravação, estavam nervosos e não conseguiam alcançar o tom da música. Eu era um pouco mais velho. Depois de muitas regravações, eu já meio nervoso, fui a um boteco do lado do estúdio, comprei uma garrafa de whiskey e dei p'ros rapazes tomarem um gole. Retornamos ao trabalho e gravamos 'Valentina my Valentina' numa passada só, e sem qualquer erro'.

Solano compositor (nota saída no jornal 'Ultima Hora'):  O jovem Solano Ribeiro, autor de ‘All the time’ – gravado por The Avalons na etiqueta Young, avisa que já ‘entrou para a fornalha’ mais meia duzia, pelo menos, de outras peças no gênero popular norte-americano, o rock’n’roll. Resta esperar que outros cantores inteligentes saibam aproveitar as composições de Solano, bastando para tanto comunicarem-se com o dito – que não é Benê – pelo telephone 80-50-70.  Nota: pelo prefixo do telefone, sabe-se que Solano morava na rua Cristiano Viana no bairro de Pinheiros.

Paulinho, Dudú, Paul Anka, (?) & Galli Jr. (futuro Prini Lorez) em Setembro 1960. 

The Avalons eram presença certa no 'Programa da Juventude', comandado por Celly Campello e apresentado por Randal Juliano no Canal 7, TV Record aos sábados. Mais tarde o show passou a se chamar 'Crush em Hi-Fi', patrocinado pelo refrigerante Crush e posteriormente apenas 'Celly & Tony em Hi-Fi'. O programa durou de 10 de Outubro de 1959 até poucas semanas antes de Celly casar-se em Maio de 1962.

Desde 1957, com a vinda de Louis Armstrong, a Record trazia atrações internacionais periodicamente para temporadas em seu teatro na rua da Consolação, 1992. Geralmente, a TV gravava 2 ou 3 shows editando-os em um programa de 50 minutos para apresentação no Canal 7, em  horário nobre. Foi assistindo The Ink Spots, legendário conjunto de rhythm'n'blues, no Teatro Record, de 22 a 28 de março de 1960, que Dudú fez amizade com o guitarrista deles, que lhe deu alguns toques sobre blues.

Paulo Hermínio, Francisco Eduardo & Paul Anka in September 1960. 

Quando a Record trouxe Paul Anka, em Setembro de 1960, a gravadora Young já tinha encerrado suas atividades, e o sexteto Avalons já não existia mais, tendo revertido à sua origem de trio instrumental: Dudú, Paulinho e Daniel. A Record precisava de um conjunto para abrir os espetáculos de Paul e The Avalons foram os escolhidos, tendo como crooner o Zézinho, ex-Rebels, colega do selo Young, agora usando o pseudônimo de Galli Junior. Foram 9 shows de 20 a 25 de Setembro de 1960, antecedendo Paul Anka, com um teatro constantemente lotado e a algazarra dos brotos à mil, que se espalhava pela rua da Consolação parando o trânsito dos bondes, ônibus e automóveis. São Paulo experimentava a mesma atmosfera dos famosos shows do DJ Alan Freed no Brooklyn, em New York.

Devido ao sucesso dos Avalons tendo José Gagliardi Jr. como crooner - eles foram contratados pela RGE e lançaram um extended-play (compacto-duplo) em 1961. Essa foi a última atividade dos Avalons como grupo, pois logo em seguida Dudú partiu para Marselha e Paris, seguindo o exemplo de Booker Pittman que tinha feito esse caminho em 1934. Dudú tocou nas ruas de Paris, fez dupla com Heloisa Helena Buarque de Hollanda, mais conhecida como Miúcha, se apresentando na Sorbonne e depois viajando pela Italia e Grécia.

Galli Jr. acompanhado por The Avalons abre o show para Paul Anka em Setembro de 1960 no Teatro Record.
Paulinho, Daniel, Galli Jr. & Dudú in 1961.
capa do EP dos Avalons, agora tendo Galli Jr. nos vocais - RGE 1961

leia mais sobre a vinda de Paul Anka a São Paulo:

Solano Ribeiro (right) went on to become big in show business on TV Excelsior and then TV Record. He was the man who organized all those song festivals that virtually stopped the country in their final nights.

