Candeia – Seguinte…: Raiz (1971)

Seguinte… RAIZ
Candeia (1971)
Released on Equipe (EQC-800.004)
Reissued poorly on Discobertas 2011 (DB-80)

01 – Vem é Lua
02 – Filosofia do Samba
03 – Silêncio, Tamborim
04 – Saudade
05 – A Hora e a Vez do Samba
06 – Saudação a Toco Preto
07 – Vai Pró Lado de Lá
08 – Regresso
09 – De Qualquer Maneira
10 – Imaginação
11 – Minhas Madrugadas
12 – Quarto Escuro

Produced by Oswaldo Cadaxo
Recorded by “Walter.” Mastered by Ary Perdigão, Production assistant – Adelzon Alvez
Album cover and layout – Luiz Passango
José Roberto – arrangements on 6,10, and 12

Reissued under executive producion of Marcelo Fróes with “juridical help” from Adriana Vendramini, botched graphical layout by Baby Cartier, and “remastering” from Ricardo Carvalheira. They should all be out of a job.


An exception album by Candeia in more ways than one. More animated and confident than his first album (note: even though he’d been part of Portela for years and written many of their greatest samba enredos, 1970 was the first time he ventured into making an album). Stylistically he’s moved away from the touches of “samba de asfalto” (urban samba) on that first album that may have been an influence of friend and fellow Portela stalwart Paulinho da Viola, and into the territory of rootsy ‘roda da samba’, samba pagode, partido alto, and even samba soul. It’s this latter that is the other ‘exception’ to this album. To my knowledge its the only time Candeia really experimented with this form and it seems no coincidence that the three tracks touched by this style were all arranged by José Roberto. “Saudação a Toco Preto” is a funk-driven tune that sounds like a ponto cantado of umbanda punctuated with punchy brass, while “Imaginação” is a straight-up soul ballad. The closer of the album, “Quarto Escuro” is a more traditional samba but with the production trappings of organ and string arrangements, both of which blend quite nicely when the surdo drum comes in to kick it into gear. Unsurprisingly this is probably the most successful of the three tunes here that had an outside arranger. The other two are not *bad* songs by any means, but Candeia sounds a bit awkward singing them. If I had been in the studio I would have told him those songs “não tem sua cara” — they’re just not you, Candeia.

I shouldn’t focus on the exceptions because the rest of the album is some of the most Classic Candeia out there. The album opens with “Vem, é Lua” which is just plain.. exciting. Followed by “Filosofia de Samba”, one of his enduring compositions. The third track is the only one not written by him but instead introduces a ‘new’ Portela writer, Anézio (with Wilson Bombeiro). The tune “Saudades” is a modernized choro and tribute to Paulo de Portelo, the old “professor” of the samba school. “Vai Pró Lado de Lá” is partido-alto at its finest. How the hell could this album have ever been out of print? ‘Regresso’, also fantastic. How many superlatives can I hurl at these songs before I choke on my own tongue?

Candeia would take a break of four years before releasing another album, for reasons unknown to me. Maybe he was just lazy, gimps in wheelchairs often are lazy. (Just checking to see if anyone actually reads these descriptions.. )

Of the three disastrous Candeia reissues released simultaneously by the sketchy label Discobertas, this one probably sounds the best. But still very inconsistent. Some songs sound fine, others mediocre, still others downright awful, like low-res mp3s (even though the bitdepth of the FLACs all average around 800-odd kbs). As usual no details are given about the technical aspects of the reissue, but there is no doubt that master tapes were NOT used. The label ‘Equipe’ was a small indie but also had put out albums by notables like Eumir Deodato in the 60s. With a little digging it seems like a backup master could be found. Or at least a GOOD vinyl copy to work from. Oh, and they could hire a real mastering engineer and do it in a proper studio and maybe spend more than 45 minutes on the mastering.

Oh, and they totally fucked up the track order on the outer tray of the album. Thankfully, the songs are actually in the correct playing order on the CD, just listed wrong on the reissue jacket. Just as embarrassing, they actually have the tracks numbers for José Roberto’s arrangements correct inside the booklet. Just how quickly is Discobertas rushing this stuff out? Don’t they have anybody proofreading or (gods forbid!) LISTENING to these before putting out on the market?

