My blog, Forró LP Gringo, is 5 years old this month. To celebrate the 5th year, I am going to create a few lists of my favorite songs and albums from the first 5 years of posts. I originally created this blog inspired by forroemvinil, David Byrne's Forró Luaka Bop compilation and my collection of Luiz Gonzaga records. Forroemvinil is an amazing blog that offers listeners full downloads of albums and compactos, the point of my blog is to cherry pick some of my favorite tracks, share songs that have never been featured on forroemvinil and give some "gringo" perspective on this phenomenal music.
Greatest or best ever lists tend to be very subjective, naturally, based on the tastes of the organizer or organizers. I imagine that a DJ might not choose some of my favorites, based on their need for heavy beats and dancefloor fillers. I am not a DJ. I tend to like songs that are beautifully recorded and pleasant to listen to any time, dance floor or kitchen floor.
1. Luiz Gonzaga - O Fole Roncou - EMI Odeon (1973)
Thanks to David Byrne's Luaka Bop Forró compilation, I had a name for the genre that eluded me ever since hearing echoes of the sound on Gilberto Gil's recordings. This is the first song on that compilation and it's my favorite Luiz Gonzaga recording. Milton Miranda's production was very modern and edgy for 1973, opting to use scratchy, funky compressed guitars instead of the standardized forró instrumentation: zabumba, triangle, accordion and sometimes cavaquinho and violão de sete cordas. The traditional instrumentation was established by Luiz Gonzaga himself, who basically founded forró and baião. Luiz Gonzaga recorded some fine albums, but was born in the singles era. Hence, most of his best work are blasts of brilliance like O Fole Roncou.
2. Elino Julião - Rio Grande Meu Xodó from Aquilo - CBS (1971)
It is nearly impossible for artists to strike a bullseye with the right song, band, producer and mix, but Elino Julião's self-penned classic "Rio Grande Meu Xodó" from his 1971 album Aquilo is that kind of moment. Although Aquilo is far from a perfect album, the record contains 3 amazing classics, Rio Grande Meu Xodó, O Galo Vai Cantar and Namoro Proibido. While those songs are equally good, I chose Rio Grande Meu Xodó because it is more subtly seductive. The song has a joy and a power that is rarely found in other recordings. Interestingly, Sebastião Do Rojão recorded the same track, titled Todo Mundo Quer, but it fell flat in his session. Elino Julião's version is a thing of awe.
3. Genival Lacerda - Ralador De Côco (mono & stereo) from Ralador De Côco (O bom) (1974) Tropicana
Genival Lacerda, as of 2017, is the elder statesman of forró. His best musical period, from the mid-1950s through the mid-1970s, is not his most successful period. Lacerda later became known for crowd pleasing double entendre tunes that made him popular on the variety show circuit in Brazil. His early work has a raw vitality lacking in much of his post-1975 work. Ralador De Côco is Genival's best album, featuring his storming style and a slew of great songs. When DJ Tick posted the album on forroemvinil in 2007, he interestingly used one channel and created a mono version of the album featuring a chunky cavaquinho, cutting out most of the accordion. The result was a sound unlike anything in forró.
20. Os 3 do Nordeste - E Proibido Cochilar - CBS (1974)
This may be one of the most beloved forró tunes on the list. It is also one of the first classic forró compositions that I became aware of. Os 3 do Nordeste managed to nail a certain xaxado echo groove that few acts in the game mastered in this era. The gutsy vocals draw you in. E Proibido Cochilar is a classic.
21. Honorable Mention... Caxanga - Eu Sou Ferreiro (embolada) - from O Maior Repentista Do Brasil - Discos Chororó (1976)
Weaved into forró albums are northeastern ballads like Eu Sou Ferreiro. Songs like these are so heartbreaking and wistfully beautiful, it seems criminal that they are not beloved throughout the world.
Greatest or best ever lists tend to be very subjective, naturally, based on the tastes of the organizer or organizers. I imagine that a DJ might not choose some of my favorites, based on their need for heavy beats and dancefloor fillers. I am not a DJ. I tend to like songs that are beautifully recorded and pleasant to listen to any time, dance floor or kitchen floor.
