Borrachinha is one of my favorite voices from late 50s and early 60s forró, so I was thrilled to find additional material to post from this elusive artist. Como Demorou and Forró Do Benedito were originally released by RGE as a 1961 78rpm-only single in Brazil. I later learned that both of these songs were reissued on an excellent LP called Sucessos Dos Maiores Cantores Nordestinos on Premier Records from 1973. This album featured a number of killer tracks from the early 60s. I am heartened when I find vinyl preserving 78s because the format is far sturdier than shellac 78s and sometimes sounds better, even if the vinyl isn't perfect. Ironically, the LPs can be as rare or rarer than the 78s. Borrachinha - Como Demorou - RGE 78rpm (1961)
Borrachinha - Forró Do Benedito - RGE 78rpm (1961)
Borrachinha - forró star
Borrachinha - Como Demorou & Forró Do Benedito - RGE 78rpm (1961)
Borrachinha - Como Demorou & Forró Do Benedito - RGE 78rpm (1961)
Here is a bit of festive cheer during the holiday season brought to you by Alvorada Dos Novos. Maracatú is the ace track from the album. Fantastic cover, too. There is something about a friendly waving photo of a group of people that screams optimism. Enjoy! Alvorada Dos Novos - Maracatú from self titled - Som (1963)
Novinho Em Fôlha had been sitting on my want list for a while. It is fantastic and compacto only, making it very difficult to find and valuable. According to the Dicionário MPB, Diniz's first of 6 known 78 rpm singles was released in 1960. Many of these singles were reissued across volumes of the late 60s Viva São João LP series, preserving early Mocambo 78s from a variety of artists, including Genival Lacerda. Diniz also had a full length LP released on Rozenblit Passarela in 1968. He also appeared on numerous LP compilations. Although it is possible that his career continued into the 1970s, I have not been able to find evidence of this. He passed away in 1982. Carlos Diniz - Novinho Em Fôlha (Xaxado) from compacto - Mocambo (1968)
Collecting forró is generally the purview of DJs. For those folks, the higher fidelity vinyl published in the 1960s and beyond may be better suited for modern sound systems. However, Brazil phased out 78rpm records slightly later than the United States and Europe. Some of the 78s released in the late 1950s and early 1960s sound excellent. These records are ridiculously rare. They are extremely fragile, which don't make them ideal for DJ'ing. As a result, some great 78s from the late 1950s and early 1960s may be less known and less vociferously collected than vinyl. Still, there is an audience for shellac. Because of the fragility of 78s and because most were disposed of when vinyl became the ideal format, 78rpm records in this genre are exceedingly rare. Many, including those released by Borrachinha and Jota Fonseca, are some of the best forró songs ever released. Vêia Doida is my first post from Mané Baião. Mané had a good run of LPs in the 60s and 70s. I am uncertain where this release falls in his discografia, because I have been unable to find one for Mané Baião. Mané Baião - Vêia Doida from 78rpm - Orion (1963)
Guerra Peixe (1914 - 1993) was a classically trained expert on Brazilian rhythms and even wrote a book on Maracatu. He was not a forró artist, but certainly embraced and respected the northeast. He was responsible for the arrangements on one of my favorite Brazilian albums, Os Afro Sambas by Vinicius de Moraes and Baden Powell. The arrangement of Nação Nagô, featured this week on Forró LP Gringo, would not sound out of place on the Tropicalia LP. The arrangement has some of the feel of Rogério Duprat's production. I was uncertain if this was a newer album recorded in the 1970s or a reissue. The catalog numbers next to the songs seem to indicate the latter. Guerra Peixe E Orquestra RGE - Nação Nagô from Sedução Do Norte - Premier (1978) original release (1955)
Guerra Peixe E Orquestra RGE - Sedução Do Norte - Premier (1978)
It's been a while since I have posted a track from the reigning king of forró, Genival Lacerda. Cajueiro Abalou was originally released on a now extremely rare 78 rpm single in 1963. Luckily, Mocambo released a series of LPs in the late 1960s called Viva São João drawing heavily from their back catalog. Without these compilations and a rare Genival Lacerda LP on Rozenblit Passarela collecting most of his early work called Tomaram Meu Amor, which is almost as rare as his 78s, most of Genival's earliest work would be lost to the world. There are still a few songs on odd 78 rpms that have not surfaced or been reissued in any form. Genival Lacerda - Cajueiro Abalou from Viva São João No. 5 - Mocambo LP (late 1960s) and 78rpm (1963)
