Jacinto Silva - Separação from Eu Chego Já - Tropicana (1973)

Eu Chego Já is a monster 1973 classic from one of one of the masters of forró, Jacinto Silva. His work was consistently strong from his mid-60s CBS material through his albums on the subsidiary label, Tropicana. Jacinto's voice is softer and less punchy than Jackson's or Genival's, but he knew how to connect with a track.

Jacinto Silva - Eu Chego Já - Tropicana (1973)

Jackson Do Pandeiro - Chu Chu Beleza from Tem Mulher, Tô Lá - CBS (1973)

Early 1970s CBS era forró LPs are arguably the pinnacle. The production, recording and mixes were almost always exceptional. If you had great material, and Jackson Do Pandeiro always did, it was the right place at the right time. Unlike many acts on CBS, Jackson chose to bring in his own band vs. the house session musicians provided by Abdias. Tem Mulher, Tô Lá was his last LP for CBS. While his 2nd and 3rd LPs on CBS did not quite reach the peak of O Dono Do Forró, there is plenty of gold on Tem Mulher, Tô Lá. In fact, Jackson sounds so vital, it is hard to believe that he would only live another 8 years.

Jackson Do Pandeiro - Tem Mulher, Tô Lá - CBS (1973)

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)

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

Jota Fonseca - Côco Da Roseira (1962) from Sucessos Dos Maiores Cantores Nordestinos - Premier (1973)

Côco Da Roseira is another epic 78rpm saved from extinction by one of a handful of compilations from the 1960s and early 1970s. Jota Fonseca was amazing and straddled the line between the end of the 78rpm and final acceptance of vinyl as primary format for music. 1962 is fairly late for a new 78rpm release in any territory. 

Sucessos Dos Maiores Cantores Nordestinos - Premier (1973)

Zacarias - É Crime Não Saber Ler from Sucessos Dos Maiores Cantores Nordestinos - Premier (1973) (originally 78rpm 1961)

It was a challenge to find information related to the original release of É Crime Não Saber Ler by Zacarias, although there is a mention of the tune on Dicionário Carvo Albin Da Musica Popular Brasileira stating that it was released in 1961 and penned by Zacarias himself. However, this discografia mixes two completely different Zacarias artists. The forró Zacarias is not the same person as Zaccarias the guitarist.

Sucessos Dos Maiores Cantores Nordestinos is a compilation of out of print 78 rpm singles from a variety of late 50s and early 60s northeastern heavy hitters. This LP compilation came out in 1973. Like Carlos Galindo, Zacarias was another artist with no retrospective LP or CD collection of his original work from his 78 rpm period. He only appears on two compilation LPs.

Sucessos Dos Maiores Cantores Nordestinos - Premier (1973)

Os 3 Do Nordeste - Forró De Tamanco from Os 3 Do Nordeste - CBS (1973)

Os 3 Do Nordeste is one of the great forró acts of the 1970s. Formed by members of Trio Luar Do Sertão, Os 3 Do Nordeste were brought to the attention of CBS division head Abdias by Jackson Do Pandeiro. Although their LPs are somewhat patchy, their albums usually contained 2 or 3 classics each. In some respects, Os 3 Do Nordeste were like a classic singles act in a genre that focused mainly on LPs. Only a few other stars on CBS at the time including Jackson Do Pandeiro and Jacinto Silva, were able to match or surpass them. Forró De Tamanco was written by one of the great composers of 1960s and 1970s forró, Antonio Barros. 

Os 3 Do Nordeste  - CBS (1973)

Os 3 Do Nordeste - Três Para Xaxá from Os 3 Do Nordeste - CBS (1973)

It is time for a classic this week! I love Os 3 Do Nordeste, but I have not posted any of their music for a long time. Três Para Xaxá is a supercharged callout and a wonderful recording from the peak of 70s CBS forró.

