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Friday, April 14, 2017

Sacy / Saci - Pedro Cem (rojão) from Salve-Se Quem Puder Tem Saci No Pau-De-Arara - Odeon (1960)

Pedro Cem, by Saci (also spelled Sacy) is one of the greatest songs ever recorded. I don't mean only forró or Brazilian music. Pedro Cem is hard to top in any language from any country. It is stunning that it was recorded in 1958, given the nearly perfect recording. Although much of Saci's music is strong and ranks amongst the best from the late 50s and 1960s, Pedro Cem touches on a kind of magic that is hard to achieve. The production, singing, phrasing and recording are stellar. I listed the release year as 1960, but the exact release year is contested. The record is also extremely rare. Sadly, this song has hardly been heard.

Some additional information thanks to Samuel Machado Filho from my YouTube post:

Pedro Cem was written by Júlio Ricardo (pseudonym of João Rodrigues de Lima) and Wernecy Pinto. Pedro Cem was recorded on December 4, 1958. The song was released by Odeon on 78 rpm in March 59 under number 14436-A, matrix 13172. I have seen copies of the compacto, but I have never seen a surviving version of the 78rpm in any condition.


Sacy / Saci - Pedro Sem (rojão) from Salve-Se Quem Puder Tem Saci No Pau-De-Arara - Odeon (1960)
Sacy / Saci - Salve-Se Quem Puder Tem Saci No Pau-De-Arara - Odeon (1960)
forró star Sacy / Saci

Saturday, April 8, 2017

Trio Luar Do Sertão - Xaxado No Sertão (xaxado) from Os Brasas Do Xaxado - Bemol (1968)

In the coming months, I am going to post music from my rarest forró albums. 

Trio Luar Do Sertão were active for a few years in the late 1960s and toured with Genival Lacerda. It seems that Lacerda liked the group and assisted with the production of their sole album, Os Brasas Do Xaxado. Some of the songs from the album were partially composed by Lacerda, including Xaxado No Sertão. Although Trio Luar Do Sertão were only active for a few years, they eventually become Os 3 Do Nordeste creating a string of classic albums for CBS under Abdias in the 1970s. 

There are a few reasons why Os Brasas Do Xaxado is exceedingly rare. One: Most forró albums from the 60s were pressed in small numbers and there are few copies on the market for most artists. Two: Bemol was a tiny short-lived label and this record was never reissued. Three: Os 3 Do Nordeste are beloved and collectible, so this album is sought by fans of that group along with collectors of deep forró. Four: The album sounds as good as anything coming from major labels in this era. 

Trio Luar Do Sertão - Xaxado No Sertão (xaxado) from Os Brasas Do Xaxado - Bemol (1968)

Trio Luar Do Sertão - Os Brasas Do Xaxado - Bemol (1968)

Saturday, April 1, 2017

Chico Santos - Sou Brasileiro Sim Sinhô & Santana Do Ipanema, Eu Te Amo from Forró em Manaus - RN Discos (1983)

Sometimes, it is nearly impossible to find any information about post-1975 forró artists. After scanning a few pages on forroemvinil, I assumed that Chico Santos would be another mystery until I found a great forró blog called Forró Alagoano by José Lessa:

"We have previously mentioned that Chico Santos was born in Santana do Ipanema in the highland of the Alagoas and besides being a truck driver, he was also a truck driver and, as a result, he took the Brazilian highway to the most distant corners of this continental country, giving his contribution to the northeastern rhythms. This LP was released in 1983 and at this time Chico Santos was living in Manaus and soon conquered the North Region and was successful in Amazonas, Amapá, Acre, Rondonia and far beyond our borders as in Guyana (French, English and Dutch) as well As in Venezuela, Peru, Colombia, Bolivia. When we converge Chico always remembers the affection that was given to him by the people of the Amazon Region; Currently Chico lives in Carneiros in the backlands of Alagoas and is one of the directors of the Association of the Alagoas Tenderers and soon will be with new work in the square.

