João do Vale – MPB Especial 1973

Photobucket

A MÚSICA BRASILEIRA DESTE SÉCULO POR SEUS AUTORES E INTÉRPRETES
João do Vale – MPB Especial 1973
Released 2000 SESC – SP (JCB-0709-023)

1 O canto da ema
(Alventino Cavalcante, Ayres Viana, João do Vale)
2 É de dois, dois
(Jesus Santana, João do Vale)
3 Algodão
(Luiz Gonzaga, Zé Dantas)
4 Minha história
(Raymundo Evangelista, João do Vale)
5 Cesário Pinto
(Zé Gonzaga)
6 Estrela miúda
(Luiz Vieira, João do Vale)
7 Maria Filó (o danado do trem)
(Luiz Vieira, João do Vale)
8 Sanharó-Tambo
(Luiz Guimarães, João do Vale)
9 Segredo do sertanejo (Uricuri)
(José Cândido, João do Vale)
10 Quatro fia feme
(Ary Monteiro, João do Vale)
11 Peba na pimenta
(Adelino Rivera, José Batista, João do Vale)
12 Pisa na fulô
(Silveira Júnior, Ernesto Pires, João do Vale)
13 Sina de caboclo
(J.B. de Aquino, João do Vale)
14 Filho de peixe, peixinho é
(Ernesto Pires, João do Vale)
15 A voz do povo
(Luiz Vieira, João do Vale)
16 Lavadeira e o lavrador
(João do Vale)
17 Orós II
(Oséas Lopes, João do Vale)
18 Carcará
(José Cândido, João do Vale)

This is for the FANS, man. Actually the disc is both priceless and also a disappointment: João do Vale, like many people featured on the MPB Especial and Ensaio programs, was more of a composer than a recording artist — aside from the album “Opinão” with Nara Leão and Zé Keti, I am only aware of one other album under his own name, recorded in the 1980s, which as I recall is only so-so. Thus, when seeing that this program existed it was one of those eye-popping moments of ‘Oh wow, I gotta hear this’… The review below in Portuguese pretty much says everything I would have said, so I just translated for you below. (By the way, I think it is really cool that Clique Music happens to have reviews of so many of the volumes in this collection…). The only thing I would add to it is that it’s “relaxed” quality is perhaps understated – the musical portions of it come across as totally imprompto and unrehearsed, as if João eschewed any notion of preparing beforehand and just came into the studio expecting the musicians to keep up. Eduardo Gudin was sort of a house musician for this program, and there are several cases where João begins singing a capella and Gudin and percussionist Carlinhos come in slowly as the song goes on, as if they are picking up the chord progression and rhythm just by listening and following along.

———review in Portuguese found at Clique Music —————-

Dorival Caymmi disse certa vez que a música de João do Vale tinha cheiro de barro, um traço selvagem e autêntico, qualidades só encontradas em compositores genuinamente populares como ele próprio. No Programa MPB Especial (Ensaio), reproduzido nesta coleção Sesc São Paulo, João do Vale nunca esteve tão relaxado e próximo da definição traçada pelo velho Caymmi. Normalmente tímido (tinha de tomar generosas doses de cachaça para se soltar nos shows), o compositor maranhense desfila com desenvoltura um repertório de clássicos, dos forrós erotizados O Canto da Ema e Pisa na Fulô a canções de protesto, caso de Sina de Caboclo, Segredo do Sertanejo (Uricuri) e Carcará, seu maior sucesso, eternizado na voz de Maria Bethânia. Faltaram grandes canções, como Na Asa do Vento e Pé do Lageiro, e um acordeão para acompanhar o violão de Eduardo Gudin e a percussão de Carlinhos. Afinal, forrós como Pisa na Fulô e O Canto da Ema sem sanfona é a mesma coisa que João Gilberto sem violão ou Jimi Hendrix sem guitarra. Mas isso não tira o brilho do disco. Só as histórias contadas por João já valem o programa. O compositor lembra que foi trabalhar como ajudante de pedreiro no Rio de Janeiro na mesma época em que Marlene estourou nas rádios com uma canção sua, Estrela Miúda. Enquanto colocava massa entre os tijolos, ouvia a música ser tocada nas rádios de toda a vizinhança. Um dia, não resistiu e resolveu contar aos companheiros de obra que o autor daquele sucesso era ninguém menos que ele mesmo. Recebeu um olhar torto da turma e ainda foi ridicularizado: “Conversa, neguinho, tu tá delirando. Coloca mais massa aí sô!” (Tom Cardoso)

