Category Archives: Music

Indila – Mini world (2014)

Hi,

indila

Maybe 2014 isn’t over yet, but there’s an album from what I think is one of the biggest revelations in the music industry: Indila

Released by Capitol Records France, Indila (after several years of colaborating with other artists for featuring appearances on those artists’ tracks) released her debut album titled “Mini pop”, a indie-pop pleasure from begining to end (all the songs were made by herself and her partner Skalpovich). So, here we go to the opinion of this album:

01 – Derniére danse

The first song of the album was also its first single… and what a BANG!!: its whole combination of outstanding mix of eastern and western music influences and its suffering lyrics about a girl and her lonely soul in a constantly moving world (the video gives another meaning to the lyrics as it connects the person’s suffering soul with a “end of the world”-like catastrophy throughout Parismakes it an ultra standout from the album – and that was only the begining. What a wonderful start…

02 – Tourner dans le vide

Coming up next is what became the second released single of the album, a quite catchier moment in a darker context as the lyrics describe a love relationship from which the people wrongly judge and make fun of. And the awesomeness parade doesn’t stop: first, its entrancing beat is beyond effective – second, there’s a great deal of power within the sorrow that’s displayed on the singer’s wonderful vocals – and last but not least, the lyrics are intensely romantic with a sense of neo-realism in between. The videoclip especially made for it certainly is a grand compliment to the song

03 – Love story

And we’re coming to the first ballad (or slow song, if you’d like to call it that way) from the album, set to a contemporary arranged waltz-like sound and a set of neo-realistic lyrics about a couple’s love story. A more fragile entry compared to the first two songs, but there’s a unique tenderness to it which doesn’t feel like it’s unremarkable – sensisibly a good production

04 – S.O.S.

The third single of the album is more of a mid-tempo track than the album’s first two single releases (and also from the album’s third song), but it’s equally charming and dreamy on its catchy melody and its mind-blowing arrangements. The lyrical comparsion between people and nature as described on the song’s verses complements it to a bigger degree. Certainly another stand out…

05 – Comme un bateau

An adventure by the sea is the theme of the forthcoming, all set to a percussion-wide middle eastern flavoured sounding music. From all the tracks of this album, this gives me a Kate Bush kind of feeling the most: musically, it’s a bit surrealistic – but it flows pretty with its lyrics. An exquisite entry to be sure

06 – Run, run

Mentioned to be the fourth single to come from the album, the song tackles the story of an ambitious person who wants more than it can get and runs for it (eventhough the end won’t always be pleasant). Quite R’n’B-ish, with a few traces of reggae (its beat even makes me remind of Bob Marley‘s “Could you be loved?”, only that the latter is faster than “Run, run”), but still a good delight to one’s ears

07 – Ego

The struggle of a person to let go its “ego” is the main theme of the next track.  What I love on this song, besides the lyrics, is without a doubt the chorus with all its arranged greatness. Certainly isn’t one of the best songs from the album in my opinion, but it’s mesmerizing enough

08 – Boite en argent

Next is a atmospherical song whose story embodies the vision of a girl with a secret in a money pot and the fact that she still awaits for her lover that left her to go somewhere else. Certainly poetic on both accounts and a brilliant showcase for Indila‘s smooth vocals in a slow track

09 – Tu ne m’entends pas

Misunderstandings, confusions, oblivion and despairs: it’s the lyrics’ main state of the before-to-last track of the album as we’re going all unplugged-like, music-wise. A good song, but certainly isn’t as marvelous as some of the songs from the album. At least, I like the enchanting good feeling-like sound – it creates an opposite attraction with the lyrics’ pessimism

10 – Mini world

The album’s title, as noted, came from its last song (curiously enough, it’s also the longest track from the album) – as the lyrics reflect the theme of  humanity in what she calls the “mini world”. At first, one could think it’s nothing but a slow mid-tempo track – but there’s a lot of emotion that explodes throughout the song and all the credit goes Indila‘s wonderful vocal range that concieves gives several kinds of feelings that aren’t really easy to transmit. Overall, a nice finish

FINAL NOTE: 10/10 (overall: one of the best albums of the year)

Thank you,

LAboy 456
(Rui Craveiro)

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Água Viva (1980) – International Soundtrack

Hi,

água viva - internacional - front 500x500

(image source♫ ♫ ♫ ♫     Só Música    ♪ ♪ ♪ ♪ )

And so, once again, I’m reviewing a international soundtrack from a soap-opera after doing it so for Locomotivas, Espelho mágico, Te contei?, Dancin’ days and Os gigantes (Escrava Isaura is excluded as it was only a national soundtrack)

This time, I’ve downloaded recently the international soundtrack of a hit soap-opera from 1980 called “Água viva” (seen in Portugal from February to October 1981)

General plotRio de Janeiro, a sunny place with lots of wonderful sights, is the place where many of the stories happen and do link each other. Some of the main stories inclued:

Lígia (Betty Faria)’s ambition in socially ascending from her upper middle class to the upper class (by the time the soap-opera begins, her second marriage with Heitor (Carlos Eduardo Dollabella) was falling apart. Even more so after discovering, in the course of the story, that his husband was having an affair with her tricky friend Selma (Tamara Taxman)

– The Fragonard brothers, “bon vivant” Nélson (Reginaldo Faria) and doctor Miguel (Raul Cortez, in his first Rede Globo work. He had been, for example, working on the now extinct Rede Tupi for some soap-operas such as “Xeque mate” and “Tchan, a grande sacada” in 1976), whose relationship was not really in good terms. Even worse when Ligia comes into the picture as she’ll have a relationship with both of them, without her even knowing they are brothers

– The several love couples such as Sandra (Glória Pires), Miguel‘s daughter from the previous marriage with teacher Lucy (Tetê Medina), who passed away in the begining of the story, victim of a boat explosion x Bruno (Kadu Moliterno), photographer and son of socalité Stella Simpson (Tônia Carrero); Marcos (Fábio Jr.), a young upcoming doctor, son of the main antagonist of the soap, Lourdes Mesquita (Beatriz Segall), who is against his relationship with a girl of middle  economical condition x Janete (Lucélia Santos), an honest and contestary person and also the married couple Márcia (Natália do Valle), Lourdes Mesquita‘s daughter and her partner in a socalité company x Édir (Cláudio Cavalcanti), History teacher with a medium salary

– The sad story of Maria Helena (Isabela Garcia), an orphan who is about to be transfered to another orphanage. Her only friend is Suely (Ângela Leal), a social worker who does everything in order to find either who are her parents or, in case there’s no informations, to adopt her. Luckily, she founds out who is his father (and will even fall in love with him as well, without much sucess): Nélson (something that he will only find weeks before the end of the soap opera)