Other than these small complaints (!), it is of course a joy to have this album back in print. I suppose we can expect another reissue of it sometime around 2020, if the world hasn’t ended by then.

The music is fantastic, and that’s what matters! Right? …. Yeah, right.


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Leon Thomas – Full Circle (1973) (24-96khz vinyl rip)


Leon Thomas – Full Circle

1973 Flying Dutchman (FD-10167 A/B-R)

1 Sweet Little Angel (B.B. King, J. Taub) 4:59

2 Just In Time To See The Sun (Carlos Santana, Gregg Rolie, Michael Shrieve) 2:58

3 It’s My Life I’m Fighting For (Neil Creque) 10:10

4 Never Let Me Go (Joe Scott) 2:28

5 I Wanna Be Where You Are (A. Ross, L. Ware) 4:22

6 Got To Be There (Elliot Willensky) 4:27

7 Balance Of Life (Peace Of Mind) (Leon Thomas, Neil Creque) 7:02

8 You Are The Sunshine Of My Life (Stevie Wonder) 5:47

9 What Are We Gonna Do? (Leon Thomas) 5:56

incomplete credits from `Discogs` website — full credits are in the LP jacket

Bass – Richard Davis

Berimbau, percussion – Sonny Morgan

Drums – Pretty Purdie, Herbie Lovelle

Guitar – Joe Beck, Lloyd Davis

Percussion – Richard Landrum

Piano – Neal Creque

Saxophone – Pee Wee Ellis

Trumpet, Flugelhorn – Jimmy Owens

Flute – Joe Farrell

Vinyl original pressing ; 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 32-bit float s 96khz; Click Repair light settings, additional clicks and pops removed in Audition ; ID Tags done in foobar2000 v.1.0.1 and Tag & Rename. For 16 bit/ 44.1 khz version, additional processing in iZotope RX Advanced.



This is probably one of Leon Thomas’ lesser-known albums, and I can see why. Not that it’s bad, it just completely bizarre by virtue of its utter normality. Putting this album on the turntable for the first time was a jarring experience for me, because I would never have envisioned the singer I know through Pharaoh Sanders’ band – the guy who innovated “jazz yodeling” as a technique all his own — covering songs from B.B. King, Santana, The Jacksons, and Joe Scott (writer of “Never Let Me Go” and also responsible for the classic “Turn On Your Love Light.”) The title of the album, Full Circle, might indicate a return to R&B and soul-music roots for Thomas. The album cover, which has him pimped out in bad-ass blaxploitation-soundtrack garb, does nothing to clarify this mysterious record.

The first time I played it, I thought it was a confused, incoherent mess of songs. It probably still is that, but over time I’ve come to enjoy it quite a bit for what it is. According to Discogs database, there were two versions released in quick succession with different track running order — according to this, I have the second of those two. They also seem to have been issued in the same year — it seems like maybe Flying Dutchman also didn’t know how to market this stylistic jumble of tunes and tried messing around with them. I would be curious to hear from somebody who has the other version, as I have one major gripe with the mix on some tunes: the songs that have strings have the strings mixed WAY too loud, overpowering everything else.