This is one of the main works in the career of Chico and was titled "Forró in Manaus" and reunites 9 compositions that takes its signature or with some partners like Zuquinha do Acordeon and Simones. It is worth mentioning the participation of Jorge Paulo, also with the Northern Bandeirante, who along with Joci Batista exerted a great influence on the life of our sertanejo. Even though Chico does not forget his Santana do Ipanema and Alagoas as in bands 8 and 9 of this LP. However, it is worth mentioning the track Alô Manaus "that emphasizes the beauties of the Amazon region.

The repertoire is of excellent good taste and all the tracks are delicious both to be heard or danced, it is worth mentioning the composition "Amor Pra Vida Inteira" by Antonio da Paz and Guriatã de Coqueiro, a samba that shows the gifts of guriatã de Coqueiro, also santanese and reponsavel for taking cordel literature to São Paulo."

Manaus is a fascinating city. It was established in the jungles of the Amazon and became wealthy thanks to the rubber trade. It may hold the distinction of being the most isolated major city. 

I hope Mr. Lessa doesn't mind me lifting his material! I highly recommend visiting his blog: 

Chico Santos - Sou Brasileiro Sim Sinhô from Forró em Manaus - RN Discos (1983)


Chico Santos - Santana Do Ipanema, Eu Te Amo from Forró em Manaus - RN Discos (1983)



Chico Santos - Forró em Manaus - RN Discos (1983)

Saturday, March 25, 2017

Gordurinha - Rio, Nossa Amizade from compacto - Copacabana (1960s)

It has been too long since I revisited Gordurinha. His recording output only spanned about 5 years and ended in 1963. In that short time, he released a fair number of singles and LPs. By 1969, Gordurinha had passed on from a heart attack brought on by an overdose. Like Borrachinha, Luiz Wanderley, Jackson do Pandeiro and Genival Lacerda, Gordurinha combined humor with distinctive northeastern melodies. He became a celebrated writer and performer during his short recording life.

The song featured here is one of his rarest. Rio, Nossa Amizade was never released in any other format other than compacto. It was never reissued. It is likely that this was one of his final recordings. 78rpm records were still being released in Brazil in 1963, but compactos and LPs were beginning to take over as the preferred format. 

Gordurinha - Rio, Nossa Amizade from compacto - Copacabana (1960s)



Gordurinha - Rio, Nossa Amizade compacto - Copacabana (1960s)

Sunday, March 19, 2017

Jorge Veiga - Almerinda & Sétimo Céu from Samba + Samba = RCA Victor (1965)

From the moment Jorge Veiga's vocals kick in on Almerinda, you're hooked. Technically, both songs are samba and not forró. However, what Veiga was doing in the mid-1960s is similar in quality and sound to what Jackson do Pandeiro and Ary Lobo were producing at the same time. Interestingly, few forró artists flirted with samba after the mid-1960s. Artistically, I am always fond of stirring the pot. Crossover might be confusing for fans with closed minds, but it is often fruitful and beneficial to the music. 

Jorge Veiga - Almerinda from Samba + Samba = RCA Victor (1965) 



Jorge Veiga - Sétimo Céu from Samba + Samba = RCA Victor (1965) 


Jorge Veiga - Samba + Samba = RCA Victor (1965) 

Sunday, March 12, 2017

Zé do Baião - Antoninho Pizada & Azulão Da Mata from 78rpm - Continental (1958)

The more forró and baião that I collect, the more the names Venâncio e Corumba pop up. Antoninho Pizada and Azulão Da Mata were written by those masters of song and beautifully performed by Zé do Baião. Both sides are great but Antoninho Pizada, surprisingly, is the b-side. This strongly phrased tune is, to me, the standout track.  Zé Do Baião continued performing into the 1970s. His discographies are incomplete. Judging by the available information, he recorded 5 LPs and 4 78rpm shellacs. Wikipedia asserts that he stopped performing in 1980 and is alive and well at the ripe old age of 86. A listing on forroemvinil notes that his last LP was released in 1982, which contradicts the assertion that he retired in 1980. Hopefully, with time, a more definitive biography and discography will appear.

