Quizas, Quizas, Quizas
Music & Lyrics: Oswaldo Farrés

Is this someone dancing in a living room? The year is 1949. Quizás, Quizás, Quizás has been sung by the legendary Doris Day and included in the film Strictly Ballroom. Doris Day interprets the English version of the song, Perhaps, Perhaps, Perhaps — with its relentless woodwind instruments. The equally legendary Nat King Cole and The Stargazers interpreted another Anglo Saxon version, also in 1949! These three versions of a same song when placed next to each other are clearly three different songs. The Spanish version by Jan Mazurus of Quizás, Quizás, Quizás, written by Oswaldo Farrés, was released two years earlier and is a fourth version of the song. Helmut gained inspiration from the original Spanish version to set the tone. This is a confident version, despite the questioning nature of the words.

Quien Sera
Music & Lyrics: Pablo Ruiz Beltràn

Once again Helmut explores the unfathomable depths of love. He proceeds elegantly, as it is important in this tango that matters do not become sour. You can imagine the rigid and proud dance - a pride, which hides embarrassment as if it were a mantle of love. The dancer holds his head high and bravely encloses his beloved partner in his arms. The way Helmut sings Quien sera you can imagine that there is a heart under each one of our shells that is desperately waiting for its 'moment'. There is always a clear answer to the question Quien sera, who will be the person I love?

Perry Commo's English version of this eternal Spanish romantic song became popular throughout the world in 1971 under the title It's impossible, and this was one of Helmut's favourite songs. However, in this version, Helmut gains inspiration from the original Spanish interpretation of Manzanero's Somos Novios. In Somos novios, a Mexican expresses in a few simple words the essence of a couple in love. There is much harmony in the silence of 'no comments', and then 'sometimes without rhyme or reason we become angry'. Anyone who has ever been in love is sure to recognize themselves.

To all the girls I've loved before is a song that a true Latin lover would hesitate to sing before going on to further conquests, as Volver harks back to one's first love. Whether willing or unwilling, it is as if the god of love had become a demon. Even though forgetfulness and the passing of time erase old illusions there will always remain a last glimmer of hope. Helmut's vibrato is perfect for this type of song.

The Maria Elena of the song is not just anyone. In 1940 Lorenzo Barcelata wrote an interpretation of this serenade for the First Lady of the then president of Mexico, Mrs Pontes Gil - though this love song was not exclusively for the presidential mansion. This wonderful melody has since had many admirers. Just think of the life, passion and love incarnated by Jimmy Dorsey, the great Luis Mariano, Los Indios Tabajaras who had a European hit in 1963, Ry Cooder, Sonny James, The Tail Gators... and Helmut Lotti who takes up the torch with Maria Elena.

Although the whole world sung the original Brazilian version of Ave Maria No Morro by Dalva De Oliveira in 1953, the version by Hervivelto Martins rapidly became popular in Europe. In several national versions the Ave Maria of the simple and humble man has always touched the heart of all sensitive men. Ave Maria No Morro explores the profound poverty in which Los Negros live in slums set on the hillside, surrounded only by the blackness of the night. However, although they have nothing they give many things; their modest dwellings are unable to provide them with shelter and their evening prayers rise up to the sky through their Ave Maria. Helmut was touched by their unshakeable spirituality despite their poverty, and this "celestial" vision of love puts the finishing touches to his idea of Latino Love Songs.

In Puerto Mont, Helmut Lotti voyages to the south of Chilli, to that endless strip of land located on the west side of Latin America. As the song's title indicates this is a port town and, in common with such places, there are many comings and goings. The Puerto Mont relates the sorrow of a man who has left his beloved behind in the port because he has chosen to go to sea. Sorrow makes him return but he fears he will only find silence in the place where he used to find kisses. Each tremolo of Helmut's voice conveys the deep sorrow of this man's heart.

It seems that Helmut Lotti is not a beginner as far as Latino love is concerned. Mi Corazon, which he wrote himself, is in fact an original marriage proposal to a kindred spirit who has been sent by God "until death us do part". Here Helmut reveals not only his sure and unerring feeling for an overworked melody, but also his understanding of the Latin soul. Héctor Islas, a writer and musician living in Europe who plays conga and guitar in Helmut's Latino concerts, wrote the lyrics that accompany this eternal melody with the help of the "master"; the words are a translation of the original English lyrics into Spanish.