'Vamos ao Teatro' ad at daily Estado 29 October 1961 - The Avalons playing traditional jazz at Teatro de Arena for a week competing with foreign acts like Japanese pop singer Eri Chiemi and cha-cha sensation Harold Nicholas.

Wednesday, 22 May 2013

MANUELA & German Rock

Mauela's 'Mama, ich sag' dir was' promotional photo 1964.

Even though this blog is about Brazilian Rock I'd like to introduce a topic about Manuela, a young German singer with a Latino name who broke into the Brazilian Hit Parade in late 1964, with a good rocking  tune called 'Mama ich sag dir was'.

Brazil has always been an idiosyncratic market where everything that could happen sometimes does happen.

German cinema had been fairly popular in Brazil before WWII. São Paulo had an exclusive UFA outlet where one could watch all the latest hits from Berlin. After Brazil entered WWII in 1942, the UFA theatre was taken over and given a different name: Art-Palacio named after Art Films, a European movie distributor.

A Zepellin blimp brought UFA's brass all the way from Berlin to São Paulo to open Cine UFA (Universum Film AG)  in 13 November 1936.

'Boccaccio', a 1936 German musical film starring Albrecht Schoenhals, Gina Falckenberg and Willy Fritsch opened Cine UFA in São Paulo.

Cine UFA-Palacio on Avenida São João had its name changed to Art-Palacio after 1942. 

Cine Art Palacio, former Cine UFA. 

As early as 1938, the Brazilian Government started a campaign to prevent the teaching of foreign languages in schools around the country but after 1942, when Brazil entered the War on the side of the Americans, the German language was banned outright from being taught. Not even private schools were allowed to teach German, Japanese or Italian. Printed material in any of those languages were aprehended and people caught with them were automatically encarcerated.

Less than 10 years after the end of WWII, Volkswagen and other German companies were back in Brazil, but German culture never recovered from the ravages of the World War II.

By mid 1950s, German movies started having a slow come back especially with Romy Schneider and  the Sissi-trilogy: 'Sissi' (1956), 'Sissi, die junge Kaiserin' / 'Sissi, a Imperatriz' (1957) and 'Sissi, Schicksalsjahre einer Kaiserin '/ "Sissi e seu destino'. 'Die Trapp Familie' (future Broadway's 'The sound of music') was also a hit in 1957. I remember watching 'Zwei Blaue Augen' with Marianne Koch in 1959, and crying my eyes out with that melodrama.

Telefunken had a distribution deal with Brazilian Continental Records all through the 1950s, so German hits were periodically released in compilation albums but they only sold to an specific public, maybe those who knew the language. Polydor Records released many a-Werner Müller orchestra's records too.

Der schräge Otto's piano medleys were very popular circa 1958. Otto's name was translated into Portuguese as 'A Drunkard' (Um Pau d'Água)... not very dignifying.

In 1960, Tony Campello recorded 'Seja o meu amor' a translation of Peter Kraus' 'Alle Mädchen wollen küssen'.

Tony's sister, Celly Campello, Brazil's Queen of Rock recorded 'Jolly Joker' in 1961, a cover of Connie Froboess, even though nobody knew it was from a German hit.

Sergio Murilo and Celly Campello released (separately) 'Brôto legal', a version of 'So o o eine Nacht' a rock hit by Caterina Valente. So one can see that German hits were often translated into Brazilian hits. 

In 1963, Ralf Bendix's rendition (auf Deutsche) of 'Babysittin' boogie' was a hit in Brazil, along side with Tony Campello's Brazilian version 'O boogie do bebê'. Don't ask me why or how this particular song received so much air-play.

Bert Kaempfert albums like 'Dancing in Wonderland' were fairly popular in the early 1960s, with 'Afrikaan Beat' going up to Number One in 1963.

Then, in late 1964, maybe due to Italian sensation Rita Pavone who took Brazilian charts by storm, Continental Discos decided to release 'Mama ich sag dir was', a rocking tune with Manuela... and it had a fairly good air-play. Before the year ended, Continental released a Manuela's album containing a German language version of 'Ave Maria no Morro', a Brazilian evergreen... so Manuela had more air-play.

Manuela's Brazilian single back cover.

Manuela's first album released in Germany in 1964.

