João Da Baiana - Amala De Xango from Batuques E Pontos De Macumba - Odeon (1957)

You can find threads of Brazilian rhythms in every form of music. Samba and forró instrumentally, rhythmically and melodically intermingle. Macumba, a religion primarily practiced in South America with African roots, often uses the rhythms of batucada and batuque. Some call Macumba voodoo, black magic or witchcraft, although these labels can be pejorative. There is plenty of information available about the religion online. There are a number of stars of batucada that emerged in the 1940s and 1950s, primarily Sussú, J.B. De Carvalho and João Da Baiana. Jackson Do Pandeiro and mainstream Brazilian stars like Bando Da Lua also recorded songs using the rhythms of batucada. Like samba and forró, the music is distinctive and mesmerizing. 

João Da Baiana - Batuques E Pontos De Macumba - Odeon (1957)

Jackson Do Pandeiro - Pai Orixá (batuque) from Os Donos Do Ritmo - Copacabana (1958)

Pai Orixá was originally released as a 78rpm single on Copacabana in 1957. Os Donos Do Ritmo is a 10" (10 polegadas) LP featuring Pai Orixá and seven other 78rpm sides. It is one of three Jackson Do Pandeiro 10" LPs released in the 1950s, along with his self-titled debut (1955) and Forró Do Jackson (1956). Os Donos Do Ritmo is the scarcest of the three releases, although Jackson Do Pandeiro was still extremely popular at the time. It is possible that Copacabana pressed fewer copies because Jackson moved to Columbia records in the late 1950s and the label was giving him less of a push. Pai Orixá is listed as batuque, or batucada, which is the specific type of rhythm used in the song. Labeling songs by rhythmic style was very common in Brazilian music through the 1960s. 

Jackson Do Pandeiro - Os Donos Do Ritmo - Copacabana (1958)

Dora Lopes - Estourou Do Norte from compacto EP - Continental (1971)

Estourou Do Norte, recorded by Dora Lopes in 1971, is a killer. There were several compactos of this song released, including a standard double sider in a stock sleeve and the EP featured here with a nifty picture sleeve. The number of forró records seemed to explode in the 1970s, but the production and instrumentation was usually often fixed and traditional. This is fine, but the songwriting and recording had to be razor sharp or the records would sound average. The addition of the horn section to Estourou Do Norte immediately grabs the listener, along with the punchy mix and wonderful performance by Dora Lopes.

Dora Lopes - Estourou Do Norte from compacto EP - Continental (1971)

Luiz Gonzaga - Vamos Xaxear (xaxado) from RCA Victor 78rpm (1952)

Luiz Gonzaga's classic 1952 78rpm single Vamos Xaxear b/w Xaxado is so stunning that it deserves to have both sides featured. It is one of those rare early singles that seems like a double A side. Vamos Xaxear is an incredible song full of tension and driving rhythm. Gonzaga doesn't start singing until a minute and twenty seconds into the song. It is powerful, relentless and red hot. The king earns his crown on this one. 

Luiz Gonzaga - Vamos Xaxear (xaxado) from RCA Victor 78rpm (1952)

Luiz Gonzaga - Xaxado (xaxado) from RCA Victor 78rpm (1952)

 It is astounding that this is from 1952. Xaxado is an absolute killer single from Luiz Gonzaga, giving any R&B track from the USA during this period a run for its money. It is also interesting that Gonzaga did not pick this as one of his favorites when compiling his boxed set in the 1980s.

Luiz Gonzaga - Xaxado (xaxado) from RCA Victor 78rpm (1952)

Os Ritmos do rei - Jackson do Pandeiro (The pandeiro rhythms of the king, Jackson do Pandeiro)

This beautifully produced video covers the intricate pandeiro rhythms of Jackson. It is amazing how complex the playing can be of a seemingly simple instrument. 

A translation from the YouTube description: 

The Rhythms of the Pandeiro is a collection of rhythms recorded by Jackson do Pandeiro from the perspective of various pandeiro masters from around the world, designed by the Museum of the 3 Pandeiros (MAPP / UEPB), in recognition of the centenary of the rhythm king, Jackson do Pandeiro. 08/31/19

The percussionists include: 

Marcos Suzano, Leo Rodrigues, Carlos Café, Gustavo di Dalva, Nacho Delgado, Emerson Taquari, Samir tarik, Ivison Santos, Túlio Araujo and Sandrinho Dupan

Léo Bahia - Jôgo Proibido (baião) from Tiger 78rpm (likely 1960s - vinyl 78rpm)

Jôgo Proibido by Léo Bahia is an absolute killer 78rpm, likely released in the early 1960s. I have almost zero information on the artist, aside from the fact that he recorded several carnival records (marcha) in addition to this one.