More informations on the following sites (in (brazilian) portuguese)http://www.teledramaturgia.com.br/ and http://memoriaglobo.globo.com/programas/entretenimento/novelas/agua-viva.htm

Now, let’s review the international soundtrack:

01 – Maxine Nightingale – Lead me on

At the time of the soundtrack’s release, british singer Maxine Nightingale had with the song in question (originally released in 1978 on her third album “Love lines” in her home country) her last significant hit (curiously not a hit in UK, just in USA, as it reached the #5 spot of the Billboard Hot 100 Single Charts). A classy R’n’B ballad track for that time: surely a romantic one with the soulful arrangements doing their thing and maybe one of Maxine‘s best songs from what heard of her. On the soap-opera, this is theme of Suely (Ângela Leal), the social worker who’s orphan girl Maria Helena (Isabela Garcia)’s best friend. At one time, Suely finds out who her father is (Nélson Fragonard (Reginaldo Faria) and will fall in love with him

02 – Jimmy Cliff – Love I need

Also original released in 1978 (on the album “Give thankx”) is the song in question, sung by jamaican reggae singer Jimmy Cliff, who got some degree of notoriety in 1970 with his version of Cat Stevens“Wild world”. At the time, he wasn’t having a hit album or a single since 1976 and his album release in the mentioned year didn’t break the norm (it would take four more years until he had a charting album or single). I’m not really a fan of reggae music (it doesn’t usually appeal me), but this song is not bad for what it is: Jimmy does defend this very well. By the way, I like the intense intro of the song

03 – Susan Case & Sound Around – Do that to me one more time

No informations about the artists (apart from the fact they were most probably generic cover artists, something a bit common on the international soundtracks from Rede Globo‘s soap-operas whenever they couldn’t get the rights for the original or a famous hit cover version of a song), but the song isn’t really strange: written by Toni Tennile, the ballad in question was performed by husband and wife duo Captain & Tennille and became a #1 hit in the Billboard Hot 100 Single Charts. The cover was nicely made, but I still prefer the original version by far (eventhough the song is not one of my favourites). On the soap-opera, this is theme of Lourdes Mesquita (Beatriz Segall), owner of a socialité company and the main antagonist of the soap-opera

04 – Barry Manilow – Ships

By the year the soundtrack was released, the singer was at his peak (just two after the big sucess of “Copacabana (at the Copa)”), but suprisingly enough, this was his first appearance in a brazilian international soap-opera soundtrack and just with the ballad in question, coming from his 1979 album “One voice”. Released as a single, it become one more hit for the singer: #9 in the Billboard Hot 100 Single Charts. A beautiful and resonating ballad of its era, well written and produced by the singer: certainly a highlight of the soundtrack. On the soap-opera, this is theme of Nélson (Reginaldo Faria), a “bon vivant” who loves the sea and is trying to rebuild his life after being robbed money-wise from a couple of people

05 – Ottawan – D.I.S.C.O.

A duo composed by two singers from MartiniquePatrick Jean-Baptiste (who had sung in a french church as part of a choir) and Annette, they were formed and backed by a prolific duo of songwriters, Daniel Vanguarde and Jean Kluger, who would make their debut single. And what a single: the breezy and fun song about a beautiful girl spotted in a disco became a big european hit, including a #2 hit in the British Single Charts and in later years, it has been covered and sampled by a couple of artists (most notably by israeli synth-pop duo The Young Professionals who used a sample of it to create their own song titled “TYP D.I.S.C.O.”). A undeniable eurodisco evergreen: everything of it is so lively and easy-breezy like, from music to lyrics and from structure to arrangements. Even their TV appearances reflected that notion when singing the song

06 – Tony Wilson  Just when I needed you most

It’s rare for a song to be released by two or more singers in the same year, but here’s one of those examples: Randy VanWarmer (american songwriter who was just on the verge of starting his solo carrer) and Tony Wilson (formerly member of the british group Hot Chocolate) not only released their renditions, but were also its writers. Eventhough Randy‘s version was the sucessfull one (#4 in the Billboard Hot 100 Single Charts, #8 in the British Single Charts), the one included in the soundtrack was Tony‘s version and that’s the one I’m going to give an opinion. This is actually the first version I’ve ever heard of the song (I didn’t hear Randy‘s until some time later) and I loved that version at first sight: it’s heartfelt (eventhough the song wasn’t about him, but rather Randy and his breakup with a girlfriend of his) and nostalgic (I love the arrangements on this one). On the soap-opera, this is theme of the couple Lígia (Betty Faria) and Nélson (Reginaldo Faria), one that will meat eachother throughout the soap

07 – Bianchi  Memories

Bianchi aka. Waltel Branco (the song was credited in the vinyl of the soundtrack as written by him and A. Faye, pseudonym for Antônio Faia) was a composer that’d usual contribute with a couple of melodies for Rede Globo‘s soap-opera international soundtracks and the song in question was one of those examples. What can I say about it? It’s melodical, but a bit oldfashioned (I could imagine this piece on a previous international soundtrack from the early 70’s) + there’s better in this soundtrack than this one. On the soap-opera, this is theme of orphan girl Maria Helena (Isabela Garcia), worried about her future as she’s on the verge to be transfered to another orphanage

08 – Styx – Babe

Without a doubt, the odd choice of the soundtrack. Styx were slowly getting their breakthrough in the music industry and in the year of 1979, they finally reached their “zénith” with the song that’ll give my opinion, released in their album “Cornerstone” and a massive #1 hit in the Billboard Hot 100 Single Charts. When I heard it for the first time a couple of years, I didn’t pay much attention of it, but I now understand why this became a hit: here we have a power soft-rock ballad with a lot of arrangement centerpieces that gives such an epic quality to the song. Dennis deYoung‘s vocals on the song and the overuse of keyboards only makes it intensively stronger. A beautiful moment indeed. On the soap-opera, this is theme of the married couple Édir (Cláudio Cavalcanti) and Márcia (Natália do Valle), struggling to maintain their romantic relationship due to their ideals

