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.
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