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Wednesday, September 21, 2016

Marinês e Sua Gente & Anastácia- Cheguei Pra Ficar from Canto Do Sabiá - RCA (1970) & Só Pra Machucar - CBS (1973)

This week on forróLPgringo, I feature two female forró heavy hitters, Anastácia and Marinês, in their prime. Last week, I posted Sua Decisão from Anastácia's Canto Do Sabiá LP from 1970. This week, we have the opportunity to compare two versions of Cheguei Pra Ficar, written by Anastácia and Dominguinhos. To my ears, Marinês wins the day, but it is interesting to hear the original Anastácia version. Her version is fine, but the mono mix of Canto Do Sabiá, with slightly buried vocals, is no match for the full-powered glory of Abdias and band backing Marinês. The glorious stereo mix is monumental. Marinês is mixed to the front loud and clear. The reverence that 1965-1975 CBS forró recordings are afforded is deserved. Many of those recordings have never been bested.

Anastácia- Cheguei Pra Ficar from Canto Do Sabiá - RCA (1970)



Marinês e Sua Gente - Cheguei Pra Ficar from Só Pra Machucar - CBS (1973) 


Anastácia - Canto Do Sabiá - RCA (1970)
Marinês e Sua Gente - Só Pra Machucar - CBS (1973) 

Wednesday, September 14, 2016

Anastácia - Sua Decisão from Canto Do Sabiá - RCA (1970)

Anastácia, born Lucinete Ferreira, is a forró trailblazer. Although there were female forró stars like Marinês and Clemilda, Anastácia was unusual because she was equally notable as a composer. Most forró records in 1970 were still mixed in mono. Although many of them sounded great, the Canto Do Sabiá LP has a slightly choked sound with some slightly pitchy moments from the band. Like Fontana records from this period, some RCA records could be hit or miss because of this. Luckily, Anastácia's music transcends some of the recording shortfalls.

Anastácia's version of her song Cheguei Pra Ficar, co-written by Dominguinhos, also appeared on the Canto Do Sabiá LP. That song was recorded by Marinês for her classic 1973 LP, Só Pra Machucar. Marinês' version, which I will feature in my next entry, highlights the difference that a great band, recording and mix can make. Interestingly, the bands made some distinct arrangement choices that give the different versions a distinct feel. 

Anastácia - Sua Decisão from Canto Do Sabiá - RCA (1970) 


Anastácia - Sua Decisão from Canto Do Sabiá - RCA (1970) 

Thursday, September 8, 2016

Jacinto Limeira - Forró Quentão & Festa Sem Mulher Não Presta from O Cantor Trombonista - CBS (1976)

The glory years of CBS forró, roughly from the mid-1960s until the mid-1970s, is the era that most ignited my interest in collecting these records. Jacinto Limeira joined the family during the latter CBS period. His caulky voice and distinctive trombone runs give his albums an unusual flavor in a genre that doesn't often stray from traditional instrumentation. The CBS house band and production are exceptional. One wonders if the artists on the roster realized how amazing this period in Brazilian musical history was at the time.

Jacinto Limeira - Forró Quentão from O Cantor Trombonista - CBS (1976) 


Jacinto Limeira - Festa Sem Mulher Não Presta from O Cantor Trombonista - CBS (1976) 


Jacinto Limeira - O Cantor Trombonista - CBS (1976) 

Thursday, September 1, 2016

Zé Gonzaga w Paulo Tito - Psicodélico and Lua Luá from Psicodélico - Tropicana (1973)


This week, I feature 2 extraordinary songs from Zé Gonzaga with vocals by Paulo Tito. Along with having a superb voice, Paulo Tito's albums from the 60s are some of the scarcest in forró. Psicodélico was written by the artist himself. Psicodélico's only psycedelic production stylization is the panning of the vocals and keys from the left to the right channel, which in the era of headphones, is a slightly annoying effect. Lua Luá is a gorgeous ballad written by Catulo de Paula. The Zé Gonzaga version is slower than the original. Lua Luá would have fit nicely on Gilberto Gil's albums from the late 1960s and early 1970s. Question: Did any forró artist ever release a psychedelic album?

Zé Gonzaga w Paulo Tito - Psicodélico from Psicodélico - Tropicana (1973)

Zé Gonzaga w Paulo Tito - Lua Luá from Psicodélico - Tropicana (1973)

Zé Gonzaga w Paulo Tito - Psicodélico - Tropicana (1973)

Sunday, August 21, 2016

Ju Da Sanfona - O Forró Aqui é Assim from O Forró Aqui é Assim Volume 1 - Rozenblit Passarela (1975)

O Forró Aqui é Assim from Ju Da Sanfona is a classic LP full of smooth vocals and tongue twisting lyrics. 

Ju Da Sanfona - O Forró Aqui é Assim from O Forró Aqui é Assim Volume 1 - Rozenblit Passarela (1975) 


Ju Da Sanfona - O Forró Aqui é Assim from O Forró Aqui é Assim Volume 1 - Rozenblit Passarela (1975) 

Sunday, August 14, 2016

Antônio Barros - Já Faz Tempo Não Lhe Vejo from compacto simples - Fontana (1971)

Antônio Barros was a major composer on the forró scene in the 60s and 70s. Procurando Tu from 1970 was recorded by virtually every major act and artist in the genre. Já Faz Tempo Não Lhe Vejo, a follow-up single, is more obscure. Although he recorded several albums and singles, his career as a songwriter is what he is best known for. 


Antônio Barros - Já Faz Tempo Não Lhe Vejo from compacto simples - Fontana (1971)


Antônio Barros - Já Faz Tempo Não Lhe Vejo from compacto simples - Fontana (1971)

Tuesday, August 9, 2016

Babá Okê Sussú - Preto Velho & Rainha Da Pontaria from Preto Velho - OKeh (1968)

Umbanda is a religion in Brazil that incorporates African, Roman Catholicism, Spiritualism and Native American (likely South American) beliefs. Some Brazilians call Sussú's records Voodoo. Voodoo is another syncretic religion that comes in multiple varieties. I am not an expert on Umbanda or Voodoo, so I can't speak to Sussú's beliefs specifically. I can say that Sussú's music, like his religion, is a combination of musics. Sussú does not play forró or samba specifically, but may incorporate the rhythms and melodies of both. 

Babá Okê Sussú - Preto Velho from Preto Velho - OKeh (1968)



Babá Okê Sussú - Rainha Da Pontaria from Preto Velho - OKeh (1968)



Babá Okê Sussú - Preto Velho - OKeh (1968)