Pinduca – No Embalo do Carimbó e Sirimbó – Vol. 9 (1980)

 

 

 

Pinduca
No Embalo Do Carimbó E Sirimbó – Vol. 9
1980 Copacabana COELP 41320
 


 
A1     O Rico e o Pobre (public domain, adapted by Pinduca)    2:53
A2     O Ricardão (Pinduca)    2:46
A3     Fuma Porque Pode (Pinduca – Maria Gonçalves)    2:24
A4     Festa de Umbanda (Pinda – Deuza)    2:35
A5     Marcha do Top Less (Pinduca – O. Roosevelth)    2:55
A6     Curichão da Saudade  (Pinduca)    2:44
B1     Sentando a Puã (Pinduca – Maria Izabel Pureza)    2:24
B2     Terra Boa É o Pará (Pinduca)    2:20
B3     Vou Dar Risada (Pinduca – Deuza)    2:55
B4     Joaninha, Meu Bem (Pinduca – João Antonio de Oliveira)    2:58
B5     Chorando À Beira Mar (Pinduca)     2:32
B6     Doce Menina (Pinduca)    2:31 
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 Vinyl -> Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply); Creek Audio OBH-15; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 96khz; Click Repair light settings; individual clicks and pops taken out with Adobe Audition 3.0 – resampled (and dithered for 16-bit) using iZotope RX Advanced. Tags done with Foobar 2000 and Tag&Rename.
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Episode 9, in which we discover that Pinduca was a police sergeant and also harbored a secret desire to be a male stripper.   Songs about how you can never trust a women. Songs about women who smoke, about umbanda parties, topless bars, and Tarzan – all this and more in the ninth installment of No Embalo do…..

Aw Christ who am I kidding, I don’t have anything to say about this record.  This is the very definition of “phoning it in.”  I’ve had a really crap week, or as I would be able to appropriately say if things had turned out better for me, “this week has been total shite.” Although if things had turned out better then I wouldn’t need to say my week was shit, rendering these last few sentences irrelevant.  Not redundant, because nothing has been repeated, but possibly I have become redundant in the British sense, in that I might be imminently replaceable.  If fact I encourage readers to write their own description of this album in the style of Flabbergasted Vibes.  Please post your writing sample in the comments section, along with a CV, three professional references, and a statement of your goals and theoretical contribution to the discipline.  Eligible candidates for the position will demonstrate a clear commitment to uncompensated writing and chronic anxiety about your future.

Enjoy the music, you bastards.

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Pinduca – No Embalo do Pinduca Vol. 10 (1981)

Pinduca
No Embalo Do Pinduca – Vol. 10
Beverly BLP 83070-A (1991 Reissue)
Original release 1981 Copacabana COELP-41561
 

 
 
A1     Lambada Da Birita (Aquino)    2:34
A2     Urubajara (Pedro Américo – O. Roosevelth)     2:40
A3     Mambo Rabo De Saia  (Pinduca – Mário Gonçalves)     2:56
A4     Rosa Em Botão (Pinduca)     3:14
A5     Esta Zinha Meu Amor (Pinduca)     2:06
A6     Poeta Do Mar (Pinduca – Vidinho)     2:48
B1     Siri Mole, Siri Duro (Pinduca – O. Roosevelth)    2:34
B2     Tabatinga (Pinduca – Deuza)    3:03
B3     Siriá Gostoso (Pinduca – Deuza)     2:32
B4     Vizinha Linguaruda (Pinduca – Maria Izabel Pureza)    2:49
B5     Santos De Casa (Pinduca – Tânia)     2:45
B6     Passa, Passa Do Viaduto Do Chá (Carimbó De São Paulo) (Adalberto Pires – Pinduca)  2:36
Artistic direction – Luiz Mocarzel
Executive producer – Pinduca, Talmo Scaranari
Arranged by Pinduca
Recording and mixing engineer – Zilmar Araújo
Mastering – Silvia R. Nascimento
Recorded at DO-RE-MI studios in São Paulo in 24 channels
Photo – Carlos A. Gordon
Layout and design – Jurandir G. Silveira
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 Vinyl; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply); Creek Audio OBH-15; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 96khz; clicks and pops removed with Adobe Audition 3.0; dithered and resampled using iZotope RX Advanced (for 16-bit). Converted to FLAC in either Trader’s Little Helper or dBPoweramp.  Tags done with Foobar 2000 and Tag and Rename.

 

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.

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