The 78rpm is peculiar. It was not pressed in shellac, but vinyl. This is the first time that I have encountered a vinyl 78rpm. The late 1950s were a strange time. The industry was experimenting with a number of formats to see what would stick. The 50s were a slugfest between 10", compacto and LP. 

Léo Bahia - Jôgo Proibido (baião) from Tiger 78rpm

Marinês E Sua Gente - Peba Na Pimenta from Vamos Xaxar & Rico Ri À Toa - Sinter (1957)

Vamos Xaxar, like many 10" records from this period, is a compilation of 78rpm singles. This is the first appearance on vinyl from the mighty Marinês E Sua Gente. Peba Na Pimenta was co-written by the great João do Vale. Vale's version appeared on his beloved 1965 Philips album, Poeta Do Povo. I am uncertain if there is an earlier recording by Vale. This video includes both the xoté style recording from the Sinter 10" and the group appearance from the film Rico Ri Á Toa, which is faster, tighter, has higher fidelity and in my opinion, is infinitely better. Marinês is riveting throughout. 

Marinês E Sua Gente - Vamos Xaxar - Sinter (1957)

Zenilton - Leão Coroado & Casa Amarela from O Forró Do - Chantecler (1968)

Zenilton is pure roots forró. At his best, he was a master of the haunting style of baião established by Luiz Gonzaga. He often appeared in the famous Lampião costume favored by Gonzaga. Leão Coroado & Casa Amarela originate from the 1968 LP, O Forró Do, the 3rd album released by Zenilton.

Zenilton - Leão Coroado from O Forró Do - Chantecler (1968)

Zenilton - Casa Amarela from O Forró Do - Chantecler (1968)

Zenilton - O Forró Do - Chantecler (1968)

Carlos Galindo - Que Vontade De Comer Goiaba (baião) from Todamerica 78rpm (1955)

Que Vontade De Comer Goiaba (baião) is another unjustly rare tune from Carlos Galindo. If there is any justice in the world, collectors will assemble a compilation of Galindo's 78rpms. As far as I am aware, these have never been reissued. 

Carlos Galindo - Que Vontade De Comer Goiaba (baião) from Todamerica 78rpm (1955)

Walter Damasceno - Maria Do Amparo (baião) from Columbia 78rpm (1950s)

Walter Damasceno and Ary Lobo represented an interesting era in Northeastern Brazilian music. Compared to some of the softer baião singers who recorded middle-of-the-road music, Damasceno and Lobo sounded modern and vital. The United States had a similar period in the 1950s. 50s pop had a marshmallow quality until what we now call rhythm and blues and upbeat country and western helped shape a new vitality for the music. While Ary Lobo's career continued until his death in 1980, Damasceno disappeared in the early 1960s.

Both Damasceno and Lobo lived through a time when the 78rpm was fading and vinyl was on the rise. Damasceno's 78s seem to be rarer than Lobos from this period, depending on the label. Odeon 78s are nearly impossible to find, but most appeared on his lone Odeon LP. He has a short stack of 78s on Columbia and a rare one on CBS. 

Damasceno and Lobo also recorded songs listed as rojão (the a side of this 78), but this does not seem to be a distinct rhythmic form. Songs weren't usually listed this way after the early 1960s. Rojão may simply be slang for upbeat baião or forró tunes.

The tuba sounds amazing. 

Walter Damasceno - Maria Do Amparo (baião) from Columbia 78rpm (1950s)

Luiz Gonzaga - Fogo No Paraná from Sanfona Do Povo - RCA (1964)

Although this is a baião interpretation of the João Do Vale song, Luiz Gonzaga often enjoyed long-winded introductions to his songs. This storytelling style was also popular with other artists, especially Gilvan Chaves in the 1950s. By the time 1964 rolled around, Gonzaga was facing serious competition from Jackson do Pandeiro, Ary Lobo and up-and-comers like Genival Lacerda, Osvaldo Oliveira and Jacinto Silva. Even Gonzaga's protégé, Marinés, was cranking out killer records. Most of these artists went straight for the heart of the song.Luiz Gonzaga's output was still prolific, but not always dazzling. Gonzaga's LPs usually had two or three great songs and a lot of filler, with some exceptions. Fogo No Paraná is a great baião and one of the best tracks on Sanfona Do Povo. It sounds like music from a mythical western with an unmistakable Brazilian groove. I can see why Gonzaga was attracted to Fogo No Paraná, Nobody captured, and in this case interpreted, the mystery and the mythos of the Northeast better than Luiz Gonzaga.