—————-
translation:
Dorival Caymmi once said that the music of João do Vale had the scent of clay, a trace of the untamed and the authentic, qualities encountered only in genuinely “popular” composers like him. In the Programa MPB Especial (Ensaio) reproduced in this SESC São Paulo collection, João do Vale was never as relaxed or closer to the definition outlined by the old Caymmi. Normally shy (he had to drink generous shots of cachaça in order to get out on stage), the composer from Maranhão proudly displays a repertoire of classics, of sexy forró like “O Canto de Ema” and “Pisa na Fulô” to protest songs such as “Sina de Caboclo”, “Segredo do Sertanejo (Uricuri)” and “Carcará”, his biggest hit immortalized in the voice of Maria Bethânia. The program lacks some major songs, like “Na Asa do Vento” and “Pé do Lageiro”, as well as an accordion to accompany the acoustic guitar of Eduardo Gudin and the percussion of Carlinhos. In the end, hearing forrós like “Pisa na Fulô” and “O Canto da Ema” without sanfona / accordion is the same thing as João Gilberto or Jimi Hendrix without guitars. But this doesn’t detract from the allure of the disc. Just the stories alone told by João make the program worth it. The composer recalls going to work as an assistant bricklayer in Rio de Janeiro around the same time that Marlene exploded on the radios with his song “Estrela Miúda.” While spreading mortar between the bricks, he heard the song being played on radios all around the neighborhood. One day, he couldn’t resist any longer and decided to tell his work mates that the author of that hit song was none other than himself. He received disbelieving, sidelong glances from the bunch of them and was ridiculed: “Bullshit, neguinho, you’re delirious. Bring more cement over here, already!…” (Tom Cardoso, translated by Ameribucano, Flabbergast)

in 320 kbs em pé tré

in FLAC LOSSLESS

password in comments like always

Jackson do Pandeiro – Os Grandes Sucessos de Jackson do Pandeiro (1975) 24-96khz vinyl


Jackson do Pandeiro
“Os Grandes Successos de Jackson do Pandeiro”
Released 1975 on Tropicana / CBS Records (01320)
[which was also Columbia – Epic – Sony in Brazil…]

1. Morena Bela
(Juarez Santiago / Onildo Almeida)
2. Tum Tum Tum
(Ari Monteiro / Cristóvão de Alencar)
3. Casaca de Couro
(Rui de Morais / Silva)
4. Lamento Cego
(Jackson do Pandeiro / Nivaldo da Silva Lima)
5. Forró De Surubim
(Antônio Barros Silva / José Batista)
6. Mané Gardino
(Ari Monteiro / Elias Soares)
7. Cantiga Do Sapo
(Buco do Pandeiro / Jackson do Pandeiro)
8. Tem Mulher, Tô Lá
(J. Luna / Zé Catraca)
9. Penerou Gavião
(Jackson do Pandeiro / Odilon Vargas)
10. Sina De Cigarra
(Delmiro Ramos / Jackson do Pandeiro)
11. Chu Chu Beleza
(João Silva / Raimundo Evangelista)
12. Forró Em Campina
(Jackson do Pandeiro)

Tracks 1, 10, 11, and 12 are in stereo
Track 2 through 9 are in mono

This is a rather generic compilation of Jackson’s material released on the CBS subsidiary Tropicana in the mid-70s, without any indication of the provinence of any of the material included on it. It has all the tell-tales of a contractural obligation album, which in the case of Jackson is much less of a straight-forward thing than the phrase suggests. I know much less about his life than I would like (and am still waiting to find myself a copy of his biograpy, O Rei do Ritmo), but one bit of wisdom I’ve collected over the years is that Jackson had a nasty habit of entering into business deals with a record label while still under contract to another.

