Manoel David began his career on the legendary Brazilian 1960s indie label Maraca. In the 1970s, David released two full LPs and was featured on a handful of compilations. Adeus Jacobina is a fairly obscure collection of artists on the Tropicana label. Manoel David's track, Rei Do Mato, is an instrumental featuring a Brazilian flute called a pifé.
Wednesday, June 12, 2019
Sunday, June 2, 2019
Sometimes, I get an odd album by an artist like Déo Do Baião and I have no idea how important they are to the history to forró. According to forroemvinil (Text of the book "Historical Memory of Catende", author Eduardo Menezes), Déo Do Baião was a member of the original Trio Nortista in the 1960s, along with Camarão and Zé Cobrinha. Trio Nortista and Camarão both released substantial albums during the 1960s and 1970s.
His self-titled release on Esquema seems to be Déo Do Baião's only solo album, although he has numerous tracks on Mocambo compilations from the 1960s, many of which were likely 78rpms. Quem Casou, Casou is a fine tune and reminiscent of Jackson do Pandeiro's best work from the later half of the 1970s.
|Déo Do Baião - Esquema (1976)|
Tuesday, May 21, 2019
Friday, May 10, 2019
Wednesday, May 1, 2019
Clemilda has an impressive catalog of high quality forró albums. Clemilda got her start as the voice on late 60s Gerson Filho LPs until becoming a solo artist under her own name. Filho and Clemilda married in the mid-1960s. In this way, they were similar to Marinés and her accordionist husband, Abdias. Unusually, Clemilda and Filho were also fruitful collaborators, co-composing many songs on Clemilda LPs, including Forró De J Luna included here. Although her discographies are choppy and somewhat incomplete, her catalog in the late 60s and early 70s is abundant and well-recorded.
|Clemilda - Forró De J Luna from Clemilda - Musicolor (1973)|
Saturday, April 20, 2019
Luiz Gonzaga was the first forró artist that I explored. His work was available for free on the, now seemingly defunct, official website in the mid-2000s. RCA also released a comprehensive remastered reissue series of most of his work as well.
Luiz Gonzaga produced a lot of work in his lifetime. Gonzaga was a strong singles artist in the 1940s. When the format became popular, Gonzaga mainly produced LPs. The early releases were collections of singles. Xamego was not. Xamego was the first album of his career that was not released as a 10", but the new 12" format that would become the standard for the subsequent 30 years.
Some Gonzaga albums plod a bit with too many xotés and bum tracks, but even iffy albums usually have a few good numbers. One thing Luiz Gonzaga was exceptional at doing was pulling out an ace track during flagging periods. His Odeon albums in the 70s may be the most energetic tracks ever recorded by an older artist.
|Luiz Gonzaga - Xamego - RCA (1958)|
Friday, April 12, 2019
Sixties forró can be pretty hard to find. This may be partly due to the political changes in Brazil in that decade, although Bossa Nova was a global phenomenon. Bossa Nova is still very collectible. Elenco albums, considered by many to be the big label for Bossa Nova, seemed to get more international distribution.
For whatever reason, more forró records were exported during the 1950s. Records on a small label, like Spot or Maraca, rarely made it out of Brazil in the 1960s and pressing numbers were likely low. Aquarela Nordestina is one of the better, and final, great compilations of the decade with a number of strong songs. Saudade Que Vai E Vem by Maria Bonita, an artist new to me, may be my favorite track on the LP. It sounds like a strong Marinês song.
|Aquarela Nordestina - Spot (1969)|