Gemedeira is a classic rare forró single from Ary Soares on RCA Victor from 1967. The label must have thought highly of Soares, because there are still a number of these out there, indicating a somewhat generous pressing. Of course, these were only pressed in Brazil, so a common compacto is almost a total contradiction. Compactos are typically the rarest forró records next to 78s. The picture sleeve is much scarcer than the vinyl. Ary Soares - Gemedeira from compacto - RCA Victor (1967)
Ary Soares - Gemedeira from compacto - RCA Victor (1967)
Carimbó is a dance and also a musical genre with a unique, and often horn-driven, sound. Like forró, carimbó was also born in northeastern Brazil. The sounds of forró and carimbó mixed on record quite a bit in the early to mid-1970s, especially on albums by CBS stars. This may have been the last melding of northeastern Brazilian genres before North American funk and disco started to creep into the forró mix. Pinduca has multiple albums in the carimbó style. Some regard Volume 2 as his best. Pinduca - Mato Cheiroso from Carimbó e Sirimbó Embalo do Pinduca Volume 2 - AMC Beverly (1974)
Pinduca - Carimbó e Sirimbó Embalo do Pinduca Volume 2 - AMC Beverly (1974)
Pedido Legal, presented here from an extremely rare 78rpm, also comes from the LP: O Vendedor De Biscoito. This LP has posthumously made Paulo Tito a legend, thanks to the scarcity of available copies and the high quality of the music. Interestingly, according to notes made on Tito's Baiano De Guanabara page on forroemvinil, Tito claims that he fell into the genre by accident. The singer was asked to collaborate on an LP with Gordurinha in the style of baião and forró. Gordurinha had to back out and the project continued without him. Quite accidentally, Paulo Tito became a forró recording star. Although he was assisted by Luiz Gonzaga in his early career, Tito thought of himself primarily as a romantic singer. Paulo Tito carries the distinction of having some of the rarest forró LPs, thanks to the high quality of the material and the limited availability of vintage vinyl. It is not entirely clear why this is. It is likely that the negligible number of LPs were pressed of the 3 solo records that Tito recorded in the 60s.* A bit of speculation... Perhaps, because Tito considered himself an outsider to the genre or because his record companies considered him an outsider, he/they did not promote his work as heavily as acts that were trying to make a career out of forró. It is possible that the military coup in 1964 also slowed his career. Although he continued recording, the elusive early 60s material is what gave Tito his legendary status in forró. *Poeira De Morte may be early 70s. The jacket and LP are not dated. Paulo Tito - Pedida Legal (Rojão) - Continental 78rpm (1961) & O vendedor De Biscoito - MusiColor (1960)
Paulo Tito - Pedida Legal (Rojão) - Continental 78rpm (1961) & O vendedor De Biscoito - MusiColor (1960)
October 10th marked the four year anniversary of Forró LP Gringo! Happy Birthday to Blog! I was going to put together something special to celebrate this, but alas time has been short this fall.
That said, this particular LP by Caxanga (also spelled Caxangá), O Maior Repentista Do Brasil, has not been widely shared and has some magnificent tunes. The album has the same title of an earlier 1967 LP of his work on the Bemol label, but the albums are entirely different aside from the title. The 1976 LP definitely qualifies as special. Oscar Martins production is stunning, rivaling some of the best work of Abdias and Pedro Sertanejo from this period. In fact, I can't name a better album from 1976 in the entire genre of forró. I could not find much biographical information about Caxanga. It seems that he began his career in the early 1960s. On forroemvinil, there are some touching comments from friends and family commenting below the 1967 LP.
Caxanga - Desafio De Cantador (côco) - from O Maior Repentista Do Brasil - Discos Chororó (1976)
Caxanga - Eu Sou Ferreiro (embolada) - from O Maior Repentista Do Brasil - Discos Chororó (1976)
Caxanga - O Maior Repentista Do Brasil - Discos Chororó (1976)
Caxanga - O Maior Repentista Do Brasil - Discos Chororó (1976)
This is my final of four posts from the early 1970s featuring the ladies of forró. Tiro O Liro is a catchy little côco from Clemilda. The mix and / or master on the record is pushed into the red and Clemilda's vocals are pleasantly distorted. Most forró mixes from 1970 are mono, but Clemilda's vocals seem to pan in this song, suggesting either a pressing irregularity or an early stereo mix.