The album leads off with “Sweet Little Angel”, which oddly enough seems to have been the most played track on my copy if the surface noise is any evidence — I am thinking “college radio DJ at a southern university where they like their black men playing unthreatening, beaten-to-death blues standards…”. It’s not terrible, but its not terribly convincing. Thomas makes an okay blues singer. The next tune, a cover of Santana’s “Just In Time to See The Sun” is actually quite good, with no attempt to “rock” but instead given a full soul-jazz Latin-tinged treatment with Pee Wee Ellis on sax. So far, things are getting better. The next song is the first original tune and one of the highlights of the album for people who have followed and admired the rest of Leon’s career. “It’s My Life I’m Fighting For”, written by keyboardist Neil Creque, is driven by his Rhodes electric piano, its ten minutes of a soulful jam with `free` elements and, FINALLY some jazz yodeling! I never thought Thomas’ jazz yodel would sound so welcome to my ears. Herbie Lovell on the drums on this track really keeps things going, with great riffing from Joe Farrell on flute, solos by Creque and Jimmy Owens that keep this solidly chugging along. The song is then inexplicably followed by old-school R&B ballad “Never Let Me Go”…. the word “buzzkill” comes to mind. Leon redeems himself with “I Want To Be Where You Are,” a Jackson 5 tune that seems to have been in vogue with soul-jazzers in the early 70s: Gary Bartz also released an instrumental version around this time where he went all modal on its ass. Here, this is easily the most successful of the cover tunes on the albums, slowed down a notch, augmented with some choice Muscle Shoals slide guitar courtesy of Joe Beck, punchy trumpet from Farrell, and Leon just can’t help himself — he lets rip a few JAZZ YODELS here and there on the chorus. But they only last for a couple of seconds, as if he remembers suddenly that he is supposed to be a soul music balladeer on this song and must restrain his urges. Flip the LP over, and another Jackson-related tune, “Got To Be There”, is a huge disappointment, with Leon just taking it on as a straight interpretation with nothing particularly remarkable about it. “Balance of Life (Peace of Mind)” is another original tune and brings us back to more familiar Leon Thomas territory. Opening with the Brazilian instrument, the berimbau, accompanied by other urgent percussion that seemlessly gives way to a mellow jam led by Creque’s electric pianoa and congas by Pabldo Landrum and Sonny Morgan, it keeps the groove going for 7 minutes with a full-on percussion jam in the middle. Then, once more, the album shifts gears for a basically pointless reading of Stevie Wonders “You Are The Sunshine Of My Life”. It is almost a novelty song for its straightness, getting slightly trippy towards the end. The album closes with the somber and soulful “What Are We Gonna Do?” which is just Thomas on vocal and Neil Creque on acoustic piano. A meditation on ecology, peace, love, and violence, its a beautiful tune, reminding me of all the reasons to love Leon Thomas in the first place.

Perhaps this album was meant to `prove` that Leon Thomas could have been a huge figure in straight soul and rhythm and blues, which he probably could have been if he felt inclined. But the album is indeed a weird jumble. The three original tunes are the best here, followed by “I Want To Be Where You Are” and “Just In Time To See The Sun.”


in 320 kbs em pé tre

in FLAC LOSSLESS AUDIO: 16-bit 44.1 khz /// 24-bit 96khz

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Joyce – Curriculum (2011) {Rarities 1964-1972}


Rarities and singles, 1964-1972
Released by Discobertas, May 2011

01. Olhos Feiticeiros (com Sambacana)
02. Você, Por Telegrama
03. A Vez e A Voz da Paz
04. Dia de Vitória
05. Andança
06. Sem Mais Luanda
07. Cavaleiro Andante
08. Andréa
09. Copacabana Velha de Guerra
10. Please Garçon
11. Bachianas Brasileiras No. 5
12. Sei Lá (com A Tribo)
13. Onocêonekotô (com A Tribo)
14. Kyrie (com A Tribo)
15. Tapinha (com A Tribo)
16. Peba & Pobó (com A Tribo)
17. Caqui
18. Adeus Maria Fulô
19. Nada Será Como Antes
20. Pessoas

EAC V0.99 prebeta 5, Secure Mode, Test & Copy, AccurateRip, FLAC -8

It would take me half my life and more money than I possess to gather together all the material on this collection, which represents the earliest recordings by Joyce Moreno, whose artistic name during these days was simply “Joyce”. She is internationally famous and well-respected for her classy bossa and MPB albums these days. But in the beginning, she was a pretty courageous, experimental and prodigious talent. The first track on this album, Olhos Feiteiçeiros, was recorded when she was only SIXTEEN YEARS old at the instigation of Roberto Menescal with the group Sambacana. Why do I have lecherous images of Menescal giving Joyce “a back rub” in the studio to relax her? oh that’s right, because I’m a pervert.