09 – Carly Simon – Just like you do

1979 was an average year for the singer:  her album “Spy” only went as far as a #48 spot in the Billboard Hot 200 Album Charts, the lowest position she ever got for an album and the two singles from it (“Vengeance” and the album title track) didn’t fare pretty well. Still, one of the songs from the album was chosen to be part of the soundtrack – the song that’ll have an opinion. A soothing and dreamy mid-tempo ballad that resonates well in its deep lyrics and in its layered arrangements. Great vocals from Carly, by the way. On the soap-opera, this is theme of the couple Lígia (Betty Faria) and Miguel (Raul Cortez in his first Rede Globo soap-opera, after several TV works on other channles and also theatre and cinema works), one that will also fall in love throughout the story (and even marry, despite Miguel‘s daughter from his first marriage, Sandra (Glória Pires)’s objection)

10 – Voyage – I don’t want to fall in love again

By 1980, the french disco music group was now officially reduced to a trio and a makeover was in desperate needed as the disco sound was slowly decaying around the world, something made possible by the release of the album “Voyage 3” and its leading single (in another words, the song that was included in the soundtrack). The song was really a departure from their aesthetically colorful disco entries as it enters the pop-rock realms with a still existent disco influence. It might not have been as sucessfull as their previous works, but it’s highly interesting and intriguing… as well as, of course, enjoyable to hear

11 – Smokey Robinson – Cruisin’

The singer already had big hits when he was a member of The Miracles (culminating with the 1970 #1 hit “Tears of a clown”), but his biggest solo hit up to the time the soundtrack was released was the song in question (at least, that’s what happened in the Billboard Hot 100 Single Charts as it hit the #4 spot). Not really bad at all, but I was expecting quite a lot from it. Still, the production of the song is wonderful and Smokey sure knows how to sing a classy warm R’n’B ballad. On the soap-opera, this is theme of the couple Marcos (Fábio Jr.) and Janete (Lucélia Santos), one that is objected by Marcos‘ mother, Lourdes Mesquita (Beatriz Segall) as Janete isn’t from the same social economic status as her (doing anything to put an end to that love relationship)

12 – Shalamar – The second time around

Originally a dance act vehicle from the popular american syndicated music TV-program “Soul train” (presented by Don Cornelius, creator of the idea and, likewise, creator of the group together with the program’s agent, Dick Griffey), they became more than just a inovating dance act; they also became performing vocal artists on their own. And the song in question was the biggest hit of their carrer as it rose to the #8 spot of the Billboard Hot 100 Single Charts (it was a #1 hit, though, in the Billboard Hot Soul Single Charts (nowadays Billboard Hot R’n’B/Hip-Hop Single Charts) and in the Billboard Hot US Dance Charts (nowadays Billboard Hot Dance Club Charts). Like much disco songs of its time, catchy and effective, but with a lot of sophistication and charm much of their usual traits, even on their TV appearances (I love their choreography for that song, especially in the begining)

13 – Charme – Never (gonna let you go)

Not many people know that seasoned israeli music and film composer Misha Segal (known especially for his 1989 score of “The Phantom of the Opera”) also had a one-off disco experience, creating the project band Charme and releasing only one album, “Let it in”. The chosen song from the album for the international soundtrack (and therefore, the one that will get an opinion) was a ballad that had future 80’s R’n’B/pop singer Gwen Guthrie as the lead vocalist. A R’n’B ballad of its era with a lot of pureness and tenderness on its musical arrangements, as well as a powerful voice like Gwen‘s to belt it out. On the soap-opera, this is theme of Sandra (Glória Pires), Miguel Fragonard (Raul Cortez)’s daughter from his first marriage with Lucy (Tête Medina) who died in a boat explosion in the begining of the story. Later on in the story, she’ll be against her father’s marriage to Lígia (Betty Faria)

14 – La Flavour – Mandolay

A six-piece group from Massilon, Ohio (USA), they gained notoriety in the disco music scene thanks to the song in question, The leading from their album with the same name as the song, it rose to the #7 spot in the Billboard Club Dance/Disco Charts. I’d never guess the band was american only by hearing the song: it really sounds like the kind of tropical disco songs that could be made in some other countries, especially european countries like France or Italy. A pleasant suprise

All in all, a wonderful start to the 80’s. The only bad note is the fact that “Do that to me one more time” wasn’t represented by its original version, but it’s not a bad cover at all. Coming from a dramatic soap-opera in its hour schedule (20:00 hours, brazilian time), it really captures the summer feeling

A final treat – the laid-back opening of the soap-opera to the sound of Caetano Veloso‘s “Menino do rio” sung by Baby Consuêlo, included in the national soundtrack + a recap of 13 out of 14 songs from the soundtrack (Bianchi‘s “Memories” is on the video below the recap):

http://canalviva.globo.com/programas/agua-viva/videos/2772317.html

Thank you,

LAboy 456
(Rui Craveiro)

Os Gigantes (1979) – International Soundtrack

Hi,

os gigantes - internacional

(image source: ♫ ♫ ♫ ♫     Só Música    ♪ ♪ ♪ ♪ )

And so, once again, I’m reviewing a international soundtrack from a soap-opera after doing it so for Locomotivas, Espelho mágico, Te contei? and Dancin’ days (Escrava Isaura is excluded as it was only a national soundtrack)

This time, I’ve downloaded recently the international soundtrack of a hit soap-opera from 1978 called “Os gigantes” (never seen in Portugal before)

General plot: Paloma Gurgel (Dina Sfat), a known journalist, returns to Brazil after being abroad to see his twin brother, Fred Gurgel, in the hospital as he had a brain surgery. Suffering from that fact that her brother is in coma and only machines keep his vital signs alive, she decides to turn them off. From then on, she faces a lawsuit against her sister-in-law Veridiana (Suzana Vieira). The latter acuses her of doing euthanasia (a “tabu” subject at the time and the main support of the soap-opera)

At the same time, Paloma rencounters two childhood friends: Francisco Rubião (Francisco Cuoco), a doctor who’s engaged with Helena (Vera Fischer) and Fernando Lucas (Tarcísio Meira), married with Vânia (Joana Fomm). Her appearance will lighten both men’s love desire for her, leaving behind their past relationships. Other themes are discussed on the soap like abortion, multinational corportations, etc…

More informations on the following sites (in (brazilian) portuguese): http://www.teledramaturgia.com.br/ and http://memoriaglobo.globo.com/programas/entretenimento/novelas/os-gigantes.htm

Now, let’s review the international soundtrack:

01 – Chic – Good times

By the time the song was released, the group created by Nile Rodgers and Bernard Edwards was having their good times after the big sucess of “Le freak” in the previous year (1978). How they could revalidate that sucess? With a manifesto, lyrically influenced by a few late-1920’s/early 1930’s songs about the  Great Depression of 1929 (although they would be quite in context with the economical crisis of USA of 1979). And what a manifesto: slick, edgy and topical, everything just clicked on at the right time and the right way. Totally catchy and effective, as well flowing well with  (no wonder why it became a #1 hit on the Billboard Top 100 Single Charts and also an influence for many artists in upcoming decades)

