Selladas uno is pure dynamite. It includes some of Jaime’s best and most popular songs not included in the previous albums in the Obra Completa series. Crank it up.
Liner notes by Guilherme de Alencar Pinto: “Between 1977 and 1995, Jaime Roos released 10 albums of new material, a live record and one of rarities (volumes 1 to 12 of this collection). Selladas uno compiles the tracks not included in those records. They were all originally released by Orfeo in different kinds of projects.
‘Nunca nunca’ [a very fine, underrated Spanish-language cover of the song by Los Shakers] was the A-side of Jaime’s only single (SCO 90110, 1983). The B-side was going to be ‘Nadie me dijo nada’ (from the Siempre son las cuatro LP), released on December 1982. The emergence of ‘Ella allá n० 2’ caused a change of plans: That song became the B-side and ‘Nadie me dijo nada’ the second track of the A-side. The single cassette format didn’t work — it sold less than 100 copies.
Soon after, the opportunity arose to rescue both new recordings in Comenzar de nuevo (90700, 1983), a ‘salad’ [compilation] of Uruguayan music related to the the radio show of the same name. The album went Gold, so a second volume was released (90739, 1984) to which Jaime contributed an alternate version of ‘Tal vez Cheché.’
Upon finishing ‘Brindis por Pierrot,’ Jaime felt the song was ‘burning’ his hands. He was almost done with Mujer de sal junto a un hombre vuelto carbón (1985) and knew he wouldn’t do a completely new album before the latter part of 1986. Even though he had a potential B-side (‘Murga de la pica’), he didn’t want to bet on a single, given the failed precedent in 1983. At that time, he was playing bass for El Sabalero and, in the tours around Uruguay, he’d meet people who expressed their admiration for his more carnival-oriented, Montevideo-themed songs like ‘Adiós Juventud,’ ‘Los Olímpicos’ or ‘Durazno y Convención.’ He realized that his repertoire had developed and solidified a side that was increasingly beloved by an ever-growing audience. Thus, he devised a semi-compilation that would gather those songs while presenting two new songs which coincided with that profile.
Brindis por Pierrot (90787, 1985) was a milestone in his career: it exceeded Quadruple Platinum and allowed him to regularly perform live as a solo artist.
Canario Luna’s presence in the song ‘Brindis por Pierrot’ turned that well-known carnival figure into a popular song star. In mid-1986, Canario joined Jaime’s show with the group Repique and, immediately, the recording of his first solo album began. Todo a Momo (90833, 1986) was conceived, arranged and produced by Jaime, who also contributed with two new songs: ‘Que el letrista no se olvide’ (the most popular in the album) and ‘Reír llorando’.
In 1989, the second album was released, Otra vez carnaval (91033), which included ‘El grito del canilla,’ another great hit. Both records reached Quadruple Platinum.
Seleccionado (CDO 001-2, 1989) was the first CD produced by a Uruguayan label. It was conceived as a showcase of those recordings by Jaime which better displayed the virtues of digital sound. It was a good opportunity to include two of the then-unreleased mixes of 7 y 3 (1986) done in Buenos Aires [‘Mío’ and ‘Esta noche’].
The only two released batches of Seleccionado (500 copies each) quickly sold out.
Cuando juega Uruguay (91.174, CDO-011-2, 1992) was a sort of ‘Brindis por Pierrot volume 2.’ It included Jaime’s more Montevideo-themed songs released between 1986 and 1991, led by a new song (the title song) and the studio recording of ‘Piropo.’ [The old man in the ‘Cuando juega Uruguay’ video is Obdulio Varela, Uruguay’s captain in the legendary Maracaná win by Uruguay in 1950.]
Live version of ‘Piropo’
Cuando juega Uruguay reached Double Platinum.
In 1997, EMI acquired the Orfeo catalog and decided to release a compilation of love songs by Jaime (Te hizo vivir, 496740, 1998), who took the opportunity to re-mix ‘Piropo.’ This is the version included in this edition.”
There are several more albums coming in the Obra Completa collection (I’m especially and anxiously waiting to hear the new mix of 1996’s Si me voy antes que vos, which has mysteriously and unexplainably disappeared from the digital world, except for this), but dates and content have not been decided yet. I’ll update when the time comes and will keep you posted.
One more thing: Remember the videos and hyperlinks featured on this blog are not the ones from Obra Completa. The reissues feature a much more powerful, clear, enhanced sound. So trust me: Get them if you can.