Genival Lacerda E Lúcio Mauro - O Bom Daqui Sou Eu & Prá Mim Tu É Loré from As Trapalhadas - Fontana (1970)

What I am writing below is a mix of speculation, conjecture and solid history. As Trapalhadas... is an odd record, because it mixes comedy skits with songs. The genres of forró and rock n' roll have courted comedy throughout in the past. In the US, Cheech and Chong, Steve Martin and Eddie Murphy all crossed the comedy / rock barrier. Even the Beatles were a traveling comedy skit / music act for a while. This was after their stint in Hamburg and during their earliest period with Brian Epstein as their manager. The concept seems like an old fashioned extension of radio variety shows that mixed comedy and music.

Certain forró acts also did this, like Genival Lacerda, but far longer than the Beatles. Another star called Coronel Ludrú, who was part of the CBS stable of acts in the 60s and 70s, released multiple comedy records (mostly sans-music), apparently marketed for northeastern Brazilian audiences. 

As Trapalhadas... from 1970 was an attempt to mix a comedy act with Genival's musical act on record. I am not certain how successful this was as a comedy record. Several of the songs are excellent, though, especially O Bom Daqui Sou Eu. After this point, Genival Lacerda kept the comedy in the songs rather than adding stand-up to his album recordings. Eventually, Lacerda found a successful balance and a permanent musical / comedy marriage with Severina Xique Xique in 1975.

Genival Lacerda E Lúcio Mauro - O Bom Daqui Sou Eu from As Trapalhadas - Fontana (1970)

Genival Lacerda E Lúcio Mauro - Prá Mim Tu É Loré from As Trapalhadas - Fontana (1970)

Genival Lacerda E Lúcio Mauro - As Trapalhadas De Cazuza E Seu Barbalho Música! Alegria! Humorismo! - Fontana (1970)

Genival Lacerda & Lúcio Mauro

Os Caçulas Do Baião - Adeus Alagoas (Baião) from Novo Lampião - Cartaz (1965)

Kicking the sound and look of Luiz Gonzaga, Os Caçulas Do Baião were a fine band with a number of killer records. The group began recording during the 78 rpm era. Adeus Alagoas, meaning Farewell Alagoas, references a state in Northeastern Brazil that borders Pernambuco. I like the use of reverb on this recording, which gives the backing vocals a special intensity.

Os Caçulas Do Baião - Adeus Alagoas (Baião) from Novo Lampião - Cartaz (1965)

Os Caçulas Do Baião - Novo Lampião - Cartaz (1965)

Luiz Gonzaga - De Pai Pra Filho - Warner Brothers / Downtown Filmes Movie / Film Review (2012)

I nabbed this DVD in Brazil in 2013. For some reason, I never got around to watching it until last night. The DVD has English subtitles. Below is a short summary and review.

The 2012 Brazilian film, Gonzaga - De Pai Pra Filho (Father to Son), is the story of Luiz Gonzaga's son reconnecting with his father after years of estrangement. The events take place in 1981 when Gonzaga Sr., "The King of Baião," is nearly broke and at the lowest point in his career. In an attempt to reach Jr. (nicknamed Gonzaguinha and Luizinho), Gonzaga Sr. reveals the story of his life to his son for the first time. As with most biopics, the events are told through a painterly lens of part-legend and part-truth. The costumes, acting, set design, cinematography and music are exceptional. While the film is sentimental and dramatic, it does not play as melodrama. The director, Breno Silveira, grounds the mythic Gonzaga Sr. in reality by allowing him to be a flawed human being. For fans of northeastern Brazilian music, Gonzaga - De Pai Pra Filho is essential. Additionally, it will give foreigners a rare glimpse into the pop culture history of Brazil, especially northern Brazil, which has been unjustly hidden.

Gonzaga - De Pai Pra Filho - Warner Brothers / Downtown Filmes (2012) - trailer

Luiz Gonzaga - De Pai Pra Filho - Warner Brothers / Downtown Filmes (2012)

Ivanildo - Pisa No Meu Pé & Creôla from Uma Noite No Comercial - Mocambo (early 1960s)

This is the first recording from Ivanildo featured on Forró LP Gringo. Ivanildo is a noted multi-instrumentalist and composer from Pernambuco. Pisa No Meu Pé and Creôla showcase his northern roots. The recordings are fabulous and are a great example of the full of the killer, thick, deep, late period 78rpm sound. Creôla was first released as a 78rpm in 1962. Although I am uncertain precisely when the LP was released, it contains recordings from this era and appears to be a compilation.

Ivanildo - Pisa No Meu Pé from Uma Noite No Comercial - Mocambo (early 1960s)

Ivanildo - Creôla from Uma Noite No Comercial - Mocambo (1962)

Ivanildo e seu conjunto - Uma Noite No Comercial - Mocambo (196_)

Osvaldo Oliveira - La Vem Maria from Amor de Primeira - CBS 1971

Osvaldo Oliveira's 60s work was mesmerizing. He had a knack for composing gorgeous melodies and his vocal delivery was effortlessly rhythmic. Perhaps his high point was having his song, Secretária do Diabo, recorded by Jackson do Pandeiro on the classic 1966 LP, O Cabra Da Peste. Today, Oliveira's 60s records are sought after and valuable, especially the 1961 LP Osvaldo Oliveira LP, Eterna Lembrança do Norte. By the early 1970s, Osvaldo Oliveira had nearly abandoned forró. Perhaps he was searching for a new artistic direction or a musical path that was more lucrative. This turn towards the middle of the road is a bummer for collectors hoping to find nearly nonexistent gold from Osvaldo in the 70s. La Vem Maria is a fine tune and one of the last gasps from his 10 year forró period.

Osvaldo Oliveira - La Vem Maria from Amor de Primeira - CBS 1971

Osvaldo Oliveira - La Vem Maria from Amor de Primeira - CBS 1971