Thus, around the mid-70s we see Jackson leave CBS/Sony and begin recording for smaller or independent labels like Chantecler/Alvorada or Continental – however, CBS continued to release anthology after anthology of his material, leading me to the impression that he still owed them some albums…

My guess is that, with this particular release called “Os Grandes Sucessos” (The Greatest Hits..) which in fact lacks pretty much all of his biggest hits, they were trying to promote some of his newer material included here by capitalizing on some of his earlier, albiet lesser-remembered hits (many of them released as 78 RPM`s on another US-owned label, which were collected and shared HERE although the links were taken down so quickly I have been too spooked to put up new links). Jackson’s discography is so confusing, and the plethora of labels he recorded for so baffling in number, that I wouldn’t be surprised if the executives Tropicana (and their conglomarate corporate overlords) were counting on this chaos in order not to have to pay out on royalties — there are composer credits here, but absolutely nothing on the publishing rights. A little fishy. And though any single-LP collection of Jackson do Pandeiro is going to lack some favorites, there are obvious glaring omissions here of ANY of the recordings that were synonomous with him as a `household name.` So what we get is a mixture of his lesser-known hits and some songs that I don’t think were ever hits at all — namely, material from recent CBS releases like the LP`s “Sina de Cigarra” and “Tem Mulher, Tô Lá.” All of Jackson’s discography on vinyl is frustratingly rare — and even more frustrating, badly represented on compact disc for someone who represents such a huge part of Brazil’s musical patrimony – that I want to make it clear I am not making a critique of those early 70s albums from Jackson. Because in fact I still have yet to hear them! In that sense, I would have been happier if this had been strictly a collection culled from those early 70s discs, rather than a haphazard, somewhat random stroll through his career.

All that being said, this is still Jackson do Pandeiro and ipso facto a truly enjoyable listen. It includes some of my favorites from him like “Tum-tum-tum,” “Cantigo do sapo” (the best song ever about improvising frogs), and “Lamento cego.” And the newer material is also high-caliber stuff.

Some technical notes of interest for those who care… The chaotic nature of this weird collection presents some challenges for somebody wanting to do a decent digitalization of it. The album mixes songs recorded and mixed in MONO (the majority here) with song in stereo, all of them mastered at different maximum volumes, and seemingly all thrown together without much attention to detail. My solution involved a change from my usual workflow for vinyl digitalization. The first part, the actual vinyl transfer, is identical to the usual; it’s in the editing and post-processing that things get weird:

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 24-bits 96khz -> Click Repair light settings, additional clicks and pops removed in Audition ->

-> For tracks 2 THROUGH 9, a second pass in Click Repair solely to use its Stereo->Mono fold-down feature
-> Checking for aditional blemishes in Audition again, and comparing to “false stereo” source for differences

-> Normalizing the amplitude of each track, individually, to 0 decibels.

I’ve been skipping the step of normalizing on a lot of my recent vinyl rips, because I believe one of the great things about vinyl/analog is how much you can turn up the volume on a system before you start to hear distortions, and normalizing everything to 0db kind of defeats this pleasure to my ears. However, the tracks on this compilation are so all-over-the place in terms of their overall levels, I think I’ve actually made an improvement over the original vinyl mastering (or should I say, lack therein).

dithered and resampled using iZotope RX Advanced -> ID Tags done in foobar2000 v.1.0.1 and Tag & Rename.

mp3 icon   flac button

Zenilton – Meu Casamento (1980) 24-96khz vinyl

Photobucket

ZENILTON
“Meu Casamento”
Released 1980 on Copacabana Records (COELP 41299)

01. Meu casamento (Zenilton – Januário Gonçalves)
02. Ela está na minha (Severino Ramos – G. Amorim)
03. Nunca fui mal (Zenilton – Zé Mamede)
04. Quiabo crú (Gatinho – Roderiki)
05. Forró das véias (Severino Ramos)
06. Todo mundo lá tem culpa (Marcelo Reis – Belinho)
07. A vida dos animais (Zenilton – Guriatã de Coqueiro)
08. Fuxico do povo (Jorge de Altinho – Coroné)
09. Mudanças das capitais (Zenilton – Guriatã de Coqueiro)
10. Destino do jumento (Tio Jovem – Zenilton)
11. É melhor cair (Marcelo Reis -Hernandes)
12. Motorista amigo (Zenilton – Guriatã de Coqueiro)

Produced by Luiz Mocarzel and Talmo Scaranari
Recorded in Rio de Janeiro by Luiz Paulo at Sigla Estúdios
Photo credit – Marinho Gusman

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 24-bits 96khz -> Click Repair light settings, additional clicks and pops removed in Audition -> dithered and resampled using iZotope RX Advanced -> ID Tags done in foobar2000 v.1.0.1 and Tag & Rename.

