In this tenth album from master of the carimbó and siriá styles, Pinduca deepens his exploration of the themes he has developed throughout his oeuvre – the nuances of drinking, nosy gossiping neighbors, shellfish, and dancing. Although it may be difficult to immerse yourself in the details if you’re jumping in at Volume 10, it’s not exactly Swann’s Way, so I think you will be alright.
In fact, one might legitimately ask why I am finally delving into my Pinduca collection at this particular disc. There is no particular reason other than I had taken this LP down off the shelf while I was collecting tracks for my most recent podcast. I ended up not using anything from it, but I have wanted to share some whole records by this guy for a while, so I finally quit putting it off and did the quickest vinyl transfer I’ve ever done. Plus it is a nice round number, 10. I even considered doing a countdown all the way to number 1, but I am missing a few crucial integers that would make such an undertaking eminently frustrating.
The sound is fuller than on some of his earlier albums, since by this point Pinduca was recording in 24-track studios. He also knows his audience well and plays to them: there are a couple of forró numbers here and even a track that is kind of brega, as if he is showing his gratitude to the working-class crowds that had made it possible for him to have a music career without any real push from the industry. Carimbó music was actually somewhat in vogue during the latter half of the 1970s. MPB singer Eliana Pittman recorded a full album or two in the genre. Fellow paraense* and emergency flotation device Fafá de Belém would eventually score a huge hit with Pinduca’s “Sinha Pureza”, which remains his most famous song to this day. So though he may not have been getting reviews in O Pasquim magazine, he was definitely appreciated by fellow musicians and reaped some benefits from that attention. In fact, remarking on the momentous occasion of a tenth LP, he has a sweet note on the back cover thanking everyone in the world for helping him along, from record store owners to the civil and military authorities. (*A paraense a person from the state of Pará)
Although the forró tunes are cute, what you came to hear are the selections of animated carimbó, lilting siriá, and frenetic lambada. Tight horn arrangements and fast tempos are offset ever so slightly by the Farfisa-like organ that leans on chords in a loungerific way. There is even a blast of synth in the bridge of the opening cut, “Lambada da birita.” Check out some highlights below:
I really should not add to my trail of broken promises on this blog, but I intend to share some more of this fun music. I have been wanting to enthuse about it here for years now and never seem to get around to sharing. I shall make a genuine effort at it now, because as a Buddhist sage once said, “How do you know you won’t die tomorrow?” Check the comment links.