Spanish singer Marta Baizán cut her first record in her teens. She went on to release a string of discs from the mid-1960s into the early 1970s. Today, the Spanish beauty remains best known for voicing Capercita ye-yé – a pop version of Little Red Riding Hood – and as an actress.
Marta Baizán was born in 1947 in the city of Tetouan, which was then in the Spanish protectorate in northern Africa and is now part of Morocco.
Marta and her family moved to Madrid in the early 1960s. Her brother, Luis Enrique, proved a talented drummer who joined beat combo Los Flaps and, later, Los Pasos.
Through him, Marta got her big break into the national music business, joining the Columbia label in late 1964.
There she would cut her first EP, Hoy he sabido. The lead track, an original composition, was a cheery upbeat number that gained positive reviews. The gentle ballad No lo puedo explicar became the singer’s entry to the Aranda de Duero song festival. (A version of Petula Clark’s I know a place, Sé de un lugar, proved the least convincing track on the release.)
Marta also took a bit part in the film Tres gorriones y pico that year.
Back on the music front, a follow-up EP, issued in 1965, sold better. It led with Seré como quieras tù, but has become more popular for Mi buen amigo and Mi chico eres tù.
Keen to broaden the singer’s appeal, her manager signed Marta up to host a youth radio show called La hora de Marta.
Through that, she also came to record a version of Little Red Riding Hood, in which she became the voice of the fairy-tale star against Miguel Rios who voiced the Big Bad Wolf. The disc sold well.
A switch of record label in 1966 marked a change of musical direction. At Sonoplay, Marta took on a more adult sound for what was her third solo EP. The release led with the highly catchy Te veré en septiembre, a version of The Happenings’ US hit See you in September. Ven con nosotros proved another highlight of the EP, while the delightful Tu ya no existes para mí showed off Marta’s new-found song-writing abilities.
Surprisingly, the release proved a one-off, leaving Marta to focus on her acting career. By this time, she had appeared in Fernando Palacios’ La familia y uno más, and would go on to appear in Nuevo en esta plaza in 1966 and with Karina in 1967’s Los chicos del Preu.
By 1969, Marta was ready for a musical comeback and took part in the Benidorm song festival, although without success.
The move did, however, herald a string of new releases, including translations of George Harrison’s My sweet Lord and The Carpenters’ We’ve only just begun, Acabo de empezar.
Marta returned to the Benidorm festival in 1971 with Con esta canción, before concentrating on acting again, taking part parts in Hay que educar a papa in 1971 and Experiencia prematrimonial in 1972.
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