Os 3 Do Nordeste - Os 3 Do Nordeste - CBS (1973)

Marinês e Sua Gente - Eu Quero Um Xodó & É Tempo De Voltar from Só Pra Machucar - CBS (1973)

This is the 3rd post in my Anastácia / Marinês early 70s feature. Só Pra Machucar may be my favorite Marinês album. It is arguable that 1973 was the peak of her career. Her recording of the Anastácia / Dominguinhos classic Um Quero Um Xodó may be the definitive version of this song. My favorite song on the Só Pra Machucar LP is É Tempo De Voltar, also written by Anastácia and Dominguinhos. The song has a certain rhythmic echoing throb that I associate with Os 3 Do Nordeste albums. Although the rhythmic type of song is not listed, it seems like a funky, slow xaxado.

Marinês e Sua Gente - É Tempo De Voltar from Só Pra Machucar - CBS (1973) 

Marinês e Sua Gente - Eu Quero Um Xodó from Só Pra Machucar - CBS (1973) 

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

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) 

Zé Gonzaga w Paulo Tito - Psicodélico and Lua Luá from Psicodélico - Tropicana (1973)

This week, I feature 2 extraordinary songs from Zé Gonzaga with vocals by Paulo Tito. Along with having a superb voice, Paulo Tito's albums from the 60s are some of the scarcest in forró. Psicodélico was written by the artist himself. Psicodélico's only psycedelic production stylization is the panning of the vocals and keys from the left to the right channel, which in the era of headphones, is a slightly annoying effect. Lua Luá is a gorgeous ballad written by Catulo de Paula. The Zé Gonzaga version is slower than the original. Lua Luá would have fit nicely on Gilberto Gil's albums from the late 1960s and early 1970s. Question: Did any forró artist ever release a psychedelic album?

Zé Gonzaga w Paulo Tito - Psicodélico from Psicodélico - Tropicana (1973)

Zé Gonzaga w Paulo Tito - Lua Luá from Psicodélico - Tropicana (1973)

Zé Gonzaga w Paulo Tito - Psicodélico - Tropicana (1973)

Zito Borborema - Os Dois Agarradinhos, A Flor Do Mal & Nasci No Sertão from S/T - Tropicana Cantagalo (1973) & Portugal compacto duplo - Roda (1973)

As I have said before, there are many voices in forró, but Zito Borborema has one of the most distinctive. The recordings from below come from Os Dois Agarradinhos, an LP issued once and only once in 1973. A few of the songs were also released on a rare Portuguese 4 song EP / compacto on the Roda label. The title track is lively. Nasci Do Sertão and A Flor Do Mal have a bit of tango flavor. Although Tango reportedly originated in Argentina and Uruguay, numerous Brazilian recordings were released through the 1950s.

Zito Borborema - Os Dois Agarradinhos from Os Dois Agarradinhos - Tropicana (1973)

Zito Borborema - Nasci No Sertão from Os Dois Agarradinhos - Tropicana (1973)

Zito Borborema - A Flor Do Mal from Os Dois Agarradinhos - Tropicana (1973)

Zito Borborema - Os Dois Agarradinhos - Portugal / Portuguese  compacto duplo - Roda (1973)

Zito Borborema - Os Dois Agarradinhos - Tropicana (1973)

José Do Patrocinio - Vou Bater De Birimbau from No Forró Do Cabra Zoró - Tapecar (1973)

No Forró Do Cabra Zoró is a compilation (coletânea) of exclusive songs from a group of seasoned recording artists released in 1973 on the Tapecar label. This is the first time that I've heard José Do Patrocinio. He appeared on a variety of compilations, but I am not aware of any solo releases from José. As with many forró artists, it's possible that an un-digitized 78rpm or compacto single is sitting in a box waiting to be rediscovered. 

José Do Patrocinio - Vou Bater De Birimbau from No Forró Do Cabra Zoró - Tapecar (1973)

No Forró Do Cabra Zoró - Tapecar (1973) 

Alventino Cavalcante, Luiz Moreno, Elias Soares, Aurealane, José Do Patrocinio  from No Forró Do Cabra Zoró - Tapecar

Zito Borborema - O Bom Vaqueiro & Baião da Corda from Forrozão - Tropicana (1973)

Zito Borborema - O Bom Vaqueiro & Baião da Corda from Forrozão - Tropicana (1973)

This week gives you 2 classic tracks from Zito Borborema who makes his first appearance on Forró LP Gringo, from a scarce 1973 vinyl album on the Tropicana label. If I had to pick my favorite era of forró, it would definitely be the early 1970s. There was an explosion of great records from this time. I was barely aware of Zito Borborema until being taken to forró school by my friend Samuel. Borborema began recording in the mid-1950s. Like Zé Gonzaga, many of his records are similar in style to Luiz Gonzaga, but he also recorded a fair amount of côcos. Zito Borborema's catalog is full of treasures worth exploring.