Severino Barros - Cuidado Bento from Aquarela Nordestina - Spot (1969)

Cuidado Bento, by Severino Barros, is another rarity from the 1969 Spot compilation Aquarela Nordestina. This is the only release that I have seen on this label. Severino Barros' recording seems to be limited to Aquarela Nordestina and a later compilation called Cangaceiros Do Nordeste (bandits of the north). 

Ary Lobo - Cheguei Na Lua from Cheguei Na Lua - RCA (1961)

Cheguei Na Lua from Ary Lobo's classic LP, Cheguei Na Lua, is another fabulous sounding tune from this RCA reissue series. These CD reissues have become quite scarce except for Forró Com Ary Lobo, which continues to be available and is well worth picking up.

Ary Lobo - Cheguei Na Lua - RCA (1961)

Marinês & Sua Gente - Clareou from Siu Siu Siu - RCA (1964)

Clareou, from Marinês & Sua Gente 1964 RCA LP Siu, Siu, Siu is pulled from a superb 2004 CD reissue. It is somewhat miraculous that these albums were reissued at all. 2004 was five years after Napster when the CD market was beginning to decline. Forró, sadly, has always been a low priority for remastering series. It has been 40+ years since many of the labels had their heyday. Rozenblit's factory suffered a flood that destroyed much of it's archive in 1975. This included Mocambo's considerable and important catalog, which means that is at least one label where any future reissue would need to come from vinyl and shellac. It is becoming more and more important to care for high quality vinyl copies of records that have never been reissued. Luckily, vinyl is far more durable than tape. It was wise of RCA to start a digital archive when it did.

Marinês & Sua Gente - Siu Siu Siu - RCA (1964) 

Mara Silveira - Dança De Lampião (xaxado) from Capelinha Demelão - Mocambo (late 1950s)

Many forró 78rpm records, especially on small labels, are impossibly rare. There are several sites and private collectors with partial discographies, but lack of accurate documentation makes this work challenging for historians. Capelinha Demelão is a compilation of 78rpm records on the Mocambo label, but specific years for when the original recordings were released is not included on the label. I have not been able to find a discography that includes Mara Silveira - Dança De Lampião (xaxado). It is likely that the record originates between 1956 to 1962. Hopefully, more accurate information will surface.

Capelinha Demelão - Mocambo (late 1950s)

Reginalva - Na Casa Da Lia from Forró Na Pauliceia - DEX (1979)

Joel Stones said that DEX released albums by artists for a fee. I am not certain if this consignment policy applied to every artist. Forró Na Pauliceia is a compilation and not strictly by Reginalva, but Na Casa Da Lia is one of the album's most exceptional tracks. I could not find information about Reginalva's career before or after this one release.

Reginalva - Forró Na Pauliceia - DEX (1979)

Paulo Tito - Baião Bacaninha from Poeira De Morte - Cantagalo (1970)

Paulo Tito, the ballad singer drafted into forró, released three of the most obscure albums in the history of forró from 1960 to 1970. He must have been friendly with Pedro Sertanejo, the owner of Cantagalo, because it is clear that his records sold in great numbers. Each of the albums have wonderful tracks. Paulo Tito also sung guest vocals on a number of albums by other artists. 

Paulo Tito - Poeira De Morte - Cantagalo (1970)

Abdias - Sai Do Sereno from Sai Do Sereno - CBS (1966)

Abdias, head of A&R at CBS, led what may be the greatest ever label in forró, both in terms of exceptional artististry and gorgeous recordings. Philips and RCA also released fine recordings in the 60s, but neither label grew like CBS. By the end of the 1960s, forró on Philips was relegated to the Fontana label. Recording quality was not on the same level of Jackson do Pandeiro and Moura Jr. enjoyed on Philips. Albums seemed to be more quickly recorded and were all in mono. RCA had a number of forró artists, including Luiz Gonzaga, but it seems like the label often tried to shift folks away from forró to modern music. Although some artists, like Osvaldo Oliveira and Elino Julião drifted towards ballad singing, most CBS albums seemed to have high quality, raging forró into the 1970s.

