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.