Perez Gonzaga - Toquem Meu Forró from Every Bode, Every Cabra - Caminhada (early 1980s)

Perez Gonzaga - Toquem Meu Forró from Every Bode, Every Cabra - Caminhada (early 1980s)

Although forró albums recorded after 1975 tend to be less rare than earlier LPs, age does not necessarily coincide with scarcity. Take Every Bode, Every Cabra by Perez Gonzaga. The album came out at some point in the 1980s but was released on a tiny label called Caminhada. For some reason, this record does not turn up often for sale, even in Brazil. What makes the album magical and appealing is the featured use of guitar over traditional forró instrumentation. Although the traditional rhythm section is there, Gonzaga's guitar is in the fore. One little change in instrumentation can make an artist stand out. The production is also gorgeous. 

Perez Gonzaga - Every Bode, Every Cabra - Caminhada (early 1980s)

Nino e seu Trio Paranoá - Mariazinha from Foguete Baiãno - Chantecler (1968)

Compared to the glory days in the mid-1970s, the number of forró LPs from the early to mid-1960s was more sparse. Perhaps the pressings were smaller or the moment wasn't right, but gradually releases began to become more plentiful. Nino e seu Trio Paranoá's lone LP was released at the beginning of the boom. I don't know much about the artist. This appears to be Nino and his Trio's sole release, although it is possible that individual songs were released on the abundant compilations that began to appear at the end of the 1960s.

Nino e seu Trio Paranoá - Mariazinha from Foguete Baiãno - Chantecler (1968)

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)

Walter Damasceno - E O Treco Pego (rojão) from Columbia 78rpm (1950s)

In the 1950s, remarkable breakthroughs were being made with magnetic tape. This vastly improved the quality of recordings. Walter Damasceno, along with Jackson do Pandeiro, Ary Lobo, Luiz Wanderley, Jair Alves and a number of other artists greatly benefitted from these advancements. Unfortunately, Brazil was a slower to adopt vinyl than the United States and Europe. As a result, there are quite a few artists classified as baião (later forró) who have songs lost to time because they were recorded on 78rpm shellac.

78rpm's are fragile and not many have survived. Very few 78rpm's were exported. Walter Damasceno recorded an LP and several compactos, so he is luckier than someone like Carlos Galindo, who was released exclusively on 78rpm. 

However, Damasceno's catalog contains 78rpm releases that are much more difficult to locate than his vinyl and were never compiled. The surge of interest in vintage forró in the last 10 years hopefully means that some of this rare music will be preserved. Unfortunately, with the music business being decimated by downloading, it is unlikely that this music will be professionally archived.

On a lighter note, forró is one of the few genres that effectively uses tuba as a bass instrument. Jackson do Pandeiro was fond of the instrument and used it quite a bit on his horn heavy tracks. Props to Damasceno or his production team for an inspired choice!

Walter Damasceno - E O Treco Pego (rojão) from Columbia 78rpm (1950s)

Jackson Do Pandeiro - Vou Buscar Maria (rojão) from Jackson do Pandeiro - Columbia (1959)

Ah, the great Jackson do Pandeiro. He's the man Gilberto Gil called a genius also has the most substantial catalog in all of forró. Vou Buscar Maria comes from his self-titled 1959 Columbia LP. This wasn't one of his biggest hits, but is typical of his atypically excellent work. From Jackson, you often get all killer with no filler.

This particular pressing of the LP is bizarre. It appears to be a reissue on heavy vinyl, but the cover reproduction is unusual. Bootleg, perhaps? Alas, collectors, keep an eye out for reissues of all of Jackson's Columbia era material, although this 1959 album is far less common. His never-reissued Philips period remains his most coveted. 

Jackson Do Pandeiro - Jackson do Pandeiro - Columbia (1959)

Nerize Paiva - Só Gosto De Um Amor Só (côco) - Mocambo compacto (1965)

Só Gosto De Um Amor Só (côco) is a 1965 compacto from Nerize Paiva on the Mocambo label. The song also appeared on the Mocambo compilation LP: Arrasta-Pé Em Caruaru. Beautiful, soulful, gorgeously produced and nicely packaged, Só Gosto De Um Amor Só is a rare female-sung track from tough period in Brazilian history. Classic!

Nerize Paiva - Só Gosto De Um Amor Só (côco) - Mocambo compacto (1965)

Terezinha - Só Danço Com (côco) from Seleção Nordestina - Dex (1975)

Another rarity today from the DEX. Seleção Nordestina was a various artist compilation, called a coletânea. Terezinha's tune is a standout. There are several artists named Terezinha that were recording in this era and I am not sure if this is one that had a recording career beyond this comp. 

I also heard from a collector friend that DEX was a label for hire, meaning the label would put out records for artists that fronted the money. I cannot verify this at the moment, but would love to know a bit more about the history of this somewhat mysterious label. 

Seleção Nordestina - Dex (1975)