There is a gap of four years between that 1964 recording and the rest of the material on this collection. Beginning in 1968 it is as if she didn’t sleep. Makes me feel really lazy, like I ought to make something useful out of my life. She had innumerable songs entered into the famous Festivals (none of them winners), released singles, had songs included on soundtracks to telenovelas, got married to Nelson Angelo and had kids, all before 1972. Two of those festival songs were also recorded (with more positive public reception) by Beth Carvalho – Andança, and Cavalheira Andante. But these versions are super cool, as is the original recording of “Copacabana Velha de Guerra” which would be rerecorded by Elis Regina on her 1970 album “Em Pleno Verão.” I have to say.. I think I like Joyce’s original better.

As fun as the first part of the disc might be, it is with this last song that things start to get really intriguing. Hanging out with the likes of Luis Eça and Nelson Angelo, her music took on a pointedly trippy and experimental edge, influenced by Tropicália but not dominated by it, in fact seeming to be on another path entirely, one that ran from the pristine beaches of Rio with its sunlight reflected in water and flesh and up through the climbing hills and mountains of Minas Gerais where the sun grows colder and refracts in the jagged edges of stone and crystal rock formations. And that’s why it seems natural that by the end of this she is recording a composition from the Clube da Esquina (Nada Será Como Antes by Milton Nascimento and Ronaldo Bastos), and the compilation ends right at the time when she would make her cult-worshiped landmark album with Nelson Angelo in 1972 of pastoral acoustic psychedelia. Although I am partial to the sonic orgasm of that album, but she continued to put out strong albums — Feminina and Água e Luz are probably the most cohesive and consistent, representing something like her creative peak. And she deserves particular credit for being a writer-composer and instrumentalist in a musical landscape where women in MPB have mostly been confined to the role of “interpreter.” This one should not be passed up.


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Wax Poetics Records Showcase – Afrika Bambaataa meets Chico Mann, July 28 NYC

I’ve been a long-time fan of the magazine Wax Poetics, for it’s fantastic choices in content; informative articles by people who are passionate about music and not jaded hack critics on salary forced to listen to piles of albums they don’t really care about; for its gorgeous photography and print quality; its smart graphic design; and principalmente for turning me on to great music I may not have heard about otherwise. It’s an institution run by and for music lovers.

So even though I am currently nowhere near New York, I might as well pimp out this event for anybody who is — it’s such to be interesting and healthy for your ears. A new master of genre-bending consciousness-raising bricolage pays homage to an old master, with both of them performing in the same place and time. Can’t really go wrong with this. They started a Facebook page for it too, which has the details, but for my friends who are convinced (and by me, probably) that FB is the clandestine expansion of MK-Ultra into social engineering, here are the details

Wax Poetics Records Showcase – Afrika Bambaataa meets Chico Mann

Thursday, July 28 at 10:00pm – July 29 at 2:00am

Le Poisson Rouge
158 Bleecker Street
New York, NY

“Skullcandy presents the Wax Poetics Records Showcase at Le Poisson Rouge. A monthly showcase teaming legendary DJs from the pages of the magazine with Wax Poetics recording artists.


Nelson Cavaquinho – MPB Especial (1973)


Nelson Cavaquinho – MPB Especial 1973


Released in 2000 by SESC – SP (JCB-0709-030)

