Genival Lacerda - Forró Do Cabra Zoró from Mungangueiro Prá Daná - Fontana (1970)

It always feels great to revisit the mighty Genival Lacerda, who sadly passed from COVID-19 complications at the ripe old age of 89 in January of this year (2021). Genival was one of the last survivors of the great second wave of forró singers beginning in the 1950s. Forró Do Cabra Zoró, written by Elias Soares and Genicé Moraes, features an amazing, swelling accordion riff. Lacerda's songs usually featured something special that elevated his music above the pack. 

Genival Lacerda - Mungangueiro Prá Daná - Fontana (1970)

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)

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)

Francisco Barreto - Mina Palhoça (samba) from Oh! Meu Imenso Amor - Disco Lar (1970)

A chattery vintage samba is nice way to start December. Although this is not forró, it is easy to hear how subtle the difference was between the genres could be. This was especially true for Jackson Do Pandeiro, who was a master at both styles. Mina Palhoça stands up and fits in with many of the tunes uploaded to this blog.

Francisco Barreto - Oh! Meu Imenso Amor - Disco Lar (1970)

Coroné (Coronel) Narcizinho e Sua Gente - Os Cabelos De Maria - Hora Sertaneja - Discobrás (1970)

Os Cabelos De Maria by Coroné (Coronel) Narcizinho e Sua Gente is one of the major classics of forró. Unusually, Hora Sertaneja has been reissued multiple times. The LP is still popular, arguably on the strength of this track and the way it celebrates the diverse styles of northeastern Brazilian music, including música sertaneja / sertanejo. Sertaneja / sertanejo also called gaucho (cowboy music) is reminiscent of Mexican folk music. The big difference between música sertaneja / sertanejo and forró is rhythm. Forró incorporates multiple rhythms that trace back to African roots, while música sertaneja / sertanejo doesn't. Both genres feel rootsy, but música sertaneja / sertanejo reminds me of great grandparents singing on the porch.

Coroné (Coronel) Narcizinho e Sua Gente -Hora Sertaneja - Discobrás (1970)

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) 

Clemilda c Betinho e Regional - Tiro O Liro from Forró Sem Briga - Tropicana (1970)

This is my final of four posts from the early 1970s featuring the ladies of forró. Tiro O Liro is a catchy little côco from Clemilda. The mix and / or master on the record is pushed into the red and Clemilda's vocals are pleasantly distorted. Most forró mixes from 1970 are mono, but Clemilda's vocals seem to pan in this song, suggesting either a pressing irregularity or an early stereo mix. 

Clemilda c Betinho e Regional - Tiro O Liro from Forró Sem Briga - Tropicana (1970)

Clemilda c Betinho e Regional - Forró Sem Briga - Tropicana (1970)

Marinês e Sua Gente & Anastácia- Cheguei Pra Ficar from Canto Do Sabiá - RCA (1970) & Só Pra Machucar - CBS (1973)

This week on forróLPgringo, I feature two female forró heavy hitters, Anastácia and Marinês, in their prime. Last week, I posted Sua Decisão from Anastácia's Canto Do Sabiá LP from 1970. This week, we have the opportunity to compare two versions of Cheguei Pra Ficar, written by Anastácia and Dominguinhos. To my ears, Marinês wins the day, but it is interesting to hear the original Anastácia version. Her version is fine, but the mono mix of Canto Do Sabiá, with slightly buried vocals, is no match for the full-powered glory of Abdias and band backing Marinês. The glorious stereo mix is monumental. Marinês is mixed to the front loud and clear. The reverence that 1965-1975 CBS forró recordings are afforded is deserved. Many of those recordings have never been bested.