Clemilda c Betinho e Regional - Tiro O Liro from Forró Sem Briga - Tropicana (1970)
Clemilda c Betinho e Regional - Forró Sem Briga - Tropicana (1970)
This is the 3rd post in my Anastácia / Marinês early 70s feature. Só Pra Machucar may be my favorite Marinês album. It is arguable that 1973 was the peak of her career.Her recording of the Anastácia / Dominguinhos classic Um Quero Um Xodó may be the definitive version of this song. My favorite song on the Só Pra Machucar LP is É Tempo De Voltar, also written by Anastácia and Dominguinhos. The song has a certain rhythmic echoing throb that I associate with Os 3 Do Nordeste albums. Although the rhythmic type of song is not listed, it seems like a funky, slow xaxado. Marinês e Sua Gente - É Tempo De Voltar from Só Pra Machucar - CBS (1973)
Marinês e Sua Gente - Eu Quero Um Xodó from Só Pra Machucar - CBS (1973)
Marinês e Sua Gente - 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)
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)
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)
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)
Antônio Barros was a major composer on the forró scene in the 60s and 70s. Procurando Tu from 1970was 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)
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)
Confusingly, there are two different Trio Nordestinos. The group with multiple albums on CBS in the 1960s and 1970s is Trio Nordestino da Bahia. The other Trio Nordestino is from Alagoas. They most commonly appear in the upside-down taco shaped cangaceiro hats famously worn by Luiz Gonzaga. I have featured the Bahia group on this blog, but this is my first entry for the Alagoas band. I like the Bahia group, but I prefer the Alagoas act. Diga Prá Ela is a wonderful track hidden away on their 1980 LP Acuda Patrão Acuda. Of the tracks that I transferred last spring, this one is one of my favorites. The delivery has a cool swing and mostly acoustic backing. Lovely stuff. Trio Nordestino (Alagoas) - Diga Prá Ela from Acuda Patrão Acuda - Pierrot (1980)
This is the second Walter Damasceno EP to be featured on this blog. Damasceno released a two compacto duplos, an LP and a number of rare 78 rpm singles with exclusive material in Brazil. The first EP, Não Bula Comigo, was a Brazilian pressing on the Odeon label. The EP below, Esse Norte É De Morte, was issued on Odeon in Brazil and Parlophone in Portugal. You can compare the covers below. Although both versions are rare, the Portuguese pressing gives folks living outside of Brazil a better shot at owning this compacto duplo. The Portuguese sleeve for Esse Norte É De Morte was recycled for a few releases, including an EP by João Gilberto. The music is brilliant and fits in nicely with other well produced artists from the late 50s and early 60s, like Gordurinha, Luiz Wanderley and Tonico Do Juazeiro.
Walter Damasceno - Fum Fum from Esse Norte É De Morte compacto duplo - Parlophone Portugal (1958)
Walter Damasceno - Parada Dura from Esse Norte É De Morte compacto duplo - Parlophone Portugal (1958)
Walter Damasceno - Esse Norte É De Morte - Parlophone Portugal (1958)
Walter Damasceno -Esse Norte É De Morte Brazilian compacto duplo sleeve - image from pedrosorongo.blogspot.com
Update: Here are a few more examples of the economical recycling of the Portuguese sleeve for releases of Trio Irakitan and Alvarenga e Ranchinho.
This week, I am pleased to present the ultra rare follow up to Coroné Narcizino's Hora Serteneja. The first LP is unusual because it remained in print for years. This is extremely uncommon for most forró artists. I have two copies of the first LP on two different labels and they are both warped, so we are starting with Vol. 2. Bamboleia Sinhá & Caboclinha, from Hora Serteneja Vol. 2, are beautifully produced. Unlike the original Hora Serteneja, the second volume came out once, and only once. in 1967. Coroné Narcizinho - Bamboleia Sinhá from Hora Serteneja Vol. 2 - Discobrás (1967)
Coroné Narcizinho - Caboclinha from Hora Serteneja Vol. 2 - Discobrás (1967)
Coroné Narcizinho - Hora Serteneja Vol. 2 - Discobrás (1967)
As far as I am aware, Carmen Miranda never recorded any baião music . Miranda's recording career started in 1930. She was in the United States by 1939. It is possible that she was only vaguely aware of Luiz Gonzaga, who debuted on disc in 1941. Choro and Toada come from the 1800s and were recorded throughout the 20th Century. Toada songs appeared on albums recorded by baião and forró artists up until the 1960s. Choro and forró have never appeared together on an album by a single artist that I have found (Update: Austin'sVinyl noted several LPs available for download on forroemvinil contain both forró and choro tunes. Thanks for the the info!). Choro, meaning lament, is often played instrumentally. Some vocal choro tunes are stunning with vocals, like Polichinelo, by Carmen Miranda. I have never seen the original 78 rpm for sale.