1 Choro do adeus
(Guilherme de Brito, Nelson Cavaquinho)
2 Não faça vontade dela
(Rubens Campos, Henricão, Nelson Silva)
3 Devia se condenada
(Cartola, Nelson Cavaquinho)
4 Rugas
(Augusto Garcez, Ary Monteiro, Nelson Cavaquinho)
5 Não te dói a consciência?
(Augusto Garcez, Ary Monteiro, Nelson Cavaquinho)
6 Aquele bilhetinho
(Augusto Garcez, Arnô Carnegal, Nelson Cavaquinho)
7 Revertério
(Guilherme de Brito, Nelson Cavaquinho)
8 Minha fama
(Magno de Oliveira, Nelson Cavaquinho)
9 Cuidado com a outra (Dia das mães)
(Augusto Tomaz, Nelson Cavaquinho)
10 Rio, não és criança
(José Ribeiro, Nelson Cavaquinho)
11 A flor e o espinho
(Alcides Caminha, Guilherme de Brito, Nelson Cavaquinho)
12 Mulher sem alma
(Guilherme de Brito, Nelson Cavaquinho)
13 Pecado
(Ligia Uchoa, Nelson Cavaquinho)
14 Garça
(Guilherme de Brito, Nelson Cavaquinho)
15 Cinza
(Renato Gaetano, Guilherme de Brito, Nelson Cavaquinho)
16 O meu pecado
(Zé Kéti)
17 Sempre Mangueira
(G. Queiroz, Nelson Cavaquinho)
18 Minha festa
(Guilherme de Brito, Nelson Cavaquinho)
19 Folhas secas
(Guilherme de Brito, Nelson Cavaquinho)
20 Palhaço
(Oswaldo Martins, Washington, Nelson Silva)
21 Degraus da vida
(César Brasil, Antônio Braga, Nelson Cavaquinho)
22 Deus não me esqueceu
(Armando Bispo, Sidney Silva, Nelson Cavaquinho)
23 Primeiro de abril
(Paulista, Noel Silva, Nelson Cavaquinho)
24 É tão triste cair
(Guilherme de Brito, Nelson Cavaquinho)
25 Visita triste
(Anatalício, Guilherme de Brito, Nelson Cavaquinho)


Levado para a música pelos compositores Henricão e Rubens Campos – autores de sucessos da cantora Carmen Costa -, o genial Nelson Cavaquinho conta diversas histórias curiosas de sua vida no programa MPB Especial (1973), da TV Cultura, cujo áudio finalmente está à disposição do público, no formato CD. Nelson conta como suas músicas foram chegando aos estúdios de gravação. Que seu primeiro intérprete foi Alcides Gerardi (Não Faça Vontade a Ela), sucedido por Cyro Monteiro (Rugas) e tantos outros, como Dalva de Oliveira (Palhaço), Clara Nunes (Sempre Mangueira) e Elis Regina (Folhas Secas). Com sua voz rouca inconfundível, Nelson canta 25 jóias de seu repertório, algumas delas, com a ajuda da voz e do violão do fiel parceiro Guilherme de Brito. Em geral, são sambas tristíssimos, angustiados e com um certo temor da morte. Guilherme também dá seu depoimento, explicando que muitas das canções que fez com Nelson nos botequins da Praça Tiradentes, no Rio, se perderam em meio a bebida, mulheres e cigarros. Mesmo assim, várias sobreviveram ao esquecimento. Juntos, eles lembram algumas delas, tais como A Flor e o Espinho, Folhas Secas, Minha Festa e outras menos manjadas, como as dramáticas Mulher Sem Alma (“Quase passei fome pra honrar seu nome/ tropecei nos erros de uma mulher sem alma/ mas não perdi a calma”), Pecado (“Vai, antes que os vizinhos saibam… antes que o sol transforme em pedra o lamaçal que tu trouxeste/ para dentro do meu lar”) e Garça (“És uma garça vadia/ voando na orgia sem ter direção”). Por sua vez, Nelson recorda ainda alguns personagens lendários da cena carioca que passaram por sua vida, como Noel Rosa (que gostou de um de seus sambas, Devia Ser Condenada), Sérgio Porto (“me ajudou a pagar uns móveis que tem lá em casa”) e Zé Kéti (“Conheci quando ele trabalhou numa fábrica em São Cristóvão. Me socorria quando precisava de dinheiro para a passagem, já que eu gostava mais de um botequim do que de outra coisa”). Mesmo com um certo ranço machista comum à sua época em algumas letras, a música de Nelson sobrevive ao novo século como expressão máxima do samba de qualidade cunhado por um artista nato, que jamais estudou para exercer seu ofício.