Anastácia- Cheguei Pra Ficar from Canto Do Sabiá - RCA (1970)

Marinês e Sua Gente - Cheguei Pra Ficar from Só Pra Machucar - CBS (1973) 

Anastácia - Canto Do Sabiá - RCA (1970)

Marinês e Sua Gente - Só Pra Machucar - CBS (1973) 

Anastácia - Sua Decisão from Canto Do Sabiá - RCA (1970)

Anastácia, born Lucinete Ferreira, is a forró trailblazer. Although there were female forró stars like Marinês and Clemilda, Anastácia was unusual because she was equally notable as a composer. Most forró records in 1970 were still mixed in mono. Although many of them sounded great, the Canto Do Sabiá LP has a slightly choked sound with some slightly pitchy moments from the band. Like Fontana records from this period, some RCA records could be hit or miss because of this. Luckily, Anastácia's music transcends some of the recording shortfalls.

Anastácia's version of her song Cheguei Pra Ficar, co-written by Dominguinhos, also appeared on the Canto Do Sabiá LP. That song was recorded by Marinês for her classic 1973 LP, Só Pra Machucar. Marinês' version, which I will feature in my next entry, highlights the difference that a great band, recording and mix can make. Interestingly, the bands made some distinct arrangement choices that give the different versions a distinct feel. 

Anastácia - Sua Decisão from Canto Do Sabiá - RCA (1970) 

Anastácia - Sua Decisão from Canto Do Sabiá - RCA (1970) 

Sebastião Do Rojão - Bode De Dada & Meu Lindo Sabiá from É Sucesso compacto duplo - Cantagalo (1970 or 1971)

Bode De Dada & Meu Lindo Sabiá are choice tracks from a scarce, 4 song compacto called É Sucesso by Sebastião Do Rojão. I am unsure of the exact release date, but a post about the compacto on forroemvinil dates the compacto from 1970 or 71, based on a stamp on the cover. 

Sebastião Do Rojão - Bode De Dada from E Sucesso compacto duplo - Cantagalo (1970 or 1971)

Sebastião Do Rojão - Meu Lindo Sabiá from E Sucesso compacto duplo - Cantagalo (1970 or 1971)

Sebastião Do Rojão - E Sucesso compacto duplo - Cantagalo (1960s)

Jackson do Pandeiro - Frevo Do Tri from compacto simples - Continental (1970)

I have spent the last few weeks transferring lots of new goodies for the blog, so stay tuned! 

Frevo Do Tri is a non-album compacto cooker from Mr. Jackson do Pandeiro. 1970 was a busy year for Jackson, with releases on Copacabana, Continental, Philips and Fontana. Songs appeared in a range of styles including frevos, marchas and the tasty buffet of forró. Frevo Do Tri is a sequel to Frevo Do Bi, released by Jackson on a Philips 78rpm in 1962.

Jackson do Pandeiro - Frevo Do Tri from compacto simples - Continental (1970)

Jackson do Pandeiro - Frevo Do Tri from compacto simples - Continental (1970)

Genival Lacerda E Lúcio Mauro - O Bom Daqui Sou Eu & Prá Mim Tu É Loré from As Trapalhadas - Fontana (1970)

What I am writing below is a mix of speculation, conjecture and solid history. As Trapalhadas... is an odd record, because it mixes comedy skits with songs. The genres of forró and rock n' roll have courted comedy throughout in the past. In the US, Cheech and Chong, Steve Martin and Eddie Murphy all crossed the comedy / rock barrier. Even the Beatles were a traveling comedy skit / music act for a while. This was after their stint in Hamburg and during their earliest period with Brian Epstein as their manager. The concept seems like an old fashioned extension of radio variety shows that mixed comedy and music.

Certain forró acts also did this, like Genival Lacerda, but far longer than the Beatles. Another star called Coronel Ludrú, who was part of the CBS stable of acts in the 60s and 70s, released multiple comedy records (mostly sans-music), apparently marketed for northeastern Brazilian audiences. 

As Trapalhadas... from 1970 was an attempt to mix a comedy act with Genival's musical act on record. I am not certain how successful this was as a comedy record. Several of the songs are excellent, though, especially O Bom Daqui Sou Eu. After this point, Genival Lacerda kept the comedy in the songs rather than adding stand-up to his album recordings. Eventually, Lacerda found a successful balance and a permanent musical / comedy marriage with Severina Xique Xique in 1975.