02 – Dionne Warwick – I’ll never love this way again

Dionne Warwick had been one of the most popular singers of her genre during the 60’s and the first half of the 70’s, but by the mid 70’s, she was struggling to deliver hits in the most important single charts. In a way, 1979 became her redemption and ressurgence year: she left Warner Bros. Records and was signed by Arista as she recorded her first album for that label, “Dionne”. The song in question (itself a cover version as it was first recorded by one of its composers, Richard Kerr, as “I know I’ll never love this way again” back in 1978) was the first single off the album and it simply restaured the singer’s carrer (among other chart figures, it hit the #5 spot onthe Billboard Hot 100 Single Charts). It might not her best song or ballad either way, but it certainly is soothing: . On the soap-opera, this is theme of the married couple Fernando (Tarcísio Meira) and Vânia (Joana Fomm) whose relationship was on unstablity grounds during much of the soap-opera’s run, becoming much worse at times after Paloma (Dina Sfat)’s return to Brazil

03 – Herb Alpert – Rise

Since the begining of his carrer back in 1957, Herb Alpert has been one of the (not many)  artists to be sucessfull at doing either full instrumentals and full songs that needed singing (the latter was proved in 1967 with the hit “This guy’s in love with you”). His biggest contribution for the 70’s was the jazz funk instrumental included in this soundtrack (a #1 hit in the Billboard Hot 100 Single Charts and in the Billboard Adult Contemporary Single Charts, as well as a big european hit and also an award winner: the song won him a Grammy Award for Best Pop Instrumental Performance). Two words to describe it musically: sultry and bold. Certainly the biggest highlight for the artist that decade. On the soap-opera, this is theme of the main character Paloma (Dina Sfat)

04 – Dire Straits – Sultans of swing

An odd choice for a brazilian soap-opera soundtrack, me thinks (but that’s one of the charms of Brazil‘s soap-operas (or “telenovelas”, the defined term for their soap-operas): we don’t ever know what can be heard and released on each and every soap). It took the group 2 years (they formed back in 1977) to get noticed internationally, all thanks to the song in question (when first released in May 1978 as a single, it went unnoticed. But with the good sales of their eponymous debut album (“Dire Straits”) released later that year, the song was once again released as a single in January 1979 and launched the group’s sucessfull carrer: a top-20 hit in several countries, especially on their home country (#8 in the British Single Charts) and on USA (#4 in the Billboard Hot 100 Singles). In the midst of what was charting back then, this is like a breath of fresh air: what makes it original is its unique rock sound and the clever lyrics that wanders into the story of a mediocre band playing in a bar (the “Sultans of Swing” of the title)

05 – The Commodores – Still

Once again, The Commodores make their apperance on a international soundtrack of a brazilian soap-opera (at the time, this was their 4th apperance after “Machine gun” for “Fogo sobre terra” (1974), Easy for “O astro” (1977) and “Three times a lady” for “Dancin’ days” (1978) and just like the latter two apperances, it’s once again a ballad. A #1 hit on the Billboard Hot 100 Singles and Billboard Hot R’n’B Singles, this was one of the last sucessfull songs written by lead vocalist, Lionel Ritchie, before going into a solo carrer. Intimistic ballad, beautifully ornamented with the leading instrument (piano) and also a beautiful and simple vocal range and performance. On the soap-opera, this is theme of the couple Chico (Fernando Cuoco) and Helena (Vera Fischer) whose relationship was in normally state, something that would be later shaken after Paloma (Dina Sfat)’s return to Brazil

06 – Sérgio Mendes Magic lady

The first of only two brazilian artists in the soundtrack and probably one of the most famous brazilian artists internationally. 1979 was a big year for the artist in several levels: he produced/released two albums (a portuguese brazilian one oriented to the home market and an english one oriented to the international market) and one song from each album was included for the soap’s soundtracks (“Horizone aberto”, the opening song of the soap-opera in question and also the title track of Sérgio‘s portuguese brazilian album (he was credited as Sérgio Mendes & Brazil’ 88), was included in the national soundtrack, while the one that will have its opinion right now (in a curious coincidence, it’s the title track of his english album) was included in the international soundtrack). A jazzy latin disco entry with a set of exotic female vocals (three female vocalists are credited on the album, but I don’t know who was the leading singer for the song in question). Since we’re officially in Summer (at least in Europe), this should be an ideal choice to be heard on a beach, on a poll… or maybe on a tropical island, drinking a glass of fresh tropical juice or water

07  Anne Murray I just fall in love again

The singer was by that time coming out big on the music industry after her 1978 sucess “You needed me” (included in the international soundtrack of the previous brazilian soap-opera that was transmitting at the same hour as “Os gigantes”“Pai herói”) and the first single release from her album released that year, “New kind of feeling” (a cover version of a song originally sung by The Carpenters in 1977), would keep her steady into the charts (#1 in the Canadian Single Charts, Canadian Country Charts and Canadian Adult Contemporary Charts, as well the (USA) Billboard Hot Country Songs and Billboard Hot Adult Contemporary Charts). Not really fond of her work, but I must say what a nice rendition she made out of it. On the soap-opera, this is theme of Veridiana (Suzana Vieira), Paloma‘s sister-in-law that goes into trial disputes against her for doing euthanasia to her twin brother Fred

08 – Franco Micalizzi – L’ultima neve di Primavera

Quite late to be included in a soundtrack (compared to the other songs), but it has its charm: Franco Micalizzi, composer mainly known for his scores to a series of italian crime and action movies (baptized as “poliziotteschi“), was in charge of composing music to a sucessfull tearjerker drama of the same as the song in question, all coming from 1973 (the movie plot concerns at first the difficult relationship of a (most of the time) absent widower father and his lonely little son (it becomes a bit worse after his father falls in love with another woman). As story progresses, his son (while regaining his love) has an accident while skiing and is revealed to her father by the doctors that he has leukaemia, becoming that way the main support of the movie). A bit oldfashioned by the year this song was included in the soundtrack, but it’s nevertheless quite charming and melancholic. I like the fact that everything in it is in pure harmony without overdoing it. On the soap-opera, this is theme of Fernando (Tarcísio Meira) and Paloma (Dina Sfat). At a certain time, Fernando would be in a serious love relationship with Paloma, but later on, she would marry their other friend, Chico, and have a baby with him in the end