Quiereme Mucho is an undeniable standard, an evergreen and it is, therefore, fitting that this song appears in this collection of Latino Love Songs. Roig, who with Ernesto Lecuona founded the first symphony orchestra of Havana, wrote this song in 1915. In accordance with customary practices of the time he sold the song for a handful of pesos to a publisher who went on to make a fortune from it in the following decade. Roig began his career in the cinema and ended up in a theatre; he founded the National Opera of Cuba in 1938. However, his zarzuelas are included amongst some of most popular tunes of Cuban lyrical music, largely due to the success that many singers have had with Quiereme mucho. In 1932 the great Italian tenor Tito Schipa who was a writer, composer and cinema actor was the first of a long list to perform the song. Following the 1941 version by Jimmy Dorsey, sung by Helen O'Connell and Bob Eberly, the tune also became known in its English translation: Yours. In 1946 Gene Autrey performed an onscreen version in the film Sioux City Sue. Other earlier versions include ones by Benny Goodman and Helen Forrest, Xavier Cugat and the unforgettable Vera Lynn. However, it was Julio Iglesias who had the greatest success with it after it reached number one in the hit parade in 1979. More recently, in 1992, Linda Ronstadt produced a beautiful rendition of the Spanish version.

The sunny song entitled Las Mañanitas does not explore the theme of its title, i.e. mornings. In fact, the song reveals that this is a day marked by two celebrations: "I'm" singing because it's "your" birthday, and because "She will live for many years". It is a love song which celebrates the start of the day and the beginning of love 'accompanied by celestial music" - "of all the stars in the sky, I would like to give you two: the first to say hello, the second when I leave". In this exuberant and stylised song Helmut Lotti plays the role of a master of ceremonies at a festive celebration.

The French believe that love cannot be ignored and Amor, is an eternal model for a love song. Andy Rabajos, better known as Andy Russel the Spanish/American singer, first interpreted the song in 1944 in the film Broadway Rhythm. It was discovered by Bing Crosby and then sung by other talented singers such as: The Four Aces, Ben E. King, Sir Cliff Richard, Rod McKuen and Julio Iglesias in Latin love (1982). In the audacious arrangement of Helmut Lotti and Wim Bohets, this well-known love song is given not only an additional value, but first and foremost a new identity.

The scent of roses and moonlight represent love. However, love is always accompanied by heartache. Sometimes a soothing and supplicating tone needs to be adopted. If a man comes home late, he must serenade his beloved beauty. No one will be able to resist Helmut's version of this supplication.

With Wim Bohets, the "in-house arranger", Helmut has arranged this summery melody with fitting lyrics provided, once again, by Héctor Islas. In Margarita, Helmut Lotti dreams about a Vene-zuelan island and searches the Latin soul to find a dance tune that trips off the tongue. Or rather, in a better state of mind, he asks a senorita to sway her hips to let the Latino swing make him forget his pain. "I want to want to know what makes Latinos so sabor, so passionate". And I want to discover whether the way they move their hips contributes to their mood!

Would you like a description of a Latin macho? Listen to the farmyard attitude expressed in El Palomo. When a dove displays its tails feather, anything is possible. When the male dove described in this song is next to his sweet dove he is a full-blooded macho. The dove is full of himself and confident and spreads his wings to court her. Then, through music, he proves how effective his macho behaviour can be and performs some original dance steps. The cooing couple fly away, woo each other from a distance and take each other in their arms, that is to say, their wings, and sing their most beautiful song. El Palomo fits Helmut Lotti like a glove, not through pure temptation but through the very beauty of the song itself.

Helmut Lotti replaced a traditional Latino song with the traditional Latin festival song, Hay Fiesta En La Hhacienda. As an artist Helmut Lotti is a perfectionist and after the recording sessions had ended he was inspired to write his own lyrics. At the last moment the earlier recordings gave way to this burst of inspiration. These lyrics have a succinctness which leaves no doubt that Hay Fiesta En La Hacienda is the best way to end Latino Love Songs as "y como hombre de verdad, Voy a beber mi tequila" - which translated as "And as a true man, I'm going to drink my tequila" - Helmut Lotti deserves to drink one too.