Genival Lacerda E Lúcio Mauro - O Bom Daqui Sou Eu from As Trapalhadas - Fontana (1970)

Genival Lacerda E Lúcio Mauro - Prá Mim Tu É Loré from As Trapalhadas - Fontana (1970)

Genival Lacerda E Lúcio Mauro - As Trapalhadas De Cazuza E Seu Barbalho Música! Alegria! Humorismo! - Fontana (1970)

Genival Lacerda & Lúcio Mauro

Jackson do Pandeiro - A Mulher Do Anibal from Aqui Tô Eu compacto simples Angola / Angolan Pressing - Philips (1970)

One of my first posts in ForróLPGringo was Aqui Tô Eu, by Jackson Do Pandeiro. That LP sometimes makes it out of Brazil, thanks to songs on the LP popularized by Gilberto Gil.

Diggers can occasionally score forró record pressed in Portugal with alternate artwork, but this is the first one that I've found from Angola. The cover features a 2-tone facsimile of the Aqui Tô Eu album cover with 2 songs from the LP. The tunes play at 45rpm vs. the standard Brazilian compacto 33 1/3 speed. Hopefully, other interesting forró records from Angola will surface in the coming years. 

Jackson do Pandeiro - A Mulher Do Anibal from Aqui Tô Eu compacto simples Angola / Angolan Pressing - Philips (1970)

Jackson do Pandeiro - A Mulher Do Anibal from Aqui Tô Eu compacto simples Angola - Philips (1970)

Jackson do Pandeiro - Aqui Tô Eu - Philips (1970)

Catulo De Paula & Aluisio Gomes - Forró Do Barnabé from Catulo De Paula & compacto simples - Odeon (1970) & RGE (1971)

Ladies and germs, forróLPgringo presents a battle of the bands. In one corner, I present the composer Catulo De Paula. In the opposite corner is Aluisio Gomes, who sometimes had to put up with the ignominy of having his spelled Aloisio. Actually, I am unsure of what the correct spelling of his name is. Catulo's version of Forró Do Barnabé sounds gorgeous. The composer had the benefit of recording at Odeon studios, which were likely equipped as well as Abbey Road. While he lays back, Aluisio attacks the song with low budget breakneck speed and fever.

Check out the odd, flimsy Catulo De Paula LP sleeve. I have a few LPs with paper folded covers, similar to this one. I asked my dealer friend in Brazil if this was advance or bootleg artwork. He said that labels occasionally did this from the mid-1960s through the early 70s. The Catulo De Paula LP must be rare, because my collector friends in Brazil have never seen this album before.

Catulo De Paula - Forró Do Barnabé from Catulo De Paula - Odeon (1970)

Aluisio Gomes - Forró Do Barnabé - compacto simples - RGE (1971)

Catulo De Paula - Forró Do Barnabé from Catulo De Paula - Odeon (1970) - odd flimsy cover

Catulo De Paula - Forró Do Barnabé from Catulo De Paula - Odeon (1970)

Aluisio Gomes - Forró Do Barnabé - compacto simples - RGE (1971)

Jota Lima - Novo Nordeste from O Novo Nordeste - Musicolor (1970)

Jota Lima - Novo Nordeste from O Novo Nordeste - Musicolor (1970)

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This is a little bonus post from this rare 1970 LP by Jota Lima. What makes this LP stand out, aside from the gallant lead vocals by Lima, are the unusual backing vocals, which sound like they would be more at home on a 60s pop record than your typical forró LP. It would have been great to be a fly on the wall when some of these LPs were produced. With some exceptions, we are only left with the final vinyl and none of the stories about the making of these glorious records.