Manuela becomes famous overnight in 1963 with 'Schuld war nur der Bossa Nova', German cover of Eydie Gorme's 'Blame it on the Bossa Nova'. 

back cover of 'Mamãe eu te diria algo' (Mama ich sag dir was); the title in Portuguese sounds funny because the label translator used the conditional-present-tense which is unusual, so it became 'Mama I would tell you something' instead of the more common: 'Mama, I'll tell you something'. 

Continental Discos did its homework well, advertising Manuela's single in Revista do Rádio, the main record magazine. They knew there was a thirst for girl-rockers especially after Italian Rita Pavone had taken Brazilian charts by storm in the first half of 1964. 

'Mamãe, eu te diria algo' (Mama, ich sag' dir was) released circa September 1964; it played well in radio stations in São Paulo and Rio de Janeiro. 

Hit Parade on Revista do Radio 13 February 1965.

These were the 10 best selling singles in February 1965, according to Revista do Radio, a magazine published in Rio de Janeiro. Manuela was # 2 to Demônios da Garôa, a Brazilian vocal group. Actually Manuela was amongst rock royalty here: Jamaican Millie Small was # 4; Italian rocker Michele at #5; Brazilian King of Rock Roberto Carlos was # 6; The Beatles were at # 7; Tex-mex Trini Lopez at # 8; Rita Pavone, the Italian Bombshell at # 9 with 'Sul cucuzzolo'.

Manuela was news in teen magazines along side Italian acts like Pino Donaggio and Adriano Celentano. 

'Mama, ich sag dir was' was a medium-sized hit and it appeared in the pages of lyrics-magazines like 'Vamos Cantar', along side English and Italian lyrics. Brazil was such a melting pot in the 1960s.

Note about the release of Manuela's album containing 'Schuld war nur der Bossa Nova' and 'Ave Maria no morro'.

Manuela as she was portrayed in the Brazilian press. Manuela's album had a fairly good air-play. 

Due to Manuela's single good reception, Continental Discos soon released 'Manuela!' an album that sold pretty well too. It is not rare for one to come across this album at 2nd-hand record-shops in São Paulo up to date (2013). The 14 titles were listed in Portuguese with the original German titles between brackets, a practice used a lot in Argentina but not in Brazil.

Manuela's Brazilian album has the same 14 tracks as the German original with a different sleeve.

MANUELA - Telefunken XT-LP 3072 - 1965

1. Mamãe eu te diria algo (Mama, ich sag' dir was),
2. Ya Ya Twist
3. Um navio vai chegar - Pôrto de Pireus (Ein Schiff wird kommen),
4. Eu ainda vou p'ra escola (Ich geh' noch zur Schule),
5. Ave maria no morro [supreendentemente, não há titulo em alemão]
6. Diana
7. Olá rapaz, pára de beber - Don't try to fight it, baby (Hey Boy, lass doch den Whisky)

1. Escute alguem vem de fora (Horch, was kommt von draußen rein)
2. Marinheiro, a tua pátria é o mar (Seemann, deine Heimat is das Meer)
3. Alô Mary Lou [Hallo Mary Lou]
4. Vaya con Dios
5. Lollipop
6. Habanero, toca mais uma vez para mim (Spiel noch einmal für mich, Habanero),
7. Ensinando a bossa-nova - Blame it on the Bossa Nova  (Schuld war nur der Bossa Nova)

I remember listening to a daily afternoon rock show on Radio Piratininga where DJ Ferreira Martins played Manuela's 'Ave Maria no morro' (Hail Mary at the slums) almost on a daily basis.

Manuela's rendition of this old Brazilian standard, originally recorded by Trio de Ouro at Odeon studios in Rio de Janeiro in 5 June 1942 (released in August '42), was really heart-felt and sincere. The German lyrics are a fantasy about a beggar-singer who plays his guitar on the streets of Rio de Janeiro and is granted a favour by Holy Mary in the shape of a gold coin that falls on his empty tin - something completely made out by the German 'translator'. Manuela sings it with all her soul... and Die 5 Dops, the band that accompanies her are really good. I could easily say that Manuela's rendition of 'Ave Maria no morro' is amongst the best ever, if not the best.