1. Luiz Gonzaga - O Fole Roncou - EMI Odeon (1973)
Thanks to David Byrne's Luaka Bop Forró compilation, I had a name for the genre that eluded me ever since hearing echoes of the sound on Gilberto Gil's recordings. This is the first song on that compilation and it's my favorite Luiz Gonzaga recording. Milton Miranda's production was very modern and edgy for 1973, opting to use scratchy, funky compressed guitars instead of the standardized forró instrumentation: zabumba, triangle, accordion and sometimes cavaquinho and violão de sete cordas. The traditional instrumentation was established by Luiz Gonzaga himself, who basically founded forró and baião. Luiz Gonzaga recorded some fine albums, but was born in the singles era. Hence, most of his best work are blasts of brilliance like O Fole Roncou.
2. Elino Julião - Rio Grande Meu Xodó from Aquilo - CBS (1971)
It is nearly impossible for artists to strike a bullseye with the right song, band, producer and mix, but Elino Julião's self-penned classic "Rio Grande Meu Xodó" from his 1971 album Aquilo is that kind of moment. Although Aquilo is far from a perfect album, the record contains 3 amazing classics, Rio Grande Meu Xodó, O Galo Vai Cantar and Namoro Proibido. While those songs are equally good, I chose Rio Grande Meu Xodó because it is more subtly seductive. The song has a joy and a power that is rarely found in other recordings. Interestingly, Sebastião Do Rojão recorded the same track, titled Todo Mundo Quer, but it fell flat in his session. Elino Julião's version is a thing of awe.
Genival Lacerda, as of 2017, is the elder statesman of forró. His best musical period, from the mid-1950s through the mid-1970s, is not his most successful period. Lacerda later became known for crowd pleasing double entendre tunes that made him popular on the variety show circuit in Brazil. His early work has a raw vitality lacking in much of his post-1975 work. Ralador De Côco is Genival's best album, featuring his storming style and a slew of great songs. When DJ Tick posted the album on forroemvinil in 2007, he interestingly used one channel and created a mono version of the album featuring a chunky cavaquinho, cutting out most of the accordion. The result was a sound unlike anything in forró.
4. Jackson do Pandeiro - Madalena - from O Dono Do Forró - CBS (1971)
While Luiz Gonzaga is the founder of forró, Jackson Do Pandeiro may have the finest catalog of any forró artist. Jackson was unafraid to mix any rhythmic style. His music had more variety and sophistication. Jackson was almost like the Beatles of forró. With very few exceptions, he did virtually everything exceedingly well and elegantly. It is impossible to pick a greatest Jackson song because everything that he did was so good. Madalena is a favorite of mine. It's pure joy, with a great swing thanks to the driving bass line from the violão de sete cordas.
5. Ary Lobo - Riviolândia (RCA compacto) 1961
Like Jackson do Pandeiro, Ary Lobo has one of the best catalogs in forró. Although they started around the same time, Jackson do Pandeiro has a leg up on Lobo in terms of reputation. Thanks to the consistent body of work that he recorded from the mid-50s until his death in 1980 and an excellent but incomplete set of reissues on CD, Lobo's legend continues to grow.
6. Osvaldo Oliveira - Fruteiro Ta Matinha from Secretária do Diabo - CBS (1967)
Osvaldo Oliveira's 60s catalog is ranked among the best of any forró star. Oliveira and Jacinto Silva were some of the earliest signings to Abdias' CBS forró roster. By the early 1970s, Osvaldo primarily became a balladeer.
7. Carmelita - Cuidado Menina from Recordação - Cantagalo (1969)
Carmelita only briefly appeared on the scene, but managed to record a gorgeous LP on Cantagalo in 1969.
8. Trio Luar Do Sertão - Xaxado No Sertão (xaxado) from Os Brasas Do Xaxado - Bemol (1968)
Trio Luar Do Sertão became Os 3 Do Nordeste, one of the great acts on CBS in the 1970s. Xaxado No Sertão, co-written by Genival Lacerda, was a stunning indicator of music to come.
9. Sacy - Pedro Cem (rojão) from Salve-Se Quem Puder Tem Saci No Pau-De-Arara - Odeon (1960)
Sacy's (also spelled Saci) is one of those legendary artists who appeared very briefly on the scene, left a mark, and vanished forever. This LP was a compilation of Sacy's rare 78rpm records. Those records are so rare, in fact, that it is fortunate that this compilation exists. Otherwise, it is possible that many of these recordings would be lost to time. Pedro Cem is a stunning example of elegant 1950s forró.
