*note: Gonzaga did not actually have a mustache in the photo above..
Luiz Gonzaga com Acompanhamento Típico
“Luiz ‘Lua’ Gonzaga” Released 1961 on RCA Victor (BBL-1115)
1. Capitão Jagunço baião (Paulo Dantas/Barbosa Lessa)
2. Baldrama Macia rasqueado (Arlindo Pinto/Anacleto Rosas)
3. Creuza Morena, valsa (Lourival Passos/Luiz Gonzaga)
4. Dedo Mindinho, baião (Luiz Gonzaga)
5. Amor que Não Chora, toada (Erasmo Silva)
6. O Tocador Quer Beber, xote (Carlos Diniz/Luiz Gonzaga)
7. Na Cabana do Rei, baião (Jaime Florence/Catulo de Paula)
8. Aroeira, xote (Barbosa Lessa)
9. Rosinha, baião (Nelson Barbosa/Joaquim Augusto)
10. Corridinho Canindé, baião (Luiz Gonzaga/Lourival Passos)
11. Só Se Rindo, xote (Alvarenga/Rancinho)
12. Alvorada da Paz, marcha (Luiz Gonzaga/Lourival Passos)
Transcription notes: Vinyl -> Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply) > Creek Audio OBH-15 -> M-Audio Audiophile 2496 Soundcard -> Adobe Audition 3.0 at 24-bits 96khz -> Click Repair light settings, additional clicks and pops removed in Audition -> Normalized to -1 db -> dithered and resampled using iZotope RX Advanced -> ID Tags done in foobar2000 v.1.0.1.
Absolutely no EQ or noise-reduction!
As far as I can tell this was Luiz Gonazaga’s first long-player recorded FOR the format of a long-playing record or LP. Previous to this his work has been on 78s and singles. The record is also unique in that it lacks any songs from his famous partnerships with Humberto Teixeira or Zedantas. There is quite a lot of variety on this album, reflecting how Gonzaga was simultaneously “inventing” a genre of music and also constantly expanding its boundaries. The record starts off roaring with a tale of Canudos besieged by the militias of the First Republic, with their captain in the role of Judas against Antônio Conselheiro, the “messiah” of the sertão. But then the second cut, Baldrama Macia, takes us far from the northeast, to a different style of caipira or ‘country / folk’ music from the state of Mato Grosso and the area around its capital, Cuiabá. The style is called “rasqueado” and I don’t know too much about it, but apparently it grew from the riverine cultures spanning Paraguay to Mato Grosso and included the influence of polka music. To my ears it bears a curious resemblance to certain types of Mexican folk musics far to the north. The third tune, Crueza Morena, is in the mold of a traditional ‘valsa’ sertaneja, the very waltz that found its way to Brazil via the Portuguese court culture when the royal family briefly resided in Rio de Janeiro in the early nineteenth century, and would influence everyone from Villa Lobos to Pixinguinha. The next cut, a pure baião written entirely by Gonzaga himself, is a fine tune, nothing wrong with it in the least, but it pales compared to the song that follows it. “Amor que não chora”, written by the famous samba-cançao composer Erasmo Silva, was the big hit off this record. Just a gorgeous tune, everything about it complementing everything else in perfect proportions of instrumentation, vocal, lyric..
“Lugar que tem chuva, tem felicidade
Amor que não chora, não sente saudade”
Such simplicity executed with deceptively perfect rhythmic exactitude. The only other lines in the tune:
“Meu amor me abandonou, eu não sei qual a razão
Hoje está fazendo um mês que eu fiquei na solidão
Ai, ai, meu amor não chorou
Ai, ai, meu amor me deixou”
All of these are case-book examples of a vocalist knowing how to drag a line behind the beat, then speed it up in just the right place, where the phrasing is more essential than hitting all the notes – which, incidentally, Gonzaga always nailed with his big, expansive voice. Looking at the song structurally or compositionally, “there’s nothing to it,” as the English expression goes — but that’s part of the beauty, of course.
This is followed by a short song detailing the legal campaign to insure the rights of sanfoneiros everywhere to have a drink while on the bandstand. During the Estado Novo of Getulio Vargas (1937-1945), forró musicians were forbidden to drink on the bandstand due to the belief that they would incite riots and unrest and bring back the chaos of the cangaçeiros like Lampião who caused the government so much trouble. The repressive, discriminatory, and senseless law stayed on the books long after the fall of Vargas. Since Gonzaga had come to prominence with plenty of hit songs during this period, he had simply had enough of having to stay ‘dry’ during performances and wrote this song in protest. The song was popular and powerful enough that in 1962 the subject was to be brought before the Câmara of Deputies, where a nearly unanimous vote was held, “O Tocador Pode Beber.” A historic political victory in the name of popular culture.
The second side of this album is also quote good although not as strong as the first half. “Na Cabana do Rei” is another melodically lovely xotê about singing toads and pigeons. The next few tunes kind of float right through my consciousness without leaving much behind except for “Corridinho Canindé” which features a slick refrain of ‘ziggy-ziggy-boom’ as well as a tuba. This makes me happy. And actually the most beguiling track here closes out the album “Alvorada de Paz”, which is a marcha in the style of a samba-exultação, that is to say a patriotic samba singing the praises of not only Brazil but its leaders as well — in this case the election of President Jânio Quadros. Quadros was only president for about eight months, famously resigning his office and claiming that “occult forces” were conspiring against him. This is a literal translation from the Portuguese, which really only means “hidden forces.” But I think that if we take Quadros’ resignation letter literally, we will realize he was talking about the RECORD INDUSTRY, the Devil’s Plaything, more powerful even than the derrubador dos presidentes Carlos Lacerda, and thus by extension — Luiz Gonzaga and his “homage” to his presidency. In this line of reasoning, Gonzagão is responsible not only for the collapse of Jânio Quadros administration, but also the military coup that seized power from his vice-president João Goulart in 1964, and the entire military regime that followed. An still the cangaçeiros await their real revenge. If you play this record backwards, you will realize that forró is not just party music. It’s the Devil’s Music, pure and simple.