Vale lembrar que os discos deste coleção não são vendidos separadamente. Mais informações no site do Sesc-SP: (Rodrigo Faour)


Flabbergast free translation

Initiated into music by the composers Henricão and Rubens Campos – songwriters of many hits for Carmen Costa – the amenable Nelson Cavaquinho tells a variety of interesting stories from his life in this installment of MPB Especial (1973) from TV Cultural, whose audio is finally available to the public in CD format. Nelson tells about the way his songs found their way to being recorded in the studio. One of his first interpreters was Aicides Gerardi (NãoFaça Vontade a Ela), followed by Cyro Monteiro (Rugas) and many others, like Dalva de Oliveira (Palhaço), Clara Nunes (Sempre Mangueira) and Elis Regina (Folhas Secas). With his unmistakeably coarse voice, Nelson sings 25 gems from his repertoire, some of them with the help of the voice and guitar of his faithful partner Guilherme ade Brito. In general, they are sad songs, anguished and with a certain fear of death. Guilherme also has an interview, explaining that many songs he made together with Nelson in the ‘botaquins’ and bars of Praça Tiradentes in Rio, were lost and forgotten in the middle of drink, women, and cigarettes. Even so, quite a few songs escaped from oblivion and were not forgotton. Together, the duo remember some of tem, such as “A Flor e o Espinho, “Folhas Secas,” “Minha Festa” and other less-known gems, like the dramatic “Mulher Sem Alma” (‘Quase passei fome pra honrar seu nome / tropecei nos erros de uma mulher sem alma / mas n’ao perdi a calma”), Pecado (“Vai, antes que os vizinhos saibam… antes que o sol transforme em pedra o lamaçal que tu trouxeste / para dentro do meu lar”) and “Garça” És uma garça vadia/ voando na orgia sem ter direção). For his part, Nelson even recalls for us stories about some of the lengedary figures of the carioca scene that passed through his life, like Noel Rosa (who liked one of his sambas, ‘Devia Ser Condenanda’), Sérgio Porto (“he helped me pay for the furniture that I had in my house”) and Zé Kéti (“I got to know Zé when he worked in a factory in São Cristovão. He saved me when I needed some bus fare, because already I liked the bar (botequim) more than anything”). Even with a certain archaic machismo common to his era in some lyrics, the music of Nelson survives the new century as an ultimate expression of quality samba created by a natural-born artist, who never studied in order to exercise his craft – Rodrigo Faour


While I treasure pretty much everything released in the massive SESC project that issued the audio from so many (perhaps all?) of the MPB Especial and Ensaio programs, it has to be admitted that some of them are important more for their historic value and for the stories contained on them than perhaps for the music contained therein. Examples might be João do Vale, and Adoniran Barbosa’s, the latter of whom’s handful of studio albums make a much better introduction than his MPB Especial showcase. But then there are those are truly amazing and revelatory in their musicality – too many to list, actually, but the ones from Cartola, Zé Keti, Dominguinhos, Paulinho da Viola, Elis Regina, Nara Leão — and THIS one, from Nelson Cavaquinho. In fact he actually sings some of these songs with more conviction in his voice than on the versions he put out on LP, perhaps being more relaxed in this conversational atmosphere than in a recording studio. His partner Guilherme de Brito helps out on guitar and voice, and together they just blow my mind. Nelson’s stories are both illuminating and sometimes funny, and more lucid than I might have expected (considering what a famous lush Nelson was…) — recalling how he was introduced to Ciro Monteiro or the fact that the first thing that comes to mind about Sérgio Porto is that he ‘lent’ him the money to pay for all the furniture he had in his house in Rio. Our inability to hear the questions in the interview annoy me once again: he says a few words about what he thinks of the ‘new generation’ of sambistas like Paulinho da Viola or (occasional samba composer) Chico Buarque, and Elis Regina interpretating Folhas Secas. But a big surprise is that I can’t find him mentioning Beth Carvalho anywhere here — is it possible they had not made their aquaintance yet? This seems weird anda doesn’t lend much support to the story Beth tells in her recent boxset, where she claims Nelson “gave” her the song Folhas Secas, and Elis stole it, getting her recording out first. And as this program has a date from late November of 73, it must have been after Beth Carvalho’s “Um canto pra um novo dia”… Although perhaps is SESC is listing the AIR date of these programs and not the date they were actually recorded? I dunno, I’m confused, but it doesn’t matter. Just check this one out.