Zito Borborema - O Bom Vaqueiro from Forrozão - Tropicana (1973)



Zito Borborema - Baião da Corda from Forrozão - Tropicana (1973)

Zito Borborema - Forrozão - Tropicana (1973)

Part Two: Genival Lacerda - Forró Do Zé Lagoa - Mocambo 78rpm (1962) Rozenblit Passarela (1973) vs Jackson do Pandeiro - Forró Do Zé Lagoa - Philips LP (1963)

Part Two: Genival Lacerda - Forró Do Zé Lagoa - Mocambo 78rpm (1962) Rozenblit Passarela (1973) vs Jackson do Pandeiro - Forró Do Zé Lagoa - Philips LP (1963) 

This is a rare example of two forró giants, Genival Lacerda and Jackson do Pandeiro, at the height of power recording the same song: Forró Do Zé Lagoa. Both versions are fantastic and showcase the strengths of each. Genival's version is heavy, ballsy and ferocious, featuring his embolada-flavored phrasing powers. Jackson's version is cooler and elegant. Jackson probably had access to fancier recording studios, thanks to Philips.

Genival Lacerda - Forró Do Zé Lagoa - Mocambo 78rpm (1962) Rozenblit Passarela (1973)

Jackson do Pandeiro - Forró Do Zé Lagoa - Philips LP (1963)

Genival Lacerda, Jackson do Pandeiro & Ivan Farias. Image retrieved from musicapopular.org

Part One: Genival Lacerda - Côco da Cajarana from Tomaram Meu Amor - Mocambo 78rpm (1962) Rozenblit Passarela (1973)

Part One: Genival Lacerda - Côco da Cajarana from Tomaram Meu Amor - Mocambo 78rpm (1962) Rozenblit Passarela (1973) 

My introduction to forró was David Byrne's Luaka Bop CD. Because I loved O Fole Roncou, I tried to absorb everything that I could by Luiz Gonzaga. Since Jackson do Pandeiro was given near equal reverence (their statues share a square in Campina Grande), in the way that Chuck Berry is given a status that is close to Elvis's, it was clear that Jackson's work was the next stop on my journey into forró. After Jackson, there were hundreds of paths that lead to other great forró artists: Ary Lobo, Marinês, Gordurinha... many of the people who appear in this blog, One of my favorites is Genival Lacerda.

Using my early rock n' roll analogy, I would compare Genival Lacerda to Little Richard. This is incredibly imprecise, but there are some parallels. While Gonzaga is stately & somewhat reserved and Jackson's music is delivered with mesmerizing rhythm & sophisticated cool, Genival Lacerda's records are wild, enthusiastic, funny, fast and frantic, like a forró freight train.

Tomaram Meu Amor is an incredibly rare, but very important, compilation of Lacerda's pre-1963 work, when his releases were 78rpm only. The quality of the recordings vary greatly. It seems likely that transfers came directly from the 78's and not the masters. Recordings from the later years generally sound great. Considering how rare his 78's are now, nearly 50 years after they came out and 40 years after this LP was released, we are lucky that this LP exists. Côco da Cajarana is an awesome song. It was originally released in 1962 on the Mocambo label.

Click on the video above to play the song.
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Genival Lacerda - Tomaram Meu Amor - Rozenblit Passarela (1973) 

Mocambo - Brazilian indie label - An early home to forró artists like Genival Lacerda, Jacinto Silva & Camarão, 

Elias Alves - Luar Do Meu Sertao & Coco No Sereno from Adeus Guanabara - Tropicana 1973

Elias Alves - Luar Do Meu Sertao & Coco No Sereno from Adeus Guanabara - Tropicana 1973

Elias made his first appearance on forróLPgringo with an appearance on a Fontana compilation called O Fino Da Roça vol.4.  He recorded 2 rare solo LPs in the early 1970s.  The general consensus is that pressing size was probably limited to roughly 500 copies per LPs.  Like many forró LPs, not every track was a killer... but Elias Alves always had a few essentials on every release.