If one were to rely solely on his album covers, where forrozeiro Zenilton is invariably shown alongside some barely-legal young lady in a short skirt, a person might be tempted to dismiss him as fluff. In truth I know next to nothing about him – but on these early albums of his, at least, he was a first-rate practitioner of forró pé-de-serra. In his case the traditional zabumba, triangle, and sanfona have been augmented by a cavaquinho (a instrument that Gonzagão first began including), electric bass guitar, and a full drum kit. The drums are given to cheesy fills on the tom-toms (the kind, when I was a youthful musician, we used to satirize with our onomatopoetic “doo-do-do-do-do-do-do”, always the same fill no matter the song…). But I love the production on this – crisp and clean and very “live” sounding. Working from a pretty clean vinyl copy, I felt like I was listening back to the master tapes.

The songs are all well-written and tightly-arranged, and filled with the ribald and clever wordplay endemic to classic forró, with some odd twists of his own. The dangers of eating raw okra; rhymes about crocodiles, spiders and piranhas; the confusing geography of changes in state and federal capitols (and praise for Quito for always being the capitol of Equador); and some scathing socioeconomic critique about not selling donkey meat to Japan (?). And a homage to the working men (and women, but mostly men) who keep Brazil’s economy moving – the truck drivers (Motorista amigo). Sort of pandering to his fan base here but it’s a smart song and sincere enough. With a few entries from composers Severino Ramos and even one from Jorge de Altinho (very much a more famous personage these days than Zenilton), the bulk of the repertoire here was written by Zenilton.

Photobucket

 

24bit

Luiz Gonzaga – São João Quente (1971) 24-96khz vinyl

Photobucket

Luiz Gonzaga
“São João Quente”
1971 on RCA Camden (107.0097)

1 Fuga da África
(Luiz Gonzaga)
2 De Juazeiro a Pirapora
(Luiz Gonzaga)
3 São João do Arraiá
(Zé Dantas)
4 O xote das meninas
(Luiz Gonzaga, Zé Dantas)
5 Macapá
(Luiz Gonzaga, Humberto Teixeira)
6 Impertinente
(Luiz Gonzaga)
7 Vira e mexe
(Luiz Gonzaga)
8 O coreto da pracinha
(Risério Valente, Altamiro Carrilho)
9 Ovo de codorna
(Severino Ramos)
10 Dia de São João
(Rildo Hora)
11 Coronel Pedro do Norte
(Nelson Valença)
12 Lulu vaqueiro
(Nelson Valença)
13 O urubu é um triste
(Nelson Valença)

Vinyl RCA-Camden (107.0097) -> 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 -> dithered and resampled using iZotope RX Advanced -> ID Tags done in foobar2000 v.1.0.1 and Tag & Rename.

Photobucket

A São João party record from the king of baião, this might be a minor entry in his vast discography if not for a few curiosities. The entire first side (tracks 1 – 7 here) is one long instrumental, fifteen-minute jam where Gonzaga reminds us he’s equally adept at xôte, valsas, quadrilhas, and just showing off his instrumental prowess on the difficult 8-button sanfona (accordion). It’s pretty entertaining, and he makes it a point to touch on some of his successes like ‘O xote das meninas’ and ‘São João do Arraiá’, but it all lacks his booming, commanding voice. This is rectified on the second side of the LP which is split into individual compositions. Aside from Rildo Hora’s “Dia de São João” (which sounds an awful lot like a certain composition by Gonzaga’s protege, Dominguinhos), the rest of these tunes are fairly unknown. And the particular surprise comes at the end: Gonzaga, known for his famous parternships with Zé Dantas and Humberto Teixeira, chose to record not just one but *three* songs from an unknown Pernambucan composer, and put them all together at the end of the LP. Nelson Valença, who seems to have been born, lived, and died in the town of Pesqueira in the agreste of Pernambuco, never had much of a professional career in music, and his biggest claim to fame is having these compositions (and a precious few more that would follow in years to come) recorded by Gonzagão. The first of the them “Coronel Pedro do Norte” is a light satire of the archetypical ‘coronel’ of an interior town, a guy with a big mustache who seems to own everything and everyone, and who just can’t come to terms with the ‘new generation’ and its shaggy-haired youths, and is particularly flustered when his own daughter pays a visit home and steps off the train holding hands with one of these hairy delinquents (cabeludos). “Lulu Vaqueiro” is quite a beautiful ballad, and “Um urubu é um triste” brings us back in that particularly northeastern territory where humor and profundity mix with infectious dance-ability. It is quite a homage to have three of your compositions close out an album by the great Gonzagão, and I would like to find out more someday about the back story on what let up to this – chance encounter, friendship, or whatever. Whatever the case may be, this album must have got a lot of spins in Pesqueira, and these tunes rescue what is otherwise a bit of a bland album from the master.

