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)

Abdias - Fiz Pra Você from Segura O Pé De Bode - CBS (1967)

Thanks to his status as forró boss and A&R man at CBS, Abdias' Segura O Pé De Bode LP is one of at least 17 LPs Abdias recorded for CBS between 1965 and 1977. This does not include releases for labels before and after this period. His catalog is formidable. Although excellent, many of his albums a purely instrumental. Fiz Pra Você is a lively number featuring bandolim. I believe this group backed many of the forró recording stars that came to CBS studios, although Jackson do Pandeiro chose to keep his own musicians after one session. 

Abdias - Segura O Pé De Bode - CBS (1967)

Gerson Filho apresenta Clemilda - Maria Ô Ô - RCA (1967)

Clemilda may be the second most prolific forró star next to Marinés. Like Marinés, who was married to Abdias, Clemilda was linked to Gerson Filho. They recorded a number albums together, beginning with this one in 1967. In 1968, RCA issued Clemilda's first solo album. Maria Ô Ô, from her first appearance on vinyl with Gerson Filho, is a great little pop song with a vocal train sound featured in the chorus. It is unfortunate that forró was trapped in Brazil, because we have not only missed out on great music, but great pop music. 

Gerson Filho apresenta Clemilda - RCA (1967)

Ary Soares - Gemedeira from compacto - RCA Victor (1967)

Gemedeira is a classic rare forró single from Ary Soares on RCA Victor from 1967. The label must have thought highly of Soares, because there are still a number of these out there, indicating a somewhat generous pressing. Of course, these were only pressed in Brazil, so a common compacto is almost a total contradiction. Compactos are typically the rarest forró records next to 78s. The picture sleeve is much scarcer than the vinyl. 

Ary Soares - Gemedeira from compacto - RCA Victor (1967)

Ary Soares - Gemedeira from compacto - RCA Victor (1967)

Coroné Narcizinho - Bamboleia Sinhá & Caboclinha from Hora Serteneja Vol. 2 - Discobrás (1967)

This week, I am pleased to present the ultra rare follow up to Coroné Narcizino's Hora Serteneja. The first LP is unusual because it remained in print for years. This is extremely uncommon for most forró artists. I have two copies of the first LP on two different labels and they are both warped, so we are starting with Vol. 2. Bamboleia Sinhá & Caboclinha, from Hora Serteneja Vol. 2, are beautifully produced. Unlike the original Hora Serteneja, the second volume came out once, and only once. in 1967.

Coroné Narcizinho - Bamboleia Sinhá from Hora Serteneja Vol. 2 - Discobrás (1967)

Coroné Narcizinho - Caboclinha from Hora Serteneja Vol. 2 - Discobrás (1967)

Coroné Narcizinho - Hora Serteneja Vol. 2 - Discobrás (1967)

Tonico Do Juazeiro - Natal De Pobre, Não Sou Macoco, Abacaxi & A Dança Do Côco from Meu Ceará & 78rpm - Cantagalo (1967)

I have very little information about Tonico Do Juazeiro. My source tells me that this LP is a compilation of rare 78 rpm records. This was issued twice in the 1960s. The first version was on MusiColor. This version was released in 1967. Perhaps because Meu Ceará was a compilation of singles, the LP is consistently strong. In fact, it may be one of the best forró and baião albums released before 1970.

Tonico Do Juazeiro - Natal De Pobre from Meu Ceará - Cantagalo (1967)

Tonico Do Juazeiro - Não Sou Macoco from Meu Ceará - Cantagalo (1967)

Tonico Do Juazeiro - Abacaxi from Meu Ceará - Cantagalo (1967)



Tonico Do Juazeiro - A Dança Do Côco from Meu Ceará - Cantagalo (1967)

Tonico Do Juazeiro - Meu Ceará: 78rpm compilation - Cantagalo (1967)

Anastácia - Côco De 10 Pé (Côco) & Mufaríz (Baião) from Canta Para O Nordeste - Continental (1967)

Anastácia is one of the great performers and songwriters from northeastern Brazil. Although I own a fair number of records by Anastácia, I am surprised that this is my first post featuring her work. Trying to cover a genre that spans 76 years without committing an injustice here or there is impossible. 