I became a fan of Manuela's gradually, and it was all based on this particular album which covers a lot of ground from German folk-songs as 'Seeman, deine Heimat ist das Meer' and 'Horch, was kommt von draußen rein'*; American do-wop style 'Lollipop'; Cuban music like 'Habanero', Tin Pan Alley turned Mexican hacienda mariachi as 'Vaya con Dios'; a Gerry Goffin-Carole King Bossa Nova tune as 'Hey Boy, lass doch den Whisky' - 'Don't try to fight it', an Eydie Gorme recording; Paul Anka's 'Diana' and Ricky Nelson's 'Hello Mary Lou'; a Greek movie-theme as 'Never on Sunday' as well as German rock ditties like 'Ich geh' noch zu Schule' and 'Mama'.

Listening to Manuela's records made me interested in the German language. If it weren't for Manuela's album I wouldn't know anything about it. I don't know much German, but I know enough of it to understand the topics of songs and even some film dialogues.


Grau verhüllt in Lumpen
sitzt ein Bettler auf der Strasse
an der Ecke in Rio de Janeiro

In seinen Händen hält er bescheiden eine Gitarre
und schlägt leise die Akkorde
denn dabei singt er dieses Lied

Ohne zu schauen hasten die Menschen
achtlos vorbei und so bleibt der Teller leer
der einem Armen Brot geben soll

doch plötzlich fallen zwei goldene Münzen
in seine Teller, das war Maria
Donna Maria, die in der Grotte hat ihn gesehen

Ave Maria
Ave Maria
Du gehst einher mit offnen Händen
niemals wir deine Liebe enden
Ave Maria
A letra de 'Ave Maria no morro' em alemão é incrivel. Eles mudaram todo enredo, como todo bom versionista o faz em qualquer língua do planeta. É a historia de um mendigo sentado numa esquina qualquer do Rio de Janeiro. Ele pega seu violão, dedilha uma melodia, começa a cantar uma canção, mas ninguém dá a mínima atenção, correndo apressados para seus afazeres, deixando sua bandeja completamente vazia. Quando o mendigo já está sem esperanças, ele ouve o tilintar de duas moedas de ouro caindo na sua lata: ele olha p'ra cima e vê uma senhora toda de branco, muito bonita se afastando... era a própria Nossa Senhora que o tinha socorrido!

ouça no YouTube:

Horch, was kommt von draußen rein. Dieses alte Volkslied bearbeiteten Bruhn und Buschor 1963 und produzierten einen neuen Hit die Manuela 63 am laufenden Band ihren Fans zu Gehör brahten. Stimmung un gute Laune waren garantiert. Wenn ihre Stimme aus den Lautsprecher des Radios oder der Plattenspieler ertönte. (I got this text from YouTube).

Death Note

Manuela, whose real name was Doris Inge Wegener was born in Berlin in 18 August 1943 and died in Berlin in 13 February 2001 of palate cancer causes.

Manuela's grave 

Manuela's singles released in Brazil by Continental Discos 

'Kusse unterm Regenbogen' was released in 1965, but one year in pop music may be an eternity... the Brazilian Rock movement known as Jovem Guard (Young Guard) had taken root permanently as of August 1965, and Brazilian youths that spent their cash on foreign language hits started buying the local product. Italian as well as Anglo-American pop stars were on the wane. Maybe if Continental had released 'In meinem Kalender' instead, which is a much more catchy tune Manuela would have had a follow-up for 'Mama', but 'Kusse unterm Regenbogen' was totally unoticed.  

'Nichts als Sorgen' / 'Love and kisses' - is a rare single. Continental Discos released it with a colour-sleeve which was unusual in 1966, when all their singles were either B&W pictures or simply 'standard' sleeves with a whole in the middle for one to read the label.

This 'As coisas são tão diferentes' (don't get fooled by the Portuguese-language title; it is sung in German)  is an even rarer single. Brazilians had turned their attention to the local talent: Young Guard (Jovem Guarda). 