Zé do Baião - Antoninho Pizada from 78rpm - Continental (1958)



Zé do Baião - Azulão Da Mata from 78rpm - Continental (1958)



Zé do Baião - Antoninho Pizada from 78rpm - Continental (1958)
Zé do Baião - Azulão Da Mata from 78rpm - Continental (1958)
Zé Do Baião

Sunday, March 5, 2017

Volta Sêca - Sabino E Lampeão (Xaxado) & A Laranjeira (Baião) from Cantigas De Lampeão - Todamerica (1957)

This week, I feature an awesome vintage 10" LP from Volta Sêca on the rare Todamerica label. Mysterious and earthy, this LP connects to deep folklore, like the music of Gilvan Chaves, João do Vale and Luiz Gonzaga, who were all recording great music in the mid-1950s. Luiz Gonzaga, the founder of the genre, based much of his sound and image on the legendary past. While forró and baião would go on celebrating and sentimentalizing a lost era, something about the magic of records made in the 1950s is most distinctive. Part of the reason may be that the music reached a level of fidelity that allowed the music sound modern. At any rate, Cantigas De Lampeåo (Lampião) is a classic of the genre.

Volta Sêca - Sabino E Lampeão (Xaxado) from Cantigas De Lampeão - Todamerica (1957) 



Volta Sêca - A Laranjeira (Baião) from Cantigas De Lampeão - Todamerica (1957) 


Volta Sêca - Cantigas De Lampeão - Todamerica (1957)

Friday, February 24, 2017

Jackson do Pandeiro - A Estória Do Anel from Cantigas Do São Francisco compacto duplo - Chantecler (1977)

A Estória Do Anel is another great track from very late in Jackson's career. His CBS period, from a few years before, may have been his peak, but Jackson had plenty of great songs and hidden gems from his later albums as well. This is pulled from the Cantigas Do São Francisco LP, which was also released as a scarce radio-only 4 track compacto. I am curious if the water fountain from this iconic cover is the same one from Walmir Silva's LP.

Jackson do Pandeiro - A Estória Do Anel from Cantigas Do São Francisco compacto duplo - Chantecler (1977)

Jackson do Pandeiro - Cantigas Do São Francisco compacto duplo - Chantecler (1977)
Jackson do Pandeiro - Cantigas Do São Francisco compacto duplo - Chantecler (1977) with Walmir Silva

Tuesday, February 14, 2017

Cícero Vaquejada Freire - Mexe No Forró from A Voz Do Forró Vol. 2 - Cancan Discos (1984)

Here's some cooking forró from the 1980s coming at you for Valentine's Day. According to forroemvinil, Cícero Vaquejada is the same person as Cicero Freire. Both of his records have been featured on this blog. 

Cícero Vaquejada - Mexe No Forró from A Voz Do Forró Vol. 2 - Cancan Discos (1984) 



Cicero Vaquejada - A Voz Do Forró Vol. 2 - Cancan Discos (1984) 

Tuesday, February 7, 2017

Alvarenga E Ranchinho - Jogo Da Dobradinha from self titled - RGE (1981) originally Odeon (1944)

There are stacks of duos and vocal groups from the 1940s and 1950s, like Alvarenga e Ranchinho, that are fading from the living memory. The records don't fit comfortably into any particular collectible category for revivalists or DJs. In the United States, pre-rock 1950s music has suffered a similar fate. Like the music of Venâncio e Corumba, Jogo Da Dobradinha is a delightful slice of northeastern flavored verbiage, rhythm and humor.

Alvarenga E Ranchinho - Jogo Da Dobradinha from self titled - RGE (1981) originally Odeon (1944)



Alvarenga E Ranchinho - RGE (1981)

Wednesday, February 1, 2017

Aldair Soares - A Volta Da Jangada & Deixa Eu Ir Pai from Todos Cantam Sua Terra - Som (1972)

In my opinion, A Volta Da Jangada is one of the finest Brazilian ballads ever recorded. The song has all of the best elements of a ballad: moodiness, great singing and a haunting melody. The touch of spritely Brazilian percussion nods to the Northeast. The bulk of Aldair Soares's recordings were 78rpms from the 1950s. Venâncio and Corumba and Trio Marayá also recorded songs in this style, and Trio Marayá recorded at least one Soares composition. Deixa Eu Ir Pai is similar to A Volta De Jangada, with cool chorus that surprises. Sometimes, the small details allow a standard genre song to transcend the confines of convention.  

