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Celly Campelo

In the dawn of Brazilian rock and roll, Odeon within Celly Campelo their first young muse. With Nora Ney like a precursor due to her isolated documenting of “Rock and roll Night and day” (Maximum Freeman/Jimmy DeKnight) in 1955 when she had been 33, Campelo documented her first solitary, “Handsome Young man,” at 15 in 1958. With her nationwide strike “Estúpido Cupido” in 1959, she became, with her sibling, Tony Campelo, the co-hostess of her have Television show on São Paulo’s Television Record, Crush Em Hi-Fi, that was fundamental in divulging nascent Brazilian rock and roll. “Banho de Lua” was another strike that became an all-time traditional and symbol of the era. At 12 she currently had her personal display on Taubaté’s regional radio train station. In 1957, she and her sibling, Tony Campelo, had been authorized by Odeon, and within the next 12 months, they documented their first solitary, with Cella Campelo interpreting “Good looking Boy” and Tony interpreting “Forgive Me” (both by Odeon’s movie director Mário Gennari Filho and Celeste Novais). In 1958, she debuted on it Tupi train station in São Paulo. Using the failure from the documenting in British, Campelo documented her classics in Portuguese: “Banho de Lua” (P. de Fillipi/F. Migliacci, edition by Fred Jorge), “Lacinhos Cor-de-Rosa” (Michie Give, edition by Fred Jorge), and her biggest strike, “Estúpido Cupido” (by Neil Sedaka/H. Greenfield, edition by Fred Jorge), documented in March 1959. Using the nationwide achievement, she became, along with Tony, the co-hostess of her have Television show at São Paulo’s Television Record, known as Crush Em Hi-Fi, for just two years. On her behalf 1st LP, Broto Certinho, released in Apr 1960, she released the strike “Banho de Lua” as well as a re-recording of “On the Rainbow.” Evidencing an all natural skill for performing, she was praised by Tom Jobim, her colleague at Odeon. Her intense popularity expected the Beatlemania in Brazil 3 years later, using the liberating of dolls and additional merchandising. In 1961, she released another strike, “Broto Legal” (H. Earnhart, edition by Renato Corte Genuine), and was elected Queen of Rock and roll in Brazil with the visitors of Revista perform Rock mag. She also earned the following awards: Tupiniquim (1959), Chico Viola (1959, 1960, 1961, and 1962), and Roquette Pinto (1959, 1960, and 1961). She also got strikes with “Billy” (Kendis/Pauley/Joey Goodwin, edition by Fred Jorge), “Túnel perform Amor” (Patty Fischer/Bob Roberts, edition by Fred Jorge), and “Hei Mama” (Paul Anka, edition by Fred Jorge). She starred in the movies Jeca Tatu and Zé Periquito, having interrupted her profession after her relationship in 1962. She came back in 1972, and since that time has been executing low profile.

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