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)
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.
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.
