Rodrigo_Amaro

Something of a great shock in terms of music videos from Brazil before the introduction of MTV in here. Usually the schemes and settings revolved on band/artist performances, very little use of a concept or use of archive images from other sources so it's quite a change in the game seeing plenty of news footage and film clips thrown to form an idea of the world, technology and evolution and then comes Dulce Quental act and song.

The early moments with the archive images put together formed an interesting mosaic of moments (Fred Astaire and Ginger Rogers dancing; C3PO running in the woods in a moment from "The Return of the Jedi"; a classic performance of Jimi Hendrix; an atomic explosion clip intercut with a clip of a jawdropping John Lithgow in "2010: The Year We Make Contact" watching an explosion of light; etc.) that thrown many emotions and memories on film viewers; Dulce's act singing is okay but the song isn't so impactant and with a title like it all turns everything into a mysterious mix.

Delica or Délica is a person's name (though I never heard it before) that means empathy, knowledge, talent, generosity and enthusiasm - certainly fits with the images of the introduction -; but it also goes an abbreviation of psicodélica (Psychodelic) which forms a wider scope of things, the fascinating world of then 1980's with the descriptions sung by Dulce of a time of discovery and excitment yet people were often apart and with no time to deal with one another. Maybe a premonition of times and things to come. Intriguing and fun to think. But I loved the opening moments, it felt like a challenge in remembering the films, the real images and news, and connect a whole idea. 7/10.

Sempre Livre singer Dulce Quental and her Brazilian version of Michael Jackson's "Human Nature" was a remarkable hit for the lady, one of the first from her solo career. Must admit that for a long time it was one of the most annoying tunes I ever heard, I simply couldn't stand the funny synth and the guitar bits. It's like I couldn't take it seriously - and as a matter of fact never liked MJ version either. In between those versions came the jazz/pop one delivered by the master Miles Davis and that's when it hit me for good. Without the nonsensical vocal performance one can feel how such an interesting melody and composition (as written by John Bettis and TOTO's Steve Porcaro) it actually is. Or maybe it's the "Why? Why?" turned into "Uai, Uai" that it's actually annoying. Pointless sharing of mine but needed. Only after Miles that all versions conquered me.

This clip for the program "Fantástico" captures the essence of the song - at least as how Jorge and Waly Salomão wrote it - of the narrator/singer feeling special about the rhythm of the night, the neon lights from the huge billboards and places that takes her into a lovely powerful moment. It's filmed in the Liberdade area, a predominantly Japanese neighborhood in São Paulo, but you can only notice it due to the characteristic street lights from the place in downtown as no one else is shown except for Dulce. It really fits with the ambiance of everything, and the song is good actually, Dulce's voice was one of the coolest and smoothest of the period, sexy and suave. 7/10.

The second single and music video released from Capital Inicial's album "Rosas e Vinho Tinto" goes to show through its images the great return of the band as a huge public attraction. Their new rise after the unplugged and this album proved that the 1980's rock band still had something strong going on after a lost decade in the 1990's, and this video proves it quite well how involved was the crowd attending their shows. Hardly ever a new idea when it comes to music videos as a live performance from a hit single but it marked as first of its kind for the group - unless if there was some other video done that failed to become memorable.

Lyrically "Quatro Vezes Você" presents peculiar situations revolving young people and the possibilities of what one would do without anyone to judge and condemn - it's all about liberal ideas against a sense of conservatism and rigid moral. Kind of weird to see 40-something dudes talking about that but the band end up attracting younger audiences back in the 2000's (myself included) along with their 80's fans. It's a cool song, heavily played then but somewhat forgotten now if compared to their other classic hits. The video doesn't go with anything memorable, except for the noisy crowd cheering and singing, or the guitar solo duo act between singer Dinho Ouro Preto and newcomer Yves Passarell. It's all fun. 7/10.