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Sunday, September 10, 2017

Jacinto Silva - Côco Na Paraiba & Na Roça É Assim from Ritmo Explosivo - CBS (1965)

Jacinto Silva was one of the first forró artists to release a major album on CBS after Abdias came to the label in 1963. I am uncertain if Abdias is the artistic director for CBS forró at this point. He is not credited as Direção (essentially producer and artistic director) until Jacinto Silva's 1967 LP Só Era Eu, but Abdias and his band backs Silva on Ritmo ExplosivoRitmo Explosivo was the first of three killer albums recorded by Jacinto Silva between 1965 and 1967. Cantando, his second album from 1965, was posted here. Silva continued to record for CBS through the mid-1970s, but subsequent CBS albums were shared with other artists. Silva also had scattered songs on compilations and released one compacto in 1968, previously posted here

It is interesting that Jacinto Silva's golden CBS period was between 1965-1967, because Jackson Do Pandeiro and Ary Lobo were attempting to mix samba into their music around 1965 and 1966, perhaps in an effort to diversify their audiences. Jacinto Silva recorded killer, unrelenting forró and never courted a genre shift. These albums would not be bested by another CBS artist until Jackson Do Pandeiro recorded O Dono Do Forró in 1971. In my opinion, O Dono Do Forró still reigns supreme as the greatest of all forró LPs, but Silva gives Jackson a run for his money and may be the primary artist keeping white hot energy going in the mid-1960s.

Jacinto Silva - Côco Na Paraiba from Ritmo Explosivo - CBS (1965)



Jacinto Silva - Na Roça É Assim from Ritmo Explosivo - CBS (1965)



Jacinto Silva - Ritmo Explosivo - CBS (1965)

Friday, September 1, 2017

Jacinto Silva & Trio Recife - Puxa O Fole Zé from Ritmo Explosivo - CBS (1965) & compacto simples - Maraca (1960s)

Jacinto Silva had a remarkable run of records on CBS in the mid to late 1960s on the Abdias-helmed CBS records in Brazil. Ritmo Explosivo (1965), Cantando (1965) and Só Era Eu (1967) may be the strongest series of forró albums, only bested by the king: Jackson Do Pandeiro. Ritmo Explosivo is a raucous barnstormer. Puxa O Fole Zé, composed by Silva, may be the wildest and most driving track on the album. I am pleased to feature two great versions. The second version is by Trio Recife on the exceptionally rare Maraca compacto. Trio Recife manage to increase fiery energy of Silva's version and nearly split microphones and speakers in the process. For some reason, I picture kids skipping rope to this one. I have been meaning to post this for two years and I am pleased as punch with this double whammy.

Jacinto Silva - Puxa O Fole Zé from Ritmo Explosivo - CBS (1965)



Trio Recife - Puxa O Fole Zé from compacto simples - Maraca (1960s)

Jacinto Silva - Ritmo Explosivo - CBS (1965)

Trio Recife - Puxa O Fole Zé from compacto simples - Maraca (1960s)

Saturday, August 19, 2017

Zé Do Rojão e Zezitinho dos 8 Baixos - Ogum De Roda & Sem Amor Não Sou Ninguem from Forró na Fazenda Nova - Premier (1975)

The songs below, from the LP Forró na Fazenda Nova by Zé Do Rojão e Zezitinho dos 8 Baixos, are recent discoveries. The music has it all. Killer mid-70s production, a great band featuring Zezitinho and fantastic vocals by Zé Do Rojão. Sadly, Zé Do Rojão never got a solo record other than this one. Ogum De Roda, a standout, was written by Zé Do Rojão. It manages to be haunting and energetic. 

Zé Do Rojão e Zezitinho dos 8 Baixos - Ogum De Roda from Forró na Fazenda Nova - Premier (1975) 



Zé Do Rojão e Zezitinho dos 8 Baixos - Sem Amor Não Sou Ninguem from Forró na Fazenda Nova - Premier (1975) 



Zé Do Rojão e Zezitinho dos 8 Baixos - Forró na Fazenda Nova - Premier (1975) 

Thursday, August 10, 2017

Ted Jones - Côco De Londerina - Chantecler 78rpm (1959)

This week, we have Ted Jones, who has the least forró sounding name ever. Ted is performing Côco De Londrina, the b-side to the pleasant, but tame O Justiceiro Do Sertão. While the a-side can be found on the YouTubes, the killer b-side is dusted off for its web debut here. Côco De Londrina shares a similar, lively energy to Luiz Wanderley's tunes from this period.



Ted Jones - Côco De Londerina - Chantecler 78rpm (1959)

Tuesday, August 1, 2017

Almirante - Foguinhos (Toada) from A Maior Patente do Rádio - Moto Discos (1986) Victor (1935) & Tudo Em P from Monumento Da MPB - Odeon 78rpm (1938) Fontana (1976)

Much of Almirante's work pre-dates baião, which was first recorded by Luiz Gonzaga in the early 1940s. However, there are elements in earlier recorded Brazilian music that surface in later recordings of forró, samba, bossa nova, Tropicalia and all other musical forms from Brazil. The grooves and melodic beauty are deeply embedded in the culture. Almirante is one of the great Brazilian singer, songwriters and interpreters from the early 20th century. Included here are two ace tracks from separate reissues.

Almirante - Foguinhos (Toada) from A Maior Patente do Rádio - Moto Discos (1986) Victor (1935) 


Almirante - Tudo Em P from Monumento Da MPB - Odeon 78rpm (1938) Fontana (1976) 




Almirante - A Maior Patente do Rádio - Moto Discos (1986) Victor (1935)


Almirante - Monumento Da MPB - Odeon 78rpm (1938) Fontana (1976) 

Thursday, July 20, 2017

Jair Alves - Baião Rock (baião) - RCA (1957)

Back in the 1950s, Brazilians were aware of rock and had their own rock stars. The rhythms also seeped into baião, which was the common name for the genre before forró became ubiquitous. There are several records fused rock and baião, although these were mostly in a novelty capacity. Luiz Wanderley tried rock even dipped his toes into calypso, which was marketed in the US shortly after rock hit big. Baião Rock, by Jair Alves, is more big band than rock, but it is quite interesting and extremely rare. As far as I am aware, this was only issued on 78rpm and is one of Alves's most difficult tracks to find.

Jair Alves - Baião Rock (baião) - RCA (1957)



Jair Alves - Baião Rock (baião) - RCA (1957)

Monday, July 10, 2017

Rossini Pinto - Viver Sem Ninguém from compacto - CBS (1971)

I love hearing slick post-1960s orchestral forró and baião tracks. While string arrangements on baião tunes like this were common in the 1950s from artists like Ivon Curi and Stellinha Egg, the form was limited to mainly traditional instruments by the 1970s. The only styles to gain a little ground were carimbo, funk and disco. Alas, forró in the 70s was pretty much the same as forró today. I am not saying that it is necessarily negative, because many of my favorite recordings come from the early 1970s. However, t was rarely experimental. Gilberto Gil recorded some fairly radical versions of forró around this time. The closest cousin to Viver Sem Ninguém is Forró Em Caruaru by Djalma Pires recorded the same year. Both Pires and Pinto were outsiders in the genre. As far as I can tell, Pinto was marketed as a teen pop star in the 1960s. He never became a cangaceiro suited forró bandit, with the exception of this one unusual record.

Rossini PInto - Viver Sem Ninguém from compacto - CBS (1971)



Rossini PInto - Viver Sem Ninguém from compacto - CBS (1971)