Abdias - Sai Do Sereno - CBS (1966)

Marinalva - Jacaré Dos Homens (baião) from Eu Também De Lá - Maraca (1970)

Marinalva's LP from 1970, Eu Também De Lá, is a strange release. It was originally pressed on the indie label called Maraca. Curiously, it seems that only vinyl LPs were produced. None of the LPs have surfaced with a cover. The album was officially issued shortly after on Tropicana records. It is possible that the Maraca version was promotional, but there is not a precedent in Brazilian forró for pressing 12" LPs without a cover. It is also possible that Tropicana bought Marinalva's contract. Again, this also seems unusual. I speculate that Maraca were having financial trouble and could not support the LP. Both the Tropicana and Maraca LPs are rarities, but there are very few coverless copies of Maraca's Eu Também De Lá on the market.

Marinalva' - Eu Também De Lá - Tropicana cover / capa - 1970 (courtesy of forroemvinil)

Marinalva - Eu Também De Lá - Maraca (1970)

Manoel David - Rei Do Mato from Adeus Jacobina - Tropicana (1972)

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. 

Adeus Jacobina - Tropicana (1972)

Déo Do Baião - Quem Casou, Casou from Déo Do Baião - Esquema (1976)

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)

Ary Lobo - Cosme E O Damião from Ary Lobo - RCA (1962)

Did Ary Lobo know how great he was in his lifetime? Ary Lobo died in 1980. His reputation continues to grow and his records are valuable internationally, which was not true until the last 10 years. One spin of Cosme E O Damião and the reason is clear. 

Ary Lobo - self titled LP - RCA (1962)

Gilvan Chaves - Pastoril do "velho" Cebola from O Sélo Da Qualidade - Mocambo (1956)

When I first heard Tropicalia, it sounded like some of the music was beamed in from another reality. The debt to international US and European 60s pop was clear, but the Brazilian elements were unfamiliar. As I learned about forró, samba and the multiple styles connected to those larger musical branches, the rhythmic key became clear. I was also interested to learn that there was also a moment in the 1950s with experimental cutting and pasting of those genres, predating Tropicalia, using similar orchestration. It is possible that Rogério Duprat and the Tropicalia composers were aware of people like Gilvan Chaves. Pastoril do "velho" Cebola is quite an odd tune, changing mid-stream with rhythm and tempo. This became a mainstay of Tom Zé's records just over a decade later.

Gilvan Chaves - O Sélo Da Qualidade - Mocambo (1956)

Clemilda - Forró De J Luna from Clemilda - Musicolor (1973)

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)

Luiz Gonzaga - Xamego from Xamego - RCA (1958)

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)

Maria Bonita - Saudade Que Vai E Vem from Aquarela Nordestina - Spot (1969)

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)

Marinês & Sua Gente - Pra Cha-Cha from Coisas Do Norte - RCA (1963)

Marinês was the only person in all of forró that could wear the crazy Lampião bandit costume and look like a bad ass doing it. Pra Cha-Cha is not from an LP, but the excellent 2004 CD reissue of this classic album. Someone at RCA did a great job with reissues, especially Ary Lobo and Marinês. Unfortunately, they didn't finish the catalog of either of the artists. Luiz Gonzaga also has fine reissues, but his gets a slight demerit because they do not feature the full original LP artwork. Regardless, we have crystal clear remastered versions of these amazing albums. Now, even the CD reissues have become quite scarce. 

Marinês & Sua Gente - Coisas Do Norte - RCA (1963) 

Kazinho - Saudade Do Pará from O Samba Como Êle É - Popular (1971)

I am breaking the rules. Saudade Do Pará, sung by Kazinho, is not forró, but vintage samba with lots of dirgey choro flavoring. Released in 1971, O Samba Como Êle É is a fairly obscure record. Kazinho seems to have some cachet amongst 60s samba and bossa nova collectors. 1950s through early 1970s production usually catches my ear and Saudade Do Pará is a gorgeous record.

Kazinho - O Samba Como Êle É - Popular (1971)

Vanildo De Pombos - Beijo No Beijo from Meu Horizonte - RBS (1989)

Vanildo De Pombos, a disciple of Luiz Gonzaga, has had a long career as a composer and performer. According to Felipe Campos on forroemvinil, Vanildo was born in 1960. Meu Horizonte was recorded in 1989.