1.  Mama, ich sag dir was / Lollipop  -  Continental 33-290

2.  Kusse unterm Regenbogen / Zwei Schaten an deinen Fenster  -  Continental 33-383

3.  Nichts als Sorgen / Love and kisses  -  Continental 33-435

4.  Things are so different [As coisas são tão diferentes] / Don't ever throw your love away [Não jogue fóra seu amor] Continental 33-476

'Manuela in Las Vegas' is a double-album recorded 'live' in Las Vega where Manuela had 2 daily shows called 'Casino de Paris' at the Dunes Hotel running from 1st up to 21 December 1973. It was released in Brazil by BASF for some mysterious reasons. Manuela wasn't fluent enough in English to warrant a whole show of her own in Las Vegas. Her rendition of 'Kansas City' is pitiful and her dialogue with the night-club audience is pathetic. Well, maybe gamblers don't pay much attention to musical shows anyway, so Manuela kept going with Waldo de los Rio's reading of Beethoven's 'Song of Joy', a Beatles and Bacharach medley, Gilbert Becaud's 'Let it be me' and 'What now, my love?'; Roberta Flack's 'Killing me softly with his song'; ''Muss I denn' and a medley of German folk-songs with a little Bob Dylan  thrown in for good measure. Imagine singing 'Blowin' in the wind' for a Vegas audience... it is mind boggling.

Even though 'In meinem Kalender' was not released in Brazil, it is one of my favourite Manuela records.



Es ist Abend und ich bin heute ganz allein zu Haus'. Vor mir liegt mein kleines rotes Tagebuch, ich schlage die ersten Seiten auf und die Seiten fangen aufeinmal zu sprechen an. Alle von Euch, die mal so ein Tagebuch hatten, werden mich verstehen, wenn ich ein wenig traurig bin.

Es war in der kleinen Espresso-Bar,
an einem Montag im letzten Jahr,
da fand ich dich gleich so wunderbar,
so steht es in meinem Kalender.

Am Mittwoch darauf kam das Rendezvous,
der erste Kuss und das erste Du.
Und nur der Mond sah uns beiden zu,
so steht es in meinem Kalender.

Warum nur, warum ist das alles gescheh'n?
Warum mussten wir auseinander geh'n?
Warum nur, warum ist das alles vorbei,
was so schön war, so schön für uns zwei.

Du kamst eines sonntags zu uns nach Haus?
und brachtest Mama einen Blumenstrauss.
Für mich sah die Welt wie verzaubert aus,
so steht es in meinem Kalender.

Am Freitag, den 13., da gab es Streit,
ich hab' es leider zu spät bereuht.
Seit dem ist mein Herz voller Einsamkeit,
so steht es in meinem Klaender.

Warum nur, warum ist das alles gescheh'n?
Warum mussten wir auseinander geh'n?
Warum nur, warum ist das alles vorbei,
was so schön war, so schön für uns zwei.
Was so schön war, so schön für uns zwei.

Missed oportunity: if Continental had released 'In meinen Kalender', maybe Manuela would have had a follow up and had stayed popular a little longer in Brazil :

Best site about Manuela's discography:

Rita Pavone sings in German: 'Peppino aus Torino' / 'Bye bye Blue Jeans' - these two records sung in German by Italian Rita Pavone were regularly played in 'Discômetro Mundial' a daily morning rock show on Radio Tupi by Alberto Moraví, an Argenine (or maybe Uruguayan) DJ who was living in São Paulo in 1966. Moraví started building a huge audience playing his private record collection made up of 45 rpms he brought from Europe and the USA. 'Discômetro Mundial' was the closest we Brazilians had to famous pirate Luxemburgo Pirate radio in Europe. 

Alberto Moraví played the best possible rock list: die Beatles singing 'Sie lieb dich'; Rita Pavone singing in Spanish or German; Cliff Richard in Spanish; Brenda Lee in German... it was like listening to the United Nations on the air. It was a marvelous show. TV Tupi started showing 'Studio Uno', a top Italian musical show on Wednesday night too. 

As good things never last... Brazilian Radio DJ Union had a court injunction against Alberto Moraví citing he didn't speak proper Portuguese on the air, being a foreigner who was taking jobs away from Brazilians. The injunction was carried out and the show was taken off the air. And we, poor listeners were orphan for ever. 

Manuela was the 4th most popular female singer in Germany in this poll published by BRAVO in January 1964.

In 1965, Manuela was the runner up to Danish Gitte. 

November 1964

Italian rock queen Rita Pavone & German rock princess Manuela in Bremen in the 1990s.
Rita Pavone und Manuela... Königinnen...