09 – Kenny Rogers – She believes in me

At the time of its release (firstly in late 1978 on the album “The gambler”, then released as a single in the first half of 1979), the singer was becoming a major force in the american music (more specifically, in the country music) as a solo singer (he had been a member of several groups before launching himself to a solo carrer in the mid 70’s) and with the song in the question, he got his second biggest hit yet (#1 in the Billboard Hot Country Single Charts and Adult Contemporary Single Charts, as well as #5 in the Billboard Hot 100 Single Charts). I’m not usually fond of country music and a marriage of a music genre with another should be heavenly. Well, this is gracefully one of those positive examples: for a song whose story is lack of self-esteem in terms of love (the person in question is a songwriter who believes he’s too vain for the one he loves), everything is handled so tenderly. Unforgettable chorus, by the way. On the soap-opera, this is theme of Chico (Fernando Cuoco), a doctor who has to choose between his girlfriend Helena and his childhood sweetheart Paloma

10 – Carrie Lucas – Dance with you

Despite a good start in 1977 with the single, “I gotta keep dancin'” (from her debut album “Simply Carrie”), things weren’t going well chart wise by 1978 after the release of her second album, “Street corner symphony”. Everything turned upside down once again, though, with the single release of the song in question (it hit the #70 spot of the Billboard Hot 100 Single Charts. It was also her only song to chart in several more countries, like the United Kingdom: #40 in the British Single Charts). Simply bouncy, infectuous and ornamentated for a disco song: Carrie‘s voice matches perfectly with the sexyness of the song. By the way, the instrumental parts are something I dig on this particular track

11 – Orleans – Love takes time

The band that once had John Hall (of the soon to be popular duo Hall & Oatesas a founder member (until 1977) was now struggling to have a single chart since 1976. They had to wait three years to see that happen again with the song I’m going to give an opinion for (it hit the #11 spot of the Billboard Hot 100 Single Charts). A well constructed upbeat rock song that grows and shapes up at the right points and times, quite ideal for any relationship that is just starting to develop. Without doubt a standout in a sea of disco songs and ballads (but then again, the soundtrack has a wonderful selection so that everything can shine on its own). On the soap-opera, this is theme of Renata (Lídia Brondi), a veterinarian girl who’s in love with young journalist Polaco (Lauro Corona)

12 – Destination – Put it where you want it

This was the year the disco trio formed in New Work (two women, Kathy Bradley and Lovechyle Theus and the solo male member, Danny Lugo) started their carrer and right with the release of their first (and only) album, “From begining to end”. The hit single of the album was a cover version of Curtis Mayfield‘s “Move on up”, but the song in question is the one that was chosen to be part of the soundtrack. A well made, nice disco track, eventhough it’s almost in the verge of being a bit repetitive (the best of the song, though, are the vocals)

13 – Sunday – Paloma

The second and last brazilian act of the soundtrack: Sunday were, by that time, reduced to a trio composed of two girls and a boy singing pop music after having a sucessfull carrer in the first half of the 70’s as a rock band and the song question would be their most known tune in their new phase as such. Strange that it seems, the song sounds like something that could have been made from or for some artists of such nature in a couple of european countries back in the mid-70’s. It’s a nice slow pop track, but certainly not the best this soundtrack had to offer. On the soap-opera, this is theme of the main character Paloma (Dina Sfat)

14 – Hervé Vilard – Nous (Donna, donna mia)

In Italy, “Donna, donna mia” was a hit for its original composer and singer, Toto Cutugno, in 1978, mainly thanks to its inclusion as the opening theme of a RAI programme, “Scommettiamo?”, but in France, highly famed singer Hervé Vilard (who started his carrer in 1965 with the release of evergreen “Capri, c’est fini” at the age of 19), got a sucess with his french version and that’s the version in question that it’s going to get an opinion. It’s totally inferior to Toto‘s original version, but there’s no doubt that Hervé did the best he could to give his own interpretation of the song

All in all, an all-star and hit soundtrack (for most part), with a mix of slow and catchy songs. This coming from a dramatic soap-opera in its hour schedule (20:00 hours, brazilian time) that didn’t have much sucess it was first transmitted

A final treat – the melancholic opening (and also ending) with the main theme included in the national soundtrack: “Horizonte aberto” performed by Sérgio Mendes and his wife Gracinha Leporace + a recap of 12 out of 14 songs from the soundtrack (excluding the instrumentals “Rise” and “L’ultima neve di Primavera” – songs that can be heard in separate links):

Thank you,

LAboy 456
(Rui Craveiro)

Escrava Isaura (1976) – Soundtrack

Hi,

(image source: ♫ ♫ ♫ ♫     Só Música    ♪ ♪ ♪ ♪ )

And so, once again, I’m reviewing a soundtrack from a soap-opera after doing it so for the international soundtracks of Locomotivas, Espelho mágico, Te contei? and Dancin’ days

This time, I’ve downloaded recently the soundtrack of a hit soap-opera from 1976 called “Escrava Isaura” (seen in Portugal from February to July 1978), adaptated from the novel “A escrava Isaura” by Bernardo Guimarães

General plot: We’re in Brazil, 19th century, where slavery was still a common situation in the country. Isaura (Lucélia Santos on her acting debut) is a white slave who has been taken care by her owner, Dona Ester (Beatriz Lyra) and quite despised by her other owner, the severe Comendador Almeida (Gilberto Marinho). Her dream is to be free without bearing her condition of slave, especially knowing and falling in love with Tobias (Roberto Pirillo) (a character that wasn’t in the novel but especially created for the soap-opera, since in the novel, Isaura didn’t find a love relationship with a man until the second half of the novel, Álvaro (played in the soap-opera by Edwin Luisi)

Things would enter hell as the son of Dona Ester and Comendador Almeida, Leôncio (Rubens de Falco), returns from Europe. Charmed and completely obsessed by the figure and manners of Isaura right from the very first time he sees her, Leôncio starts to persue her intensively. And that was only the begining of Isaura‘s suffering life as she faces more obstacles and unfortunate events throughout the story

More informations on the following sites (in (brazilian) portuguese): http://www.teledramaturgia.com.br/ and http://memoriaglobo.globo.com/Memoriaglobo/0,27723,GYN0-5273-224258,00.html

Now, let’s review the soundtrack:

01 – Elizeth Cardoso – Prisioneira

One of the most respected brazilian singers of her time, Elizeth Cardoso, known to the brazilian audience as “A divina” for her majestic voice and her reverenced repertoire of songs in samba-canção, a sub-genre of “samba”, sung especially for this soap-opera a equally majestically ballad (much like her output) to an arrangement that makes it sound like it belongs to many different eras. Not the best song of the soundtrack, but I like its dramaticity (well, Isaura, at one point, was a prisoner of Leôncio‘s obsession for her) and Elizeth‘s voice in it. NOTE: during Portugal‘s transmission of the soap-opera, the soundtrack was released. However, out of 6 songs originally released in Brazil, this was the only song that was cut out from the portuguese release of the soundtrack

02 – Francis Hime – Amor sem medo

A upcoming singer at the time, he only had two albums released at that time in 1964 (when he started his carrer) and in 1973 (when he returned from USA after marrying fellow singer-songwriter Olivia Hime). In recording contract with Som Livre during the 70’s, he would have some of his biggest hits as a singer and as a songwriter. Before he’d come to the big hits of his carrer, he would write what is one of the most contemporary (the story of the soap-opera takes place in the 19th century) songs of the soundtrack, a mid-tempo MPB (acronym for “Música Popular Brasileira”, translated as brazilian popular music, a style within the bossa nova grounds) ballad about facing love without fear. Not his most remarkable song, but still a relaxing song in terms of music

03 – Dorival Caymmi – Retirantes

One of the influential artists of the “bossa nova” world, Dorival Caymmi had become particulary famous by the mid 70’s for making the opening theme of the 1975 soap-opera adaptation of Jorge Amado‘s novel “Gabriela, Cravo e Canela”. And the song he made for the soundtrack, a lament of the slaves for freedom (and which was chosen to be the opening song of the soap-opera itself), cemented his place on television history. A evergreen: it hits all the buttons – well constructed and unforgettable music hooks and sounds with sublime arrangements, well crafted lyrics that portray the soul of the slaves and a justified vocal performance by Dorival. Certainly a sheer monument in the history of the brazilian television (and overseas, since “Escrava Isaura” has been seen on almost 80 countries throughout the years)NOTE: in the actual transmission of the soap, the song was heard in a instrumental version with the Coral Som Livre doing the vocalizations. However, Dorival‘s original studio version of the song was sometimes heard, for example, during the “preview of the next episode” sequences

04 – Orquestra Som Livre – Nanã

The record company that releases the Rede Globo‘s soap-opera’s soundtracks is Som Livre, created in 1971. With its opening, a specially organized orchestra (Orquestra Som Livre (also credited as Free Sound Orchestra when it came to international soundtracks of Rede Globo‘s soap-operas) and singing group (Coral Som Livre) also had its birth and lasted until the late 70’s. However, let’s focus on the former and the song that was created and played by the orchestra and which one of my favourites of this soundtrack. Full of mystery is what it counts in here with a equally suspensefull orchestration that builds and builds and builds. A pity, however, that it doesn’t last for more than 2 minutes and (almost) 10 seconds

05 – Os Tincoãs – Banzo

Between the 60’s and the 70’s, the trio in question was quite known, eventhough they weren’t as big as other trios or quartets and quintets that were famous back then (like MPB-4 or Quarteto em Cy). The song in question is perhaps the weirdest song of the soundtrack: it seems to fuse both the 19th century and the 20th century music sounds and it has different paces (it all starts like a lightning bolt, but then we come to a smooth part and shuffles back into the frantic pace and then the static pace). Certainly interesting to hear for what it’s worth. Good vocal melodies for the trio, though

06 – Coral e Orquestra Som Livre – Mãe preta

Sometimes, the Coral Som Livre and the Orquestra Som Livre would join hands in a soap-opera soundtrack for some tracks and “Escrava Isaura” wasn’t an exception. The slavery is once again the theme incorporated in this mid-tempo MPB piece which is also known as “Barco negro”. A nice combination of voices and instrumentals that flows quite well with the theme, but it’s not among the best of this soundtrack in my opinion. Still, it’s a nice song

All in all, a equally classic national soundtrack in the realms of Rede Globo‘s soap-opera industry. Considering the year it was made and the fact that this was transmitted at 18:00 (brazilian time), the soundtrack in question is still a timeless soundtrack to be remembered for all time

A final treat – the video of the opening:

Thank you,

LAboy 456
(Rui Craveiro)

Dancin’ Days (1978) – International Soundtrack

Hi,

(image source: ♫ ♫ ♫ ♫     Só Música    ♪ ♪ ♪ ♪ )

And so, once again, I’m reviewing a international soundtrack from a soap-opera after doing it so for “Locomotivas”, “Espelho mágico” and “Te contei?”

This time, I’ve downloaded recently the international soundtrack of a hit soap-opera from 1978 called “Dancin’ days” (seen in Portugal from October 1979 to June 1980. A new version of the soap-opera made in Portugal (the first one for Portugal in terms of remaking soap-operas from other countries. The first remake of a soap-opera in Portugal happened on RTP 1 with “Vila Faia” (the original version of the soap-opera was first seen in 1982, becoming a tremendous sucess. The remake was made in 2008, but was less sucessfull) was transmitted since 18th June 2012 on SIC and has been a suprising sucess. And it’s rumoured that Rede Globo will do their own remake of the soap in a few years time (also it’s rumoured it will be at 23:00, brazilian time)

General plot: Júlia Matos (Sônia Braga), after 11 years (of a 22 year prison sentence, after being accused of fatally running over a person by accident), is out of prison by conditional freedom. Wanting to forget the past, she is about to rebuild her life. Her first goal being reconnecting with her daughter Marisa (Glória Pires), something that her older sister, Yolanda Pratini (Joana Fomm), fears to see happening, as it will mean losing Marisa – which leads Yolanda to do anything to prevent a reconciliation between Júlia and Marisa

Many other parallel stories come and go between. Some of the unforgettable moments: on the 79th and 80th episodes, Júila returns after travelling extensively to several countries of Europe in a exuberating style, giving a memorable and sexified dancing on the recently opened discothèque “Dancin’ Days” and on the 174th and last episode, after a lot of verbal bickering, Júlia and Yolanda get into a intense brawl, ending in a sensitive and tearfull reconciliation of the sisters (the fight between these two characters was also the last scene to be shot. Many cast members were crying over the end of making the soap-opera, with one (for example) bursting to tears for 40 minutes)

More informations on the following sites (in (brazilian) portuguese): http://www.teledramaturgia.com.br/ and http://memoriaglobo.globo.com/programas/entretenimento/novelas/dancin-days.htm

Now, let’s review the international soundtrack:

01 – Harmony Cats – Dancin’ Days medley

The only brazilian artists in the soundtrack, Harmony Cats were born as Bandits of Love, a first phase in which included the recording of the opening song for the 1976 soap-opera “Duas vidas” called “Deixa”. Only later that year they changed the name for the one they were most known for. It took them two years to get their biggest sucess by doing medleys of known songs at the time, mainly the one that is going to be commented. Although it has the title “Dancin’ Days medley”, the medley is an extract of the album “Ever night fever” that, for the inclusion in the soap-opera’s international soundtrack, only included songs from Bee Gees (mainly those included in the soundtrack of the 1977 hit movie “Saturday Night Fever”, a movie that only several months after its first screening in USA would be screened for the first time in Brazil and become such as phenomenon in there as well). I don’t usually dig medleys very much, but this one is entertaining and cohesive at least, altough the girls’ english accent is quite doubtful in some parts. On the soap-opera, this is the location theme (meaning: the heartbeat song of a city or a place in a soap-opera) for the 17 and Dancin’ Days discothéques. TRIVIA: the song was included in the portuguese Maxi-EP release of the national soundtrack of “Dancin’ Days”. Suprisingly, the opening track of the soap-opera sung by Frenéticas wasn’t included in it at all (although it was released as a separate single later on)

02 – The Commodores – Three times a lady

By the time the soap-opera started, the group was at the peak of their carrer, culminating with the song in question that gave them their first #1 hit in the Billboard Hot 100 Singles (USA) charts and in the British Single Charts. Written by one of its members, Lionel Ritchie (who went on to have a sucessfull carrer as a solo artist), the song was, according to him, about the commitment his father made to his mother saying that he loved, wanted and needed her, explaining therefore the “three times a lady” title. Maybe one of their most melodical ballads they ever performed. On the soap-opera, this is theme of the pair formed by gym teacher Carminha (Pepita Rodrigues) and lawyer Franklin (Cláudio Corrêa e Castro), this coming after her wife Celina (Beatriz Segall)’s death in a car accident. The car accident also envolved him and two other characters (one of them also died there, the other survived)NOTE: the group had two songs of theirs, “Machine gun” and “Easy”, in a international soap-opera soundtrack before in 1974, “Fogo sobre terra” and in 1977, “O astro”, respectively

03 – Voyage – Scotch machine

A project band created by four french musicians, Voyage debuted in the previous with their self titled album and some of their singles from the album were modest hits, especially the song that was included in this soundtrack as it got the #13 spot in the British Single Charts (as a double A-side with “From east to west”, song that had been included in the international soap-opera soundtrack of “O pulo do gato” from 1978). The title says it all: the influence for this disco song was the traditional scottish music with the bagpipes as the instrument pillar of all its creation. It’s a fun song, that’s for sure. It’s not their best song, though

04 – Santa Esmeralda – The wages of sin

With Leroy Gomez out of the group after the sucess of the versions made for the songs “Don’t let me be misunderstood” (a Nina Simone original and included in the international soap-opera soundtrack of “O astro” from 1977) and “The house of the rising sun” (a traditional folk song made popular by The Animals and included in the international soap-opera soundtrack of “O pulo do gato” from 1978), Jimmy Goings was chosen as the new lead singer of the group. The song in question was, unlike the group’s two sucessfull cover versions, a original made song for them whose particularity is to focus on love in its more smirking way. In a way, there’s a whole lot of sassiness an sexyness going on throughout this disco entry that doesn’t really make it unoticed

05 – Debby Boone – You light up my life

Daughter of singer Pat Boone, she rose to stardom out of the nowhere in late 1977 with her rendition of the forementioned song that was originally recorded by Kasey Cisyk for the romantic comedy movie of the same name (with Didi Conn lip-synching Kasey‘s singing voice), a rendition that would give her the distinction of being a #1 hit in the Billboard Hot 100 Single Charts for 10 consecutive weeks (a record only beaten in 1991 by Boyz II Men and the song “End of the road”) and the Grammy for Best New Artist. It surely sounds and feels like an adult contemporary song: I’d prefer a bit the movie’s original version, but Debby‘s version lifted it a bit higher with the singer’s allmighty voice and the more elaborated arrangements, knowing the song is about a person who has a new positive shed for life thanks to the person (or to God, as it was (somewhat unofficially) explict in Debby‘s version) that lightened up her life. On the soap-opera, this is theme of Verinha (Lídia Brondi), an orphan girl who works as a receptionist in the same gym Carminha (Pepita Rodrigues) was teaching in order to pay the monthly rent of the house she lives in, together with Carminha‘s parents. At one point, she was dating the owner of the Dancin’ Days discothèque, Hélio (Reginaldo Faria), a playboy, but in the end her love belonged to Beto (Lauro Corona, in his first full acting debut as he had a little participation in a 1978 series, “Ciranda cirandinha”), coming after his separation with Marisa (Glória Pires)

06 – Grand Tour – The grand tour

Apart for the fact that the group was created by canadian producers Willi Morrison and Ian Guenther from the Three Hats Productions Orchestra, nothing more is known about what is viewed as a disco group project that only released an album in 1977 called “On such a winter’s day”. One of the songs from album is the one I’m going to give an opinion right now. It’s quite rare the fact a disco song could be quite so smooth and symphonic as this one. I could imagine myself hearing the song when I’m on a bus or in a car and I’d be carried way along with song during those travels (“travel” being the theme of the song). All in all, pleasant melodic and vocal arrangements with an easy-breezy catchy drumming

07 Freddy Cole  I loved you

Younger brother of famous american singer Nat King Cole and uncle of equally famous singer Natalie Cole, he reached a modicum of success in the 70’s on Brazil with some of the songs he sung, like his version of Stevie Wonder‘s “For once in my life” (included in international soundtrack of the 1977-1978 soap opera “O astro”) and the song that will be opined, made by no other than… Paul Curtis (famous in the Eurovision Song Contest circles for making several songs to the British NF‘s during the 70’s and 80’s and that a few of which went to ESC, for example in 1975 with “Let me be the one” (sung by The Shadows) or 1984 with “Love games” (sung by Belle & The Devotions). It strikes me as a ballad about the complications of a love relationship that blends well with the classic soul sound with a more contemporary arrangement in the surface. Really a very nice ballad sung well by its singer. On the soap-opera, this is theme of the main romantic pair formed by Júlia (Sônia Braga) and Cacá (António Fagundes). The latter was also a lawyer like his father, but right from the begining of the soap-opera he grew tired of it to a extent that he’d chase his dreams to become a movie director. The pair would only be dating a couple of episodes later in the begining, but not without its complications: at one point, before and after Júlia‘s triumphant return to Brazil, Cacá was dating Inês (Sura Berditchewsky, in her first soap-opera acting role)

