Anastácia is an unusual lady. She is one of the few female vocalists who also composed some of the best-loved songs in the height of forró. Anastácia's reedy soprano that was as distinctive as the voices of Marinés, Marinalva and Clemilda.
Anastácia's early catalog features two records with nearly identical covers and nearly identical track listings, but there are variations between the 1965 Continental release, Anastácia No Tarrado, and the 1970 album, Uai... Uai. I can understand using the same cover, but varying the tracks is a bit maddening. This is fairly unusual for forró albums. The French label Sonodisc had a habit of releasing albums with similar covers and entirely different track listings.
Forrófiá, Conselho da Umbigada, and Tá Nascendo Fio are only available in the original 1965 LP fully titled Anastácia No Torrado - Anastácia Com Conjunto É Côro.
O Canoeiro, Assucena, and São João Está Chegando are exclusively available on the 1970 Disco Lar LP, Uai... Uai.
Forró No Salão is a brisk track featuring Anastácia's distinctive vocal. Mercifully, it appears on both version of this LP.
Anastácia - Anastácia No Tarrado - Continental (1965)
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)
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)