Easily one of the most satisfying entries in this huge SESC collection, and one you don’t need to understand Portuguese to appreciate

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Jackson do Pandeiro – O Cabra da Peste (1966) (REPOST)

Hi there folks. Today, by request, I resurrect an old dead post from June of 2010, enjoy!


Jackson do Pandeiro
“O Cabra da Peste”

Original release: 1966, “Jackson do Pandeiro – O Cabra da Peste”, Continental, PPL 12265)

Censored release: 1969

reissue: 1978, “Jackson do Pandeiro – O Cabra da Peste – Edição Limitada”, Popular/GE/Continental, 146411047)

This pressing, Warner/Continental CD, 2001 (092741523-2)

01. Capoeira mata um (Alvaro Castilho – De Castro) Balanço
02. Tá roendo (Figueirôa – Maruim) Samba
03. A ordem é samba (Jackson do Pandeiro – Severino Ramos) Samba
04. Pinicapau (Codó) Baião
05. Forró quentinho (Almira Castilho) Forró
06. Bodocongó (HUmberto Teixeira – Cicero Nunes) Baião
07. Secretária do diabo (Osvaldo Oliveira – Reinaldo Costa) Forró
08. Vou sambalançar (Antonio Barros – Jackson do Pandeiro) Samba
09. Alegria do vaqueiro (Zé Katraca) Baião
10. Forró do Biá (Luiz Moreno – Jeronimo) Forró
11. Papai vai de trem (Ivo Martins – Jackson do Pandeiro) Baião

DELETED TRACK between tracks 10 and 11 above, Polícia Feminina (Severino Ramos – José Pereira) Forró

What a confusing release history this album has had, which utter lack of any information whatsoever on the CD reissue fails to clear up. This is what I was I have been able to piece together for you: “O Cabra da Peste” was released in 1966 (sometimes listed as 1963, which I originally fell for but was thankfully corrected about), censored and re-released without the song “Polícia Feminina” in 1969, then reissued again in limited edition in 1978, from which I suspect this album cover at the top was taken. I am not sure what is meant by the text under the photo, “rerecording with a new cover,” unless they consider the removal of one track to be a rerecording. Or perhaps by 78 they decided to put “Polícia Feminina” (a fairly innocuous and silly song about having your heart locked up in prison, etc) back on the album…. Whatever the case may be, the CD issue is still missing the track. The recording is in mono, so we can at least be glad they didn’t use a version “electronically rechannelled for stereo”…

Jackson do Pandeiro recorded a ton of hit songs that are very important for Brazilian popular music. None of those are on here. (You might, however, want to visit the previous post of O Rei do Ritmo on this site..). I read one review of this album, in Portuguese, that criticized the song selection as being the weakest of any album from Jackson’s career.. Well, if that’s true, I am still pretty impressed by this record and it only shows just how much of a genius this guy to give these tunes so much life. It’s a solid set of forró, samba, and samba de coco. And although there might not be anything that immediately has you singing along like many of his better-known releases, there are some real stand-out cuts here. “Capoeira mata um” totally kicks off right. “A ordém é samba” written by Jackson and and Severino Ramos, and “Bodocongó″ by Humberto Teixeira e Cícero Nunes are catchy tunes and hot performances, showing just how easily Jackson could interpret a variety of styles and have it still come out like, well, Jackson do Pandeiro. One difference between material from this era and his earlier 1950s successes can be found in the suingue (or, swing) of the rhythm section — the influence of bossa nova is felt in the way the drummer lays down some jazzed-out chops on even the forró numbers. While this might not be the place to start for people new to Jackson do Pandeiro, this a fine album on its own. It makes me happy.

Jackson do Pandeiro – A Cabra da Peste (1963) FLAC LOSSLESS

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