Pretty lightweight by North American standards, although this does include several of Carlos’ most famous tunes, including “Oh! But the winsome pop idol takes it all in his stride, smiling and walking through each scenario with a good-natured grin. The big hit here was Erasmo Carlos’ adaptation of the John D. The title track “No Smoking” is bouncy and exuberant, and has the same sort of inconsequential rebelliousness to it as Eddie Cochran’s “Summertime Blues”. Apparently at the time, jazz trumpeter Raul Da Souza was in the RC-7, adding his punchy melodic senisbility to the mix.
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The title track “No Smoking” is bouncy and exuberant, and has the same sort of inconsequential rebelliousness to it as Eddie Cochran’s “Summertime Blues”.
And plenty of clunky, lethargic romantic ballads — not as cheesy as his stuff in the ’70s and ’80s, but getting there. I’m sure that the sight of Roberto Carlos exclaiming, “that’s groovy! Roberto is repeatedly kidnapped, shot at and chased across Brazil’s urban landscape; he even gets flown to New York, and returns via a NASA space launch This disc shows how he put his band where his heart was, and helped Caetano to articulate his vision of a new, indigenous Brazilian rock music.
A few rockers, with the same general feel as his similar material sung in Portuguese.
Rockbertos – Eu Sou Terrível (Roberto Carlos e Chuck Berry) by Rockbertos – Listen to music
Backed up by the crazed rock band, Os Mutantesas well as by Roberto Carlos’ RC-7, Veloso sends off a powerful opening salvo for the tropicalia movement. It would have been great if they could have also included some of his later soft-psychedelic material, like “Sua Estupidez” and the like As a roqueiro, Carlos was pretty cool — the straight rock numbers aren’t bad, and are often rather cute as with his cover of Del Shannon’s “Wanderer”.
As usual, Bethania’s voice is nice, but the arrangements leave a lot to be desired. Eventually, he shifted into a more sedate pop style, and lost what tegrivel edge he once had Best of all, though, are the shots of mids Rio and Sao Paulo, and of the screaming teenage audiences, as well as Roberto’s inner cadre of go-go dancer-ish fans, a priceless glimpse at the pre-tropicalia rock scene.
Eu sou Terrivel-Roberto Carlos by Fernando Romano Fonseca | Free Listening on SoundCloud
A little sleepy, as many JG albums were, but not bad. In my caglos, however, Leao could clean up the floor with Bethania — her voice is so much more gorgeous and compelling. Compared to other jovem guarda discs, this one has a really high hit ratio, including another funky, upbeat number, “E Tempo De Amar,” written by Renato Barros of Renato e Seus Blue Caps. Still not my cup of tea, though close in style to Carlos’ own schlocky later work.
Many of the main players in the jovem guarda scene are working on this album: I’m sure there must also be video reels of old Jovem Guarda shows, but this fluffy escapist flick has got to be pretty similar in tone and style.
Light teen-pop with a strong ’50s bent, but pretty rad for the time. Still, it’s fun stuff if you’re a fan of his later work, and has some charmingly terivel arrangements.
Yet as a pioneer in the early Brazilian rock scene, Roberto Carlos’ contributions are not to be underestimated. If you wanted to look into his early career, this is definitely the place to start.
Apparently at the time, jazz trumpeter Raul Terrrivel Souza was in the RC-7, adding his punchy melodic senisbility to the mix.
Musically, this is disapointing — the film starts with a sizzling soul number an early Tim Maia songronerto that is the only staged “live” performance in the film, carpos other numbers are either brought in as incidental music or in cheesy playback lip-synchs that have nothing to do with the plotline.
The plot is pretty thin, a palpable pastiche of Hard Day’s Night, Help! Great songs, including the often-covered and often-anthologized “Superbacana” and the ridiculously poppy spanish-language roller-rink lovefest, “Soy Loco Por Ti, America”.
Veloso, by the way, has nothing but praise for Roberto Carlos. Some sappy ballads, but nothing anywhere near as bad as his later Julio Iglesias-style pop crooning. Roberto sure was cute, though!
Carlos hosted the popular ’60s TV show, Jovem Guarda — Brazil’s version of American Bandstand — where the would-be rockstars of the Portuguese-speaking world flocked in hopes of future fame.
The big hit here was Erasmo Carlos’ adaptation of the John D. Other than the song at the start, there’s little to recommend this film. If you wanted to be charitable, you could see this as an absurdist romp, much like the Hong Kong films we know and love But the winsome pop idol takes it all in his stride, smiling and walking carlks each scenario with a good-natured grin.
Some interesting orchestration, including plenty of Byrds-y electric guitars, and soul-drenched meanderings But as it is, this is an interesting, if un-earthshaking disc.