Caxanga - Desafio De Cantador (côco) & Eu Sou Ferreiro (embolada) - from O Maior Repentista Do Brasil - Discos Chororó (1976)

October 10th marked the four year anniversary of Forró LP Gringo! Happy Birthday to Blog! I was going to put together something special to celebrate this, but alas time has been short this fall.

That said, this particular LP by Caxanga (also spelled Caxangá), O Maior Repentista Do Brasil, has not been widely shared and has some magnificent tunes. The album has the same title of an earlier 1967 LP of his work on the Bemol label, but the albums are entirely different aside from the title. The 1976 LP definitely qualifies as special. Oscar Martins production is stunning, rivaling some of the best work of Abdias and Pedro Sertanejo from this period. In fact, I can't name a better album from 1976 in the entire genre of forró. I could not find much biographical information about Caxanga. It seems that he began his career in the early 1960s. On forroemvinil, there are some touching comments from friends and family commenting below the 1967 LP.

Caxanga - Desafio De Cantador (côco) - from O Maior Repentista Do Brasil - Discos Chororó (1976)

Caxanga - Eu Sou Ferreiro (embolada) - from O Maior Repentista Do Brasil - Discos Chororó (1976)

Caxanga - O Maior Repentista Do Brasil - Discos Chororó (1976)

Caxanga - O Maior Repentista Do Brasil - Discos Chororó (1976)

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 - 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) 

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) 

Jacinto Limeira - Forró Quentão & Festa Sem Mulher Não Presta from O Cantor Trombonista - CBS (1976)

The glory years of CBS forró, roughly from the mid-1960s until the mid-1970s, is the era that most ignited my interest in collecting these records. Jacinto Limeira joined the family during the latter CBS period. His caulky voice and distinctive trombone runs give his albums an unusual flavor in a genre that doesn't often stray from traditional instrumentation. The CBS house band and production are exceptional. One wonders if the artists on the roster realized how amazing this period in Brazilian musical history was at the time.

Jacinto Limeira - Forró Quentão from O Cantor Trombonista - CBS (1976) 

Jacinto Limeira - Festa Sem Mulher Não Presta from O Cantor Trombonista - CBS (1976) 

Jacinto Limeira - O Cantor Trombonista - CBS (1976) 

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)