10. Marinês e Sua Gente - É Tempo De Voltar from Só Pra Machucar - CBS (1973)
11. Abdias - Forró em Petrolina from Botão Variado - CBS (1975)
Marinês, who was mentored by Luiz Gonzaga, released a slew of great records in the late 50s, 1960s and 1970s. Her hubby was Abdias, who became the head of CBS forró and the primary producer of the records on the label beginning in the mid-1960s. Abdias took full advantage of the situation and released more forró records between 1965-1975 than any other artist. His version of Forró Em Petrolina, written by Dominguinhos and Anastácia, seems both masterful and casually played. It's a great example of virtuosity and ferocity.
13. Ze Gonzaga - O Baile Da Tartaruga from Viva o Rei do Baiao - CBS 1971
O Baile Da Tartaruga is one of my most popular posts and likely the most famous tune from Zé Gonzaga, the brother of Luiz Gonzaga. This particular version is the best. You can hear the accordion feeding back throughout. The band is blistering. The sound of the tune is unusual, reminding me more of Cajun music than forró.
14. Jackson do Pandeiro e Almira -- O Balanço Vai from Coisas Nossas Philips 1965
O Balanço Vai is an elegant mid-1960s samba sidestep by Jackson do Pandeiro, who tried his hand at full length samba material for a few records. Judging by the quality of the recordings, Philips, CBS and Odeon had the best studios in the 1950s and 1960s.
15. Geraldo Correia - No Forró Do Seu Vava from Agora Vai - SOM 1977
No Forró Do Seu Vava is one of those tunes that gets stuck in my head for days. It's a great recording with a fabulous chorus.
16. Venâncio E Curumba - Minha Bahia from Pagodeando No Côco - Audio Fidelity (1964) Premier (1969)
It's hard to pick just one song from Pagodeando No Côco. This LP seemed to close the long career of Venâncio E Corumba (also spelled Curumba), one of the most prolific writing teams in northeastern music. Minha Bahia is more samba than forró, but there is plenty of northeastern flavor here.
18. Luiz Wanderley - Turista Baiano from E Seus Grandes Sucessos - Rosicler (1960)
Luiz Wanderley had a great run of forró singles in the 50s and early 1960s. He seemed to have a fair amount of celebrity, appearing in a number of films from the period. Unlike Ivon Curi, who also seemed like an all-around entertainer, Wanderley's records retained a gutsy edge.
While Luiz Gonzaga is the founder of forró, Jackson Do Pandeiro may have the finest catalog of any forró artist. Jackson was unafraid to mix any rhythmic style. His music had more variety and sophistication. Jackson was almost like the Beatles of forró. With very few exceptions, he did virtually everything exceedingly well and elegantly. It is impossible to pick a greatest Jackson song because everything that he did was so good. Madalena is a favorite of mine. It's pure joy, with a great swing thanks to the driving bass line from the violão de sete cordas.
Like Jackson do Pandeiro, Ary Lobo has one of the best catalogs in forró. Although they started around the same time, Jackson do Pandeiro has a leg up on Lobo in terms of reputation. Thanks to the consistent body of work that he recorded from the mid-50s until his death in 1980 and an excellent but incomplete set of reissues on CD, Lobo's legend continues to grow.
Osvaldo Oliveira's 60s catalog is ranked among the best of any forró star. Oliveira and Jacinto Silva were some of the earliest signings to Abdias' CBS forró roster. By the early 1970s, Osvaldo primarily became a balladeer.
7. Carmelita - Cuidado Menina from Recordação - Cantagalo (1969)
Carmelita only briefly appeared on the scene, but managed to record a gorgeous LP on Cantagalo in 1969.
8. Trio Luar Do Sertão - Xaxado No Sertão (xaxado) from Os Brasas Do Xaxado - Bemol (1968)
Trio Luar Do Sertão became Os 3 Do Nordeste, one of the great acts on CBS in the 1970s. Xaxado No Sertão, co-written by Genival Lacerda, was a stunning indicator of music to come.
9. Sacy - Pedro Cem (rojão) from Salve-Se Quem Puder Tem Saci No Pau-De-Arara - Odeon (1960)
Sacy's (also spelled Saci) is one of those legendary artists who appeared very briefly on the scene, left a mark, and vanished forever. This LP was a compilation of Sacy's rare 78rpm records. Those records are so rare, in fact, that it is fortunate that this compilation exists. Otherwise, it is possible that many of these recordings would be lost to time. Pedro Cem is a stunning example of elegant 1950s forró.