Jota Lima - O Novo Nordeste - Musicolor (1970)

Jota Lima / Branca - Lindo Papel from O Novo Nordeste / 1 Festival Da Musica Nordestina - Musicolor (1970) / RCA 1971

Jota Lima - Lindo Papel from O Novo Nordeste - Musicolor (1970)

 

Branca - Lindo Papel from 1º Festival Da Musica Nordestina - RCA Camden (1971)

This week, I am stoked to present 2 versions of a great song, Lindo Papel, from two heavy, classic rare forró LPs. Jota Lima's O Novo Nordeste is one of the scarcest albums, on the level of José Bezerra and a handful of others who managed to deliver a classic without achieving massive notoriety when the LP was released. The production of O Novo Nordeste has a gorgeous gooey sound with great backing vocals. Lima has one of the most dramatic voices in forró, but manages to deliver without sounding sickly or schmaltzy. Branca also sounds like she is giving the performance of her life. While the production on 1 Festival Da Musica Nordestina is not quite as dramatic, Branca's voice is classically, and masterfully, husky Brazilian. It's rare to hear two great versions of any song in any genre. Each artist truly made Lindo Papel his and her own. Jota Lima released at least one more LP in 1975. Branca's future after her appearance on 1 Festival Da Musica Nordestina in 1971 is a mystery. Nothing has surfaced from her outside of this one recording.

Jota Lima - O Novo Nordeste - Musicolor (1970)

1 Festival Da Musica Nordestina - RCA (1971)

Messias Holanda - Dá... Doi from Fogo Na Geringonça & Hoje Tem Forró + Estou Gamado - Fontana (1970 + 1971)

Messias Holanda - Dá... Doi from Fogo Na Geringonça - Fontana (1970) & Hoje Tem Forró - Fontana (1971) + Estou Gamado from Hoje Tem Forró - Fontana (1971)

This week, I am proud to present 2 great tracks from Messias Holanda. The first track, Dá... Doi, appears in two forms. The studio version is from a Fontana LP called Fogo Na Geringonça. Messias shared the album with Elino Julião and Zé Catraca. This is one of the first superstar forró collaboration LPs. Although compilations and collections featuring exclusive tracks from forró, and previously baião, artists had been released since the 1950s, releasing a full LP by 2 or 3 stars was new in 1970 and remained popular during the decade. The second version of Dá... Doi is from Hoje Tem Forró, a rare live album making its second appearance on forróLPgringo. The first featured Borrachinha. The versions of Dá... Doi are similar... in fact, they are so similar I am not sure that they aren't the same exact version, actually...

Messias Holanda - Estou Gamado from Hoje Tem Forró - Fontana (1970) 

Messias Holanda - Dá... Doi from Fogo Na Geringonça - Fontana (1970)

Messias Holanda - Dá... Doi from Hoje Tem Forró - Fontana (1971)

Messias Holanda, Elino Julião & Zé Catraca - Fogo Na Geringonça - Fontana (1970)

Hoje Tem Forró - Fontana (1971)

The music of Elino Julião: Part One: Xangai, Jackson do Pandeiro & Elino Julião - Xodó de Motorista

The music of Elino Julião: Part One: Xangai, Jackson do Pandeiro & Elino Julião - Xodó de Motorista

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.

Writing memorable songs is a tremendous challenge. Creating a recording of a great song that is extraordinary and transcends the ages is even harder.  Many artists view a great recording as their legacy and brainchild.

Xodó de Motorista, written by Elino Julião & Dilson Dória is a classic, but Julião's version probably isn't definitive. Xangai takes the prize. To be fair, Julião recorded the song over 10 years after it was written, with a nod to whimsy. In the next entry, we'll show what Julião can do when unleashed with all of his power on Aquilo.

Xangai - Xodó de Motorista from Bahia De Todos Os Cantos (Dos Labutos) - Kuarup Discos 1987

Click on the video above to play the song.

iOS? click here: http://youtu.be/Pu3kyO8A86Q

Xangai's (Eugenio Avelino) Xodó de Motorista is a trippy, tongue twisting monster reminiscent of the best Gilberto Gil recordings and probably the finest recorded version of this song.

Jackson do Pandeiro - Xodó de Motorista from Aqui Tô Eu - Philips 1970

Click on the video above to play the song.

iOS? click here: http://youtu.be/M83OqruCAlo

I believe Jackson's version of Xodó de Motorista was the first, closing his classic album
Aqui Tô Eu (featured here in an earlier entry) from 1970. 