(*note that in the fielset I have mistakenly dated this album as 1972 thanks to not paying attention to the actual label on the vinyl… sorry about that).

Jackson do Pandeiro – Chiclete Com Banana: 1958-60 (2008)

Jackson do Pandeiro
“Chiclete Com Banana”
The Columbia Records Sessions 1958-60
Released 2008 by Discobertas Records (DB – 002)

DISC ONE

1. Tum, Tum, Tum
2. Pacífico Pacato
3. Boa Noite
4. Nortista Quatrocentão
5. Sem Querer
6. Vou Sambar
7. Boi da Cara Preta
8. Linda
9. Baião do Bambolê
10. Quadro Negro
11. Forró na Gafieira
12. Cantiga do Sapo
13. Naquela Base
14. Quem Não Chora Não Mama

DISC TWO

1. Chiclete com Banana
2. Forró de Surubim
2. Lágrima
3. De Arerê
4. Ogum de Malê
5. Sarava o Endá
6. Casaca de Couro
7. Lamento Cego
8. Valsa Neném
9. Mane Gardino
10. Acorrentado
11. Leva Teu Gererê
12. Vou Buscar Maria
13. Penerou Gavião

I have already lamented previously about the current sad state of Jackson do Pandeiro’s discography. I don’t know if it is due to evil record executives or quarelling family members, but his very extensive catalog of recordings is barely in print, limited to three titles that represent full albums (O Forró de Jackson, O Rei do Rítmo, and A Cabra da Peste) and few compilations with generic packaging that do little to honor the man. But alas it must just be me, the gringo commodity fetishizer, who gets so worked up about OBJECTS and the lack of them. What’s important is the music, right? Well, when you can find it. When you want Jackson do Pandeiro in better quality than a crappy mp3 you found on the internet, then you find yourself with a problem.

Let us welcome Discobertas records, then, into this sad story. They have done the world a service, and brought us a focused, concise collection of music: pretty much everything Jackson recorded for the Columbia record label in his brief tenure there from September 1958 to September of 1960. This is music that makes me glad to be alive.

As the liner notes point out, Jackson do Pandeiro shocked everyone when he left Copacabana Records, with whom he had made a ton of hit records and become a national sensation, and left for the (American-owned) Columbia. Ironic, then, that he end there recording one of his most famous tunes and one of the most famous moments of musical social critique and satire of American imperialism – ‘Chiclete Com Banana’.

By this time, Jackson do Pandeiro was living in Rio, starring in films, and living it up carioca-style. The majority of the tracks on this collection were released on 78’s and many will be unfamiliar even to Brazilian fans. In addition to the expected songs of baião and coco, there are also styles like rojão, batuque, marcha and samba represented here. And it is samba that is perhaps the most starteling revelation here — not that Jackson could sing samba, since he had already done so quite well, but the way it’s presented here. With horn charts and strings often replacing instruments like the sanfona or concertina, one wonders if Columbia was trying to make a samba star out of Jackson. Or perhaps it was his own initiative to do something different? There is a recent book about the man (“O Rei do Ritmo” by Fernando Moura and Antonio Vicente) that may or may not shine some light on this issue.. I have only come across the book once and wish I had bought it, since I am too lazy to remember to order a copy. It has a discography in it that appears almost identical to the one found on the Jackson do Pandeiro ‘official’ website — it appears that one was copied directly from the other, but I won’t point fingers. A great deal of the material here appears to have been recorded with Britinho e Sua Orchestra as his backing band — Britinho was a pianist whose band was sort of the house band at Columbia for putting out popular dance records, mostly samba, in the 50s.