08 – Village People – Macho man

Created by french producer Jacques Morali, the group was becoming a hugely popular disco music group due to their on-stage costumes depicting usual USA stereotypes (although the group was created to please a certain target) and also for their unique suggestive lyrics put in infectous catchy melodies thanks to the modest hit “San Francisco (You’ve got me)”. The biggest example of the group to that date was the song in question, reaching the #25 spot of the Billboard Hot 100 Single Charts, supposedly a hymn to fitness and working out. There’s disco music and… there’s disco music: it’s, in fact, a very silly song lyrically wise (to me, at least) that makes me rolleye a bit (eventhough I’m not against fitness and doing physical exercise). Working in its favour, at least, is the catchiness of the song (the musicality of the verses after the first time the chorus is sung is so vibrant)

09 – Genesis – Follow you, follow me

A odd choice for a international soundtrack of a brazilian soap-opera. By 1978, Genesis were reduced to a trio and their album released would follow with a very permissive title: “…And then there were three”. The song in question was the leading single of album and their biggest charting one to that point: it toped the top-10 in the Swiss and German Single Charts and also on their home country, where they reached the #7 spot in the British Single Charts. It also reached the top-40 of the Billboard Hot 100 Single Charts in USA, their first charting single there. The change of genre is very noticable in here as the group did a soft-rock ballad. Solid, tender and “so secure” (taking a few words from the song itself), just to take a few words from the song, and yet with melodical modern arrangements for that time. Certainly one of Genesis‘ greatest ballads. On the soap-opera, this is the theme of contesting and studious Inês (Sura Berditchewsky, in her first soap-opera acting role), a very frontal and sincere girl. Eventhough she was the girlfriend of young doctor Raul (Eduardo Tornaghi), she would date Cacá (António Fagundes) after Raul had left to Amazônia for a special medical job (creating, therefore, a love triangle setback between her, Júlia and Cacá). Episode after episode trying to fully conquer Cacá‘s love, she’d restart her love relationship with Raul

10 – Linda Clifford – Broadway Gypsy lady

6 years is what took the singer to become a name to reckon with due to her cover of “If my friends could see me now”, a song from the Broadway musical “Sweet charity” and also to “Runaway lover”. We’ll be talking about Broadway right now, but in the form of the song included in the international soundtrack of the soap-opera in question. It really is an invitation to a likely hommage on Broadway, contrasted with some exotic disco arrangements. Outrightly nice, but not one of her best songs

11 – Blood, Sweat & Tears – Blue street

By the time they released their latest album in 1977 titled “Brand new day”, the group had already reached their amount of sucesses throughout a long term carrer since they first started their discographic carrer in 1967. But things were starting to colapse in terms of hits since the album where the song that I’ll give an opinion for wasn’t a sucesseful one (the album, released on this occasion by ABC Records, was almost in the Billboard Top 200 Album Charts, stalling at the #205 spot). The sof pop-rock ballad in question was released as a single but didn’t chart… and yet, I wonder why didn’t chart, since it’s a beautifull orchestrated ballad with deep and meaningfull lyrics dealing with struggles of life. One thing I did thought it was odd and something that puts me off a bit, though, was the faux (false) ending: it leaves me quite cold and empty, comparing that to the rest of the song. On the soap-opera, this is theme of Yolanda Pratini (Joana Fomm), Júlia (Sônia Braga)’s sister and the main antagonist (we could say more like an anti-heroine or a common person with all its worst defaults, since that’s the story of the character) of the soap-opera

12 – Gary Criss – Rio de Janeiro

8 years was the time it would take between his first touch in the music world as the vocalist of the group The Glass Bottle (this included a 1971 hit single, “I ain’t got time anymore”) and his first album as a solo artist that had the same name as the song included in the international soundtrack of the soap-opera in question. Some sort of disco alegory and hymn to Brazil‘s biggest and cosmopolitan city, Rio de Janeiro, it’s unquestionably catchy with its pumping drum beat and those funky guitar riffs of those days. Love the guitar solo in the middle of the song

13 – Boney M – Rivers of Babylon

By the time they released their version of The Melodians (jamaican reggae group)1970 song of the same name, the group was at the peak of their carrer with “Ma Baker” (also included, by the way, in the international soundtrack of the 1977 soap-opera “Espelho mágico”. Another song of theirs was also included in another 1977 soap-opera (“O astro”), being the title track of the album “Love for sale”), being their biggest hit yet… until the moment “Rivers of Bablyon” outnumbered their previous biggest hit by becoming their biggest hit of all-time: a #1 hit in several countries, such as Germany, Austria, Sweden, Norway and United Kingdom and also reached the #30 spot on the Billboard Hot 100 Single Charts (USA). Well… it’s a classic rendition that surpasses the original version in many ways, adding the disco beat to make it more catchy. Although not my favourite of Boney M‘s output, the arrangements here were lovely and Liz Mitchell‘s lead vocals matched perfectly with the flow of the song. I love the instrumental intro as well: quite melancholic

14 – Dee D. Jackson – Automatic lover

Formerly a film producer in Munich, Germany, the artist would try the taste of sucess as a singer in the 70’s. After a failed first single with “Man of a man”, the second single (which was the song that will be given an opinion for) became her breakthrough hit, becoming a #1 hit in such countries as Spain, France, Italy and Argentina and reaching the #4 spot in her home country, United Kingdom. The formula was to take the emergent sub-genre of disco known as “space disco” at the likes of austrian group Ganymed or american producer Meco and take it to another level. The word to describe this classic disco track is: sexy. Maybe the ultimate song she has ever sung as everything connects very well, from the empowering vocals to the infectuous drum beat and the tender electronic sound to the dramatic flirty-like lyrics. A guilty pleasure, indeed

All in all, a impressive and unique soundtrack celebrating mostly the disco sound which echoed all over the world at the time and adding some tender ballads to the mix in order to balance the mixture of genres on the list of songs included in the soundtrack. All of it coming from a dramatic soap-opera in its hour schedule (20:00 hours, brazilian time). TRIVIA: the international soundtrack of this soap-opera sold almost a million records (a high number at the time), surpassing the previous number record of the national (brazilian) soundtrack of a 1976 soap-opera, “Estupido cúpido” (with a story taking place in 1961)

A final treat – the vivacious opening of the soap-opera to the sound of a… (any guesses?)… disco song included in the national soundtrack: the title track “Dancin’ days” sung by girl band Frenéticas + a recap of all the 14 songs from the soundtrack:

Thank you,

LAboy 456
(Rui Craveiro)