Ary Lobo - Atchim (rojão) from Nossos Ritmos & 78rpm - RCA (1955)

During the 1950s, bits of baião, forró and in the case of Ary Lobo and Jackson Do Pandeiro, a bit of côco and rojão, left Brazil and landed in record stores in the wider world. Nossos Ritmos, also alternatively packaged with the same songs, was an interesting snapshot of Brazilian music in 1955. Ary Lobo sounds futuristic compared to the other artists on the 10". Atchim is loose and soulful. The other acts seem formal by comparison. Incidentally, Atchim would have been one of Lobo's rarest songs, because it was only available on 78 rpm in Brazil prior to this 10". Although the 10" is not common, it can be purchased outside of Brazil much more easily than Philips and CBS releases from the 1960s and 1970s. 

Ary Lobo - Atchim (rojão) from Nossos Ritmos & 78rpm - RCA (1955)

Nossos Ritmos - RCA Victor (1955)

Baião 78rpm - Piraci Com Acompanhamento - Bairros De São Paulo Em Trocadilhos (baião) - RCA Camden (1961) & Orlando Silveira - Seleções De Baião Side B from 78rpm - Copacabana (1954)

Forró LP Gringo is 3 years old today!

A few 78 rpms are featured this week, including a nice, hypnotic baião gem from Piraci and a beautiful thumper from Orlando Silveira and band. Piraci's Bairros De São Paulo Em Trocadilhos is the b-side. Brazilians were releasing 78s until around 1963 until the format was finally scrapped for vinyl. The Piraci single was released in 1961, which was late in the game. As with many 78 rpms, the bass response seems more pronounced. There is a different version of the song on a Piraci LP, but the 78rpm version is superior. Silveira's single is enchanting and beautifully produced. 

Piraci Com Acompanhamento - Bairros De São Paulo Em Trocadilhos (baião) - RCA Camden 78rpm  (1961)

Orlando Silveira - Seleções De Baião Side B from 78rpm - Copacabana (1954)

 Piraci Com Acompanhamento - Bairros De São Paulo Em Trocadilhos (baião) - RCA Camden (1961)

Orlando Silveira - Seleções De Baião Side B from 78rpm - Copacabana (1954)

Manezinho Araujo - Prá Onde Vai Valente from Cuma É Nome Deles - Fontana (1972)

Manezinho Araujo (sometimes written with an accent on the é in Manézinho and the ú in Araújo) recorded records in a Brazilian style called embolada. Embolada is a form of Brazilian street rap, usually with 2 or more performers dueling with words and rhymes over a simple beat, often provided by the pandeiro. Often, they are trying to make an audience laugh through jabs and funny insults. Brazilian fellas were having rap battles in the 1930s and likely before, which is decades ahead of when they became popular in the United States. Embolada predates forró, but the styles merged nicely. 

Araujo is unique amongst artists that cross over into forró, because he was also a successful visual artist and journalist. Prá Onde Vai Valente comes from an LP released on Fontana in 1972. Although the Wikipedia entry claims that the song is from 1934, I have not found evidence of a recording from that era. The Dicionário Cravo Albin Da Musica Popular Brasileira lists the first Manezinho Araujo 78 rpm from 1933. This is 8 years before the first Luiz Gonzaga 78 rpm, who is cited as the godfather of baião and forró. There were likely records pre-dating Gonzaga's that were similar in style. I am curious if any Brazilian scholars have pursued this.

Araujo's style reminds me of Genival Lacerda. Perhaps Lacerda borrowed Araujo's squeaky voice stylings or it may be a cultural "humor" voice, like a Brazilian Jimmy Durante. At any rate, this record has been sitting in my collection for a while and I'm glad that I could dust it off for an entry.

Manezinho Araujo - Prá Onde Vai Valente from Cuma É Nome Deles - Fontana (1972)

Manezinho Araujo - Cuma É Nome Deles - Fontana (1972)