Elino Julião - Xodó de Motorista from O Fino Do Fino Da Roça - Sinter 1979

Click on the video above to play the song.

iOS? click here: http://youtu.be/Q4nnyCsnqqk

Something about clarinet and tuba sounds right for an old folks home. I have no idea why!

Elino Julião owns your town.

Jackson do Pandeiro - Maria da Pá Virada & Quebra Galho - from Aqui Tô Eu - Philips 1970

Jackson do Pandeiro - Maria da Pá Virada - from Aqui Tô Eu - Philips 1970

Click on the video above to play the song.

Jackson do Pandeiro - Quebra Galho - from Aqui Tô Eu - Philips 1970

Click on the video above to play the song.

Aqui Tô Eu from 1970, an album credited simply to Jackson, was serendipitously timed.  Gilberto Gil covered 2 Jackson do Pandeiro’s hits, Chiclete Com Banana and O Canto Da Ema, on his album Expresso 2222, exposing young fans to the genius of Jackson do Pandeiro.*  Aqui Tô Eu featured re-recordings of the aforementioned songs (originally from a 1956 & 1959 78rpm single), along with 10 new songs and 2 other re-recordings.  It is likely that Gil knew the songs from his youth, but it’s probable that these fresh versions, recorded in 1970, inspired Gil’s Expresso 2222 covers, recorded in 1972, since both songs appeared on Aqui Tô Eu and he was a labelmate of Jackson do Pandeiro’s on Philips at the time.  

The end of the 1960’s seemed particularly bad for Jackson personally.  He and his wife Almira, who were also performing and songwriting partners, divorced in 1967.  He suffered serious health problems, including 2 broken arms after a car accident in January of 1968.  His old dear friend Rosil Cavalcanti, who co-wrote the famous Sebastiana and many other early songs with Jackson, died the same year.  Jackson was in financial trouble and his career was on the skids.

You’d never know that he suffered so much, judging by his joyful LPs.  Aqui Tô Eu was his last album for Philips, which had been his primary label since 1960.  Although this record featured 4 re-recordings of his classics from the 50s, Jackson do Pandeiro wasn’t resting on his laurels.  Jackson knew how to pick and interpret a tune.  Stellar songs like Xodó de Motorista (co-written by the great Elino Julião) and Aqui Tô Eu kept the album cooking.  Flourishes of mariachi trumpets added something new to Jackson’s sound, for better or for worse.  With Aqui Tô Eu, Jackson was steps away from reaching the summit of his power with his next LP, the 1971 CBS masterpiece, O Dono do Forró.  

Maria da Pá Virada (by Betinho / Jackson do Pandeiro) was one of many standout tracks from Aqui Tô Eu.  Maria da Pá Virada was another example of how Jackson do Pandeiro refused to be a slave to conventional forró instrumentation established by Gonzaga.  

My whiz bang Brazilian friend Tiago pondered the complexities of the title:

The literal meaning of Maria da Pá Virada in English is Maria with the Flipped Shovel, but there are multiple references that Jackson can be citing in the song.  It may be a reference to a Bahia proverb: "Da Bahia Pra cima a coisa muda..." meaning that things are different in the north (food, the people, the culture).  Da Pa Virada can also indicate that Maria is a person who is moody like a child, irritable, a fighter, a go-getter, slutty, determined or stubborn in a good way.

Criminally, like much of Jackson’s catalog, Maria da Pá Virada** and Quebra Galho were never reissued and only appear on the 1970 LP.  Quebra Galho (English: Breaking Twig) by Calazans Viveiros / Audemir Silva is a great example of how Jackson could infuse energy into mid-tempo numbers that very few artists mastered in the forró world.

For references visit my FAQ section.

* Technically, Gal Costa was the first of the Tropicalia crowd to record a Jackson do Pandeiro song, Sebastiana, on her 1969 self titled LP.  

**If you listen closely, you’ll hear the bass player lose the plot at the end of the song.