Vanildo De Pombos - Meu Horizonte - RBS (1980s)

Genival Lacerda - Mungusá De Côco from Vamos Mariquinha - Som (1976)

When I first started hunting for forró, I downloaded just about everything from the 1970s and then the 1960s from forroemvinil. One artist who almost always dazzled was Genival Lacerda. Usually his albums had at least one or two killer tracks. Most were packed with them. 1974 was Genival Lacerda's peak year with the LP, Ralador De Côco. Virtually every song on that album has melodic brilliance, magnificent musicianship and breakneck energy. Although it was released two years later, Vamos Mariquinha does not really come close. That said, Mungusá De Côco is an awesome track with lots of rhythm xaxado-esque accordion. The production, and even Genival Lacerda's voice, are as thick as a milkshake. Somehow the bigger production does not necessarily give the songs the same kind of power that they had two years before. The big difference may be the producer. Pedro Sertanejo, who was responsible for Ralador De Côco. Sertanejo was at the top of his game in the mid-1970s and is missed here.

The cover is kind of amazing. I love most forró album covers. My friend Samuel believes that the photo may reference an imaginary motorcycle, which Genival is miming. I didn't notice this at first, because Lacerda is often in an unusual crouched pose on his LP sleeves. 

Genival Lacerda - Vamos Mariquinha - Som (1975)

Xandú do Samba - Não Penso Em Vocé from O Fino Do Pau Do Sebo - Chantecler (1982)

Não Penso Em Vocé is another rare track from an obscure artist on the fabulous 1982 compilation, O Fino Do Pau Do Sebo. As far as I am aware, this is the only appearance from Xandú Do Samba and he's not playing samba. It is smoking hot forró. Thank You!

O Fino Do Pau Do Sebo - Chantecler (1982)

Marcos Rozilla - Trem Da Saudade from O Fino Do Paul Do Sebo - Chantecler (1982)

Marcos Rozilla is a name that is new to me. Rozilla's appearance on O Fino Do Pau Do Sebo from 1982 is the only recording that I could find from him, but Trem Da Saudade is a real grinder. If you are out there, Marcos, it is time for a new record!

Jacinto Silva - Côco Trocado from Nordeste Cabra Da Peste - Mocambo (1968) reissue of 78rpm (1963)

Released in 1963, this is the second 78rpm that Jacinto Silva recorded. Jacinto Silva 78rpm shellac doesn't seem to show up anywhere, even in Brazil. Côco Trocado would likely be lost to time if it wasn't reissued on a scarce compilation LP from Mocambo in 1968 called Nordeste Cabra Da Peste. 

Nordeste Cabra Da Peste - Mocambo (1968)

Jacinto Silva - Na Base Do Tamanco (côco) - Mocambo (1964) - Passarela (1973)

Na Base Do Tamanco (côco) sounds like what Jacinto Silva is best known for. This song came out on a Mocambo 78rpm in 1964, which is absolutely amazing. I would not be surprised if this is one of the last 78s to ever be released in any region. It is also interesting that this is the amazing, futuristic, forward-sounding forró that Jacinto Silva would become famous for. If this is the last 78rpm ever, the format went out with a bang. By 1965, Silva was began recording his incredible solo trilogy of LPs for CBS. 

The original 78rpm records are agonizingly rare. Fortunately, this tune was reissued on a compilation on the Rozenblit Passarela label in 1973 along with other scarce sides from the early 60s by other northeasterners.

Na Base Do Tomanco O Bom É Êsse - Rozenblit Passrela - 1973

Walter Damasceno - Po De Mico from Bossa ai é mato - Odeon (1959)

I am aware of two big Odeon artists that released great 78rpm records in the 1950s and were lucky enough to get vinyl reissues in the 1960s, Saci and Walter Damasceno. Damasceno's LP, for some reason, seems to have been pressed in larger quantities and is much easier to find. Although Saci is revered by collectors, song-for-song, I would say that Damasceno has a far stronger catalog. Po De Mico, like songs by Ary Lobo and Saci, sounds like modern forró. There is not a trace of tame, middle class vocal group stylings or more reserved baião that dominated the 1940s and early 1950s. This is all-out, balls to the wall forró.

Damasceno's final 78rpm record was on CBS. This is his scarcest record because it was never reissued on vinyl. It will feature here in the coming years.

Walter Damasceno - Po De Mico from bossa ai é mato - Odeon (1959)

Trio Nortista - Ding-Ding from Se Eu Te Contar, É Chato - Musicolor (1979)

Trio Nortista created a number of excellent LPs for numerous labels beginning in the 1960s on Mocambo. This is my favorite version of the group featuring singer Jonas de Andrade. 

Trio Nortista - Se Eu Te Contar, É Chato - Musicolor (1979)