Anastácia first recorded in 1960, on 78rpm, and has an extensive catalog of at least 50 releases. Canta Para O Nordeste is one of Anastácia's more common 60s LPs. Later, she often collaborated with Dominguinhos, one of the best known accordion players from the northeast. At this point in her career, she was pulling songs from talented writers, including Venâncio e Curumba. Venâncio co-wrote 6 of the 12 songs on Canta Para O Nordeste, including Mufaríz. My favorite song from the LP, Côco De 10 Pé, was co-written by Aluizio Gomes.

Anastácia - Côco De 10 Pé (Côco) from Canta Para O Nordeste - Continental (1967)

 

Anastácia - Mufaríz (Baião) from Canta Para O Nordeste - Continental (1967)

Anastácia - Canta Para O Nordeste - Continental (1967)

Trio Nordestino – Xaxado No Pé from Vamos Xamegá - CBS 1967 - Tropicana (reissue) 1973

Trio Nordestino – Xaxado No Pé from Vamos Xamegá - CBS 1967 - Tropicana (reissue) 1973  

Trio Nordestino LPs are some of the easiest to find. It is probable that we will never know the exact pressing numbers for most Brazilian LPs, but it seems likely that print runs for Trio Nordestino were larger than with most forró stars. Vamos Xamegá was originally published in 1967 on CBS and reissued on CBS subsidiary Tropicana in 1973. Reissues were rare in forró, which is another indication that the Trio were an exceptionally successful act. Although a lot of Trio Nordestino material is on the mellow side, Xaxado No Pé cooks.

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Trio Nordestino – Xaxado No Pé from Vamos Xamegá - CBS 1967 - Tropicana (reissue) 1973  

Jackson do Pandeiro - Lá Vai A Boiada - from A Braza Do Norte - Cantagalo - 1967

Jackson do Pandeiro - Lá Vai A Boiada - from A Braza Do Norte - Cantagalo - 1967

Lá Vai A Boiada is a wonderful, classic Jackson do Pandeiro track from his rare Cantagalo LP, A Braza Do Norte. The late 60s were an odd time for Jackson. His career was in a slump. Jackson's albums were largely unheard in Brazil and relegated to smaller labels between 1966 and 1970. He and Almira split. He got in a terrible car accident in January 1968. Jackson's genius never wavered. The first 15 years of his career were simply a warm up for his classic run of LPs on CBS in the early 1970s.

Jackson do Pandeiro - Lá Vai A Boiada - from A Braza Do Norte - Cantagalo - 1967 

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Jackson do Pandeiro and Almira before being strangely colorized by Cantagalo.

Jackson do Pandeiro -  January 1968 - broken but unbeatable

Sebastião do Rojão – Meus Canarinho & Amor Proibido from Coisas Da Vida - RCA Camden 1967

Sebastião do Rojão – Meus Canarinho & Amor Proibido from Coisas Da Vida - RCA Camden 1967

Sebastião's albums tend to be diverse. Like Osvaldo Oliveira, he recorded a fair share of forró and balladeer LPs. Meus Canarinhos must have been a favorite, because there are several versions on compactos and LPs. Amor Proibido showcases Sebastião the balladeer.

Sebastião do Rojão – Meus Canarinho from Coisas Da Vida - RCA Camden 1967

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Sebastião do Rojão – Amor Proibido from Coisas Da Vida – RCA Camden 1967

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Sebastião do Rojão

The music of Elino Julião: Part Three: Rio Grande Meu Xodó (Todo Mundo Quer)

The music of Elino Julião: Part Three: Rio Grande Meu Xodó (Todo Mundo Quer)
This August, I will be recognizing the music of the late, great Elino Julião (1936-2006). Elino was one of the great voices, recording artists and songwriters of forró. He was one of the shining stars of CBS during the label's golden age during the 60s and 70s.