Elias Alves - Luar Do Meu Sertao from Adeus Guanabara - Tropicana 1973

Click on the video above to play the song.

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Elias Alves - Coco No Sereno from Adeus Guanabara - Tropicana 1973

Click on the video above to play the song.

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Elias Alves is ready for a canoe.

Djalma Dias - Dono De Casa, Boa Noite - from Destaque - Som Livre 1973

Djalma Dias - Dono De Casa, Boa Noite - from Destaque - Som Livre 1973

Click on the video above to play the song.
iOS? click here: http://youtu.be/iy-0Y025J6E

Most tracks that I’ve posted so far (with the exception of Gilberto Gil and Nara Leão) have come from pure forró albums by artists that specialized in the northeastern sound. Djalma Dias was not one of those people. Djama primarily recorded MPB, samba, bossa-pop and Brazilianized American soul. Dono De Casa, Boa Noite (Vidal França) was an unusual song for Djalma. It had a northeast flavor, with other instruments common to Brazilian music but not forró, including cuíca (a drum that sounds like a high pitched, screaming monkey), a more chattery samba’d-up rhythm section and a casual vocal delivery. His records on Som Livre were excellent, and have just recently been reissued on CD in Japan. 

Djalma Dias

Abdias dos Oito Baixos - Falsa Baiana - from Revivendo Sucessos - CBS 1973

Abdias dos Oito Baixos - Falsa Baiana– from Revivendo Sucessos - CBS 1973

Click on the video above to play the song.

Grab a glass of wine and have a seat on the lounge. Abdias (José Abdias de Farias) has been name dropped a lot in my blog.  He was the husband and bandmate of successful singer Marinês, the director of A&R for northeastern Brazilian stars at CBS from the late 60s until the mid 70s and billed himself as Abdias dos Oito Baixos, meaning Abdias of the 8 Button Accordion.  Abdias connected some of the best talent of the day with the best recording studios in Brazil.  

A benefit of being the artistic director must have been the ability to record and release albums for CBS, because Abdias released 20 albums between 1966 and 1981... along with singles. Abdias released more records than any other northeastern artist at the time.  

Initially, his LPs were mainly instrumental but he gradually began to sing and added guest vocalists from the CBS stable, which made for a much more interesting listening experience. Generally, Abdias’ albums were mellow.  You’d rarely hear a frantic forró or wild coco song from Abdias until the belated, exceptional barn busting 1975 LP Botão Variado, which I will feature later this year on forró LP gringo.  Most of the time, if you wanted something nice to have on in the background while you enjoyed dinner, Abdias was your man.  So, sit back and prepare to say “terrific” a lot. It’s Abdias.
 
Falsa Baiana (Geraldo Pereira) is a lovely little number that mixed soft samba and choro with the northeastern Brazilian flavor.  It reminds me of some of the more mellow tunes from Jackson do Pandeiro’s O Dono Do Forró. 

Abdias dos Oito Baixos & CBS direção artística

Zenilton - Meu Pernambuco– from Namoro No Escuro - Tropicana 1973

Zenilton - Meu Pernambuco– from Namoro No Escuro - Tropicana 1973

Click on the video above to play the song.

Zenilton is an accordion player and songwriter. Zenilton began recording in 1967 and he’s still keepin' on keepin' on at the ripe old age of 73. Like many forró-cious artists, Zenilton recorded a heap of albums for multiple record labels with scant reissues on CD.

Sometimes one has to hunt for gems on Zenilton LPs. Meu Pernambuco is a great tune dedicated to Zenilton’s home state in Brazil. The budget label Tropicana was a subsidiary of Cantagalo. Although recording budgets for Tropicana were probably more skint than those on CBS or RCA judging by the mixes and sound on many of the albums, some cuts were fantastic, like Meu Pernambuco. Perhaps having access to a budget label allowed many forró artists to record albums that may not have existed otherwise?

Zenilton from the cover of Namoro No Escuro