This is usually the point where Flabbergast begins complaining about the quality of audio mastering or packaging or whatnot. Well today I am going to cut Discobertas some slack, because they have done a bang-up job on recent reissues from Beth Carvalho and Elza Soares. This was their second release (not sure which was the first in their catalog)… Armed with only a single photo of Jackson (from the ‘personal archive of the family’), reproduced about five times, they give us the following weird disclaimer in the CD insert: roughly translated, “All efforts were made in the attempt to locate the musicians, composers and photographers involved in the historic material that this project finally makes available. Any corrections will have to be made in subsequent editions (pressings).”

Kind of a weird thing to say on your own record, no? Seems like these guys had as hard a time putting together solid info on Jackson as even the casual listener, which is kind of discouraging.. They do, however, provide the precise catalog numbers of all the releases on 78 and the few that appeared on LPs. As far as I can tell, Jackson had two full length releases (LPs) on Columbia, the majority of which was material already released on 78 with a few new things thrown in. Thus, this seems to be *everything* for Columbia right here on these two discs.

Interesting side note- the producers thank Erasmo Carlos in the liner notes… Maybe just for being a cool guy, or a friend, or maybe they showed up at his house to look at his record collection in desperate need??

Another note — I can’t figure out the source material for this reissue — original tapes, or vinyl? Although the notes above this mention the old standard disclaimer of ‘these original recordings were made on magnetic tape between 1958 and 1960, every technical resource available has been made to improve the audio quality…”, they never come out and say ‘mastered from the original master tapes’. Instead they do a good job of tucking that information away under “Digitalização e pre-edição – Marcelo Fróes” which doesn’t really specify what was digitized. A lot of the tunes too crystal clear to have been done from anything besides tape, but then a lot can be done with pristine copies of original vinyl (such as one might find in Erasmo Carlos’ house..). Usually, working from the original master tapes is something people like to brag about, so the jury is out until they ‘come clean’. But it sounds good to my ears, and this stuff is pure gold musically.

flac button

Ary Lobo – Poeira de Ritmos (1963)

ary lobo
Photobucket

Ary Lobo
Poeira de Ritmos (1963)
RCA Victor LP – BBL 1236
Reissue on Coleção “Essential Classics” (BMG, 2004)

O forrozeiro de raiz Ary Lobo (1930-1980) nos mostra em seu sexto LP na RCA, de 1963, um caldeirão de ritmos nordestinos. Alguns bons para dançar juntinho num baile de forró (Coco da Juliana ou A cigana mentiu) ou numa boa quadrilha junina (Mané Cazuza). – Rodrigo Faour

A true representative of the genuine forró, ARY LOBO (1930-1980) shows on his 6th LP under RCA, originally released in 1963, a real “melting pot” of Brazilian rhythms. There are tracks meant to bring couples dancing close together (“Coco da Juliana” or “A cigana mentiu”) as well as a good old Brazilian-style “square dance” (quadirlha) (the track “Mané Cazuza”). – Rodrigo Faour

1. Quem encosta em Deus não cai
2. Mané Cazuza
3. Vítimas do Nordeste
4. Faca de ponta
5. A cigana mentiu
6. Cento e vinte
7. História de um órfão
8. Patrulha da cidade
9. História do Jeová
10. Coco da Juliana
11. Aqui vou bem
12. Escada da glória

Reissue produced by Charles Gavin
Remastered by Jade Pereira and Carlos Freitas at Classic Master, SP

Although I would recommend you start with his other album that I posted here simply because it grabs you immediately, this is also a very fine album. It starts out with a ballad, which seems an odd choice – the beautiful prayer-like “Quem encosta em Deus não cai) from João do Vale, Ary Monteiro, and J.Ferreira. Rodrigo Faour neglects to mention in his blurb that the record also contains a good ‘frevo’ song (a style specific to the city of Recife), in “Vitimas do nordeste.” Another highlight is yet another religious catechism in “História de Jeová,” as well as the inclusion of an Adoniram Barbosa song, “Escada de Glória.” Unfortunately, Ary Lobo himself does not contribute any compositions of his own on this album, but there is a lot that was composed specifically for this album by various permutations of the composers who were working with him. I quite like the sound of these RCA/Victor reissues. And its not like I have any choice — finding these as original vinyl pressings would cost more than I have to spend, and any reissues around would be on the RCA-flexi-disc style pressings that I personally don’t care for.

in 320 kbs emi pé tré
in FLAC LOSSLESS AUDIO