For the last installment, we have a battle of the bands featuring one of my favorite forró songs from 1971 and 1967.  This is a classic example of the right recording, studio, band, tempo and attitude really mattering. 

Elino Julião –Rio Grande Meu Xodó from Aquilo CBS 1971

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Sebastião do Rojão – Rio Grande Meu Xodó (Todo Mundo Quer) from Coisas Da Vida – RCA Camden 1967

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Keep your eye on the sky, with Elino Julião

Osvaldo Oliveira - Fruteiro Ta Matinha from Secretária do Diabo - CBS 1967

Osvaldo Oliveira - Fruteiro Ta Matinha from Secretária do Diabo - CBS 1967

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Secretária do Diabo, from 1967, is a classic crown jewel from the golden age of Abdias / Direção Artística 60s/70s CBS forró. Secretária do Diabo is considered by many to be Osvaldo Oliveira's artistic peak, featuring one of the best album covers in the history of forró. The title track was famously first recorded by Jackson do Pandeiro on O Cabra Da Peste in 1966. Fruteiro Ta Matinha (Osvaldo Oliveira – Fernando Silva) is my favorite Oliveira song. It's an exceptional example of 60s pop glory.

The Devil's Danish Modern desk reappeared on at least 2 later CBS album covers. Was the desk full of black magic? Was the desk ultimately a curse for those unlucky forró souls? Was it a coincidence that it haunted so many forró LP covers? Was it a low budget hunk of office furniture? Hopefully, Osvaldo made a reasonable deal with the man downstairs and I wonder... who ultimately ended up with the Devil's Danish Modern desk?

CBS Presents... the same desk on multiple album covers. The Devil's Desk (A Mesa Do Diabo)

Osvaldo Oliveira (with secretary) from Secretária do Diabo

Gilberto Gil, Marinês & Nara Leão - Vento De Maio - 1966/1967

Gilberto Gil - Vento De Maio (demo) - from Retirante - discobertas 1966 (unreleased until 2006)

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Marinês - Vento De Maio - from self titled - CBS 1967

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 Nara Leão - Vento De Maio - from Vento De Maio - Philips 1967

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It was through Tropicalia that I discovered forró thanks to the classic work of Gilberto Gil. Gil defied genres more than just about any other artist.  He could blend Bossa Nova, forró, coco, samba, psychedelic folk and acid rock with ease.  Gil’s wildly phrased songs with northeastern grooves fascinated long before I had heard of the genre called forró.

I thought that it would be interesting to post 3 different versions of Gil’s Vento De Maio. These are not the only versions from the period, though.  The song was also recorded by Claudia and Wilson Simonal. Gil’s version only exists as a rough, slightly distorted demo from 1966 and remained unreleased until a 2006 2-cd set on the discobertas label.  Although the CD was issued recently, most copies have been snatched up by collectors and is hard to find.  It’s well worth tracking down if you are interested in early singles and the formative years of Gil’s career. Gil’s music from this period is more spellbinding bossa-samba than forró or Tropicalia. Nara Leão and Marinês both recorded versions of the Vento De Maio in 1967 with very different flavors.  Stylistically, Gil’s demo fell between Leão’s and Marinês’. Both recordings seemed to be living in the same world as Gil’s, but used alternate forms of expression. Leão maintained a bossa-samba cool. Marinês’ version was decidedly more boisterous, pop and northeastern. Leão was like a snake charmer and Marinês was a northeastern goddess and controller of fates.

Marinês’ (pronounced Mad-dee-nayse for you gringos) self titled 1967 LP was the first forró LP that I bought, mainly to hear her version of Gilberto Gil’s Vento De Maio, which had not been reissued on CD at the time.  

Nara Leão, Marinês & Gilberto Gil