10. Marinês e Sua Gente - É Tempo De Voltar from Só Pra Machucar - CBS (1973)
11. Abdias - Forró em Petrolina from Botão Variado - CBS (1975)
Marinês, who was mentored by Luiz Gonzaga, released a slew of great records in the late 50s, 1960s and 1970s. Her hubby was Abdias, who became the head of CBS forró and the primary producer of the records on the label beginning in the mid-1960s. Abdias took full advantage of the situation and released more forró records between 1965-1975 than any other artist. His version of Forró Em Petrolina, written by Dominguinhos and Anastácia, seems both masterful and casually played. It's a great example of virtuosity and ferocity.
12. Jacinto Silva - Puxa O Folé Zé from Ritmo Explosivo - CBS (1965)
The blistering Puxa O Folé Zé, from Ritmo Explosivo, is from a series of three fantastic solo records by the great Jacinto Silva produced by Abdias for CBS.
13. Ze Gonzaga - O Baile Da Tartaruga from Viva o Rei do Baiao - CBS 1971
O Baile Da Tartaruga is one of my most popular posts and likely the most famous tune from Zé Gonzaga, the brother of Luiz Gonzaga. This particular version is the best. You can hear the accordion feeding back throughout. The band is blistering. The sound of the tune is unusual, reminding me more of Cajun music than forró.
14. Jackson do Pandeiro e Almira -- O Balanço Vai from Coisas Nossas Philips 1965
O Balanço Vai is an elegant mid-1960s samba sidestep by Jackson do Pandeiro, who tried his hand at full length samba material for a few records. Judging by the quality of the recordings, Philips, CBS and Odeon had the best studios in the 1950s and 1960s.
15. Geraldo Correia - No Forró Do Seu Vava from Agora Vai - SOM 1977
No Forró Do Seu Vava is one of those tunes that gets stuck in my head for days. It's a great recording with a fabulous chorus.
16. Venâncio E Curumba - Minha Bahia from Pagodeando No Côco - Audio Fidelity (1964) Premier (1969)
It's hard to pick just one song from Pagodeando No Côco. This LP seemed to close the long career of Venâncio E Corumba (also spelled Curumba), one of the most prolific writing teams in northeastern music. Minha Bahia is more samba than forró, but there is plenty of northeastern flavor here.
17. Borrachinha e Alventino Cavalcante (Cavalcanti) - Tataitão from Alegria do Norte - Fantasia
Tataitão is from Alegria do Norte, one of the greatest forró albums of all time.
18. Luiz Wanderley - Turista Baiano from E Seus Grandes Sucessos - Rosicler (1960)
Luiz Wanderley had a great run of forró singles in the 50s and early 1960s. He seemed to have a fair amount of celebrity, appearing in a number of films from the period. Unlike Ivon Curi, who also seemed like an all-around entertainer, Wanderley's records retained a gutsy edge.
19. Genival Lacerda - Vou Voltar Pro Meu Amor - from Mungangueiro Aloprado - Fontana (1971)
This is one of my favorite Genival Lacerda records from the early 1970s. When Lacerda built up a head of steam, few artists could keep up with his blistering phrasing and melodic brilliance.
20. Os 3 do Nordeste - E Proibido Cochilar - CBS (1974)
This may be one of the most beloved forró tunes on the list. It is also one of the first classic forró compositions that I became aware of. Os 3 do Nordeste managed to nail a certain xaxado echo groove that few acts in the game mastered in this era. The gutsy vocals draw you in. E Proibido Cochilar is a classic.
21. Honorable Mention... Caxanga - Eu Sou Ferreiro (embolada) - from O Maior Repentista Do Brasil - Discos Chororó (1976)
Weaved into forró albums are northeastern ballads like Eu Sou Ferreiro. Songs like these are so heartbreaking and wistfully beautiful, it seems criminal that they are not beloved throughout the world.
22. Honorable Mention 2... Trio Irakitan - Quebra Coco from Sempre Alerta - Odeon (1960)
This is one of my favorite recordings from a group that occasionally recorded baião, but were mostly a samba and bolero act. I am not even sure what genre Quebra Coco is, and it is it is even weirder that it appears on an album of Boy Scout songs. It's a fantastic number, though.