Carmen Miranda - Polichinelo (Choro) from Odeon 78 rpm (1936)
Carmen Miranda - Polichinelo (Choro) from Odeon 78 rpm (1936)
Bode De Dada & Meu Lindo Sabiá are choice tracks from a scarce, 4 song compacto called É Sucessoby Sebastião Do Rojão. I am unsure of the exact release date, but a post about the compacto on forroemvinil dates the compacto from 1970 or 71, based on a stamp on the cover.
Sebastião Do Rojão - Bode De Dada from E Sucesso compacto duplo - Cantagalo (1970 or 1971)
Sebastião Do Rojão - Meu Lindo Sabiá from E Sucesso compacto duplo - Cantagalo (1970 or 1971)
Sebastião Do Rojão - E Sucesso compacto duplo - Cantagalo (1960s)
As I have said before, there are many voices in forró, but Zito Borborema has one of the most distinctive. The recordings from below come from Os Dois Agarradinhos, an LP issued once and only once in 1973. A few of the songs were also released on a rare Portuguese 4 song EP / compacto on the Roda label. The title track is lively. Nasci Do Sertão and A Flor Do Mal have a bit of tango flavor. Although Tango reportedly originated in Argentina and Uruguay, numerous Brazilian recordings were released through the 1950s. Zito Borborema - Os Dois Agarradinhos from Os Dois Agarradinhos - Tropicana (1973)
Zito Borborema - Nasci No Sertão from Os Dois Agarradinhos - Tropicana (1973)
Zito Borborema - A Flor Do Mal from Os Dois Agarradinhos - Tropicana (1973)
Zito Borborema - Os Dois Agarradinhos - Portugal / Portuguese compacto duplo - Roda (1973)
Zito Borborema - Os Dois Agarradinhos - Tropicana (1973)
Thanks to the endorsement and support of Luiz Gonzaga, Marinês had a long and fruitful career. Her records are still very collectible today. Although she wasn't the first woman to step into the baião / forró genre, she may be the best known and loved. These tracks are from a compacto on RCA from 1963. Both of these tracks appeared on her LP Coisas Do Norte, but the artwork on the LP and single are completely different. Marinês E Sua Gente - Quatro Fia Fême (baião) from compacto duplo - RCA (1963)
Marinês E Sua Gente - Sanharô (tambô) from compacto duplo - RCA (1963)
This particular compacto duplo (meaning double compact or EP) was released in 1963. Marinês, looking as striking as ever, is in the center. The fellow playing accordion is Abdias, who later when on to head up CBS A&R for forró and took Marinês with him. The 4 songs originated on the Marinês E Sua Gente LP, Coisas Do Norte. This particular RCA Victor compacto duplo (a double compact single commonly called an EP in the US and UK) contained no exclusive material, but the sported a nifty, unique picture sleeve.
Marinês E Sua Gente - compacto duplo - RCA (1960s)
This was a nice surprise. I did not realize that Moura Junior recorded for labels other than Philips. This compacto is intriguing. Oricuri (Segrêdo do Sertanejo) was co-written by João do Vale. Pau De Arara was written by Vinicius De Morais and Carlos Lyra. People familiar with Bossa Nova will know the names well. Although forró artists recorded João do Vale songs (Marinês particularly), I have never heard De Morais and Lyra songs recorded by anyone in the forró scene before.
The songs on this release may be described as nightclub samba with a bit of Bossa Nova. The sound of Oricuri (Segrêdo do Sertanejo) also harkens back to late 50s albums by Gilvan Chaves and Volta Seca, who mixed storytelling with music. Like Moura Jr., Jackson Do Pandeiro (E Vamos Nós -1964 & Coisas Nossas - 1965) and Ary Lobo (Quem é o Campeão - 1966) also flirted with supper club poshness during this period. This coincided with the time of the military coup from March of 1964. I am uncertain if the musical choices made by these artists was directly influenced by the political problems in Brazil or if Lobo, Jackson and Moura Jr. were trying to diversify their repertoire to appeal to a wider audience.
My record is a little crispier than usual, but like all compactos, this one only turns up once in a blue moon and is worth the extra effort for preservation and sharing. Thank you Samuel for the image of the rare picture sleeve.
Moura Junior / Jr. - Oricuri (Segrêdo Do Sertanejo) - Copacabana compacto (1963 or 1964)
Moura Junior / Jr. - Pau De Arara - Copacabana compacto (1963 or 1964)
Moura Junior - Oricuri (Segrêdo Do Sertanejo) rare Copacabana picture sleeve - image by Samuel Rodrigues Nascimento
