Biography
Early in the history of Brazilian rock, Odeon recognized Celly Campelo as its first youthful star. Nora Ney had already pointed the way by cutting the solitary 1955 version of “Rock Around the Clock” (Max Freeman/Jimmy DeKnight) at age 33. At fifteen, in 1958, Campelo released her debut single, “Handsome Boy.” The nationwide smash “Estúpido Cupido” the following year placed her, alongside brother Tony Campelo, as co-host of the São Paulo TV Record program Crush Em Hi-Fi, an essential platform for the new Brazilian rock sound. Another hit, “Banho de Lua,” soon became an enduring classic and generational emblem. By twelve she was already hosting her own show on Taubaté’s local radio. In 1957 she and Tony signed with Odeon; the next year they issued their first single, Celly singing “Handsome Boy” and Tony singing “Forgive Me,” both written by label director Mário Gennari Filho with Celeste Novais. She made her television debut on São Paulo’s TV Tupi in 1958. After an English-language release faltered, she recorded her signature Portuguese tracks: “Banho de Lua” (P. de Fillipi/F. Migliacci, version by Fred Jorge), “Lacinhos Cor-de-Rosa” (Michie Grant, version by Fred Jorge), and her biggest success, “Estúpido Cupido” (Neil Sedaka/H. Greenfield, version by Fred Jorge), taped in March 1959. Domestic acclaim secured two years of co-hosting Crush Em Hi-Fi with Tony on São Paulo’s TV Record. Her first LP, Broto Certinho, appeared in April 1960 and featured the hit “Banho de Lua” together with a fresh reading of “Over the Rainbow.” Colleague Tom Jobim at Odeon praised her instinctive vocal gift. Her massive popularity prefigured Beatlemania in Brazil by three years, generating dolls and extensive merchandise. In 1961 she delivered another hit, “Broto Legal” (H. Earnhart, version by Renato Corte Real), and was voted Queen of Rock in Brazil by Revista do Rock readers. Additional honors included the Tupiniquim (1959), Chico Viola (1959, 1960, 1961, 1962), and Roquette Pinto (1959, 1960, 1961) awards. Further successes came with “Billy” (Kendis/Pauley/Joey Goodwin, version by Fred Jorge), “Túnel do Amor” (Patty Fischer/Bob Roberts, version by Fred Jorge), and “Hei Mama” (Paul Anka, version by Fred Jorge). She appeared in the films Jeca Tatu and Zé Periquito before suspending her career upon marrying in 1962. She resumed performing in 1972 and has continued on a modest scale ever since.