Aldair Soares - A Volta Da Jangada from Todos Cantam Sua Terra - Som (1972)



Aldair Soares - Deixa Eu Ir Pai from Todos Cantam Sua Terra - Som (1972)



Aldair Soares -  Todos Cantam Sua Terra - Som (1972)

Sunday, January 29, 2017

Ary Lobo - Velho Barqueiro from Quem Vem Lá - Cantagalo (1968)

Like Jackson do Pandeiro, Ary Lobo seemed to be masterful at every Brazilian genre. Lobo had primarily been a forró recording artist before the mid-1960s, but he stretched a bit after that. Velho Barqueiro is listed as a toada canção, which is essentially a traditional Brazilian ballad. The production and Lobo's delivery turns it into something else entirely. It sounds like a sophisticated, mournful cowboy ballad sung on the dusty sertão. The master of this type of ballad may be Aldair Soares, who I will feature next on this blog.

Ary Lobo - Velho Barqueiro from Quem Vem Lá - Cantagalo (1968)



Ary Lobo - Velho Barqueiro from Quem Vem Lá - Cantagalo (1968)

Sunday, January 15, 2017

Buzil - Na Puxada Da Sanfona from Lá Vai Forró - Arca (1985)

I have been focusing on a lot of early releases lately, so it was time to feature a squeaky clean new artist from the 1980s. Lá Vai Forró is a popular LP amongst DJs, which manages to update the forró sound (at the time) without falling back on many of the tackier elements that made the 80s contemptible for forró production. Janio Manicel commented on a forroemvinil post featuring this album that Buzil was the artist's nickname. His real name is José de Oliveira and he is from Campina Grande, hopefully living well, in his mid-60s.

Buzil - Na Puxada Da Sanfona from Lá Vai Forró - Arca (1985)



Buzil - Lá Vai Forró - Arca (1985)

Saturday, January 7, 2017

Tião Do Noia - Cabra Bom Da Mulesta, Forró Do Chinelão, Mamáe Deixe Eu Brincar & Pinga Nela from Forró Do Chinelão - Crazy Discos (1979)

Forró Do Chinelão seems to be the sole recorded document from Tião Do Noia. Unlike most forró LPs which typically contain 1 or 2 classics, this album is a tour de force of great songs. Perhaps it sold fairly well at the time, or Crazy Discos believed in Tião Do Noia, but the album is fairly common in Brazil. It is also possible that he is more obscure than Jackson do Pandeiro and Jacinto Silva and therefore less sought out. If that is the case, hopefully this blog entry will help to remedy that injustice. This LP should be considered a classic in the genre!

Tião Do Noia - Pinga Nela from Forró Do Chinelão - Crazy Discos (1979) 


Tião Do Noia - Cabra Bom Da Mulesta from Forró Do Chinelão - Crazy Discos (1979) 


Tião Do Noia - Forró Do Chinelão from Forró Do Chinelão - Crazy Discos (1979) 


Tião Do Noia - Mamáe Deixe Eu Brincar from Forró Do Chinelão - Crazy Discos (1979) 


Tião Do Noia - Forró Do Chinelão - Crazy Discos (1979) 

Monday, January 2, 2017

A Pesca Do Sururú (Trio Juazeiro) - A Pesca Do Sururú (côco) from compacto - Arariboia (1970)

This is a rare treat to start the New Year! My source tells me that this is an early release by the singer and triangle player who went on to be in Trio Juazeiro. This compacto likely came out between 1970 and 1972. 

A Pesca Do Sururú - A Pesca Do Sururú (côco) from compacto - Arariboia (1970) 


A Pesca Do Sururú - A Pesca Do Sururú (côco) from compacto - Arariboia (1970)