Demônios de Garoa (1958) & Os Demônios de Garoa (1961)


Demônios da Garoa (1958) [Odeon – MOCB 3023]

1 Promessa do Jacob 2:51
2 Maloca dos Meus Amores 3:12
3 A Lei No Morro 2:30
4 Lenço Na Molera 2:29
5 O Parque Chegou 2:31
6 Malvina 2:50
7 Bem Feito 2:53
8 Deixa Que Vá 2:37
9 Cidade do Barulho 3:09
10 Um Samba Diferente 2:18
11 A Lei do Inquilinato 3:09
12 Joga A Chave 3:36


Os Demônios da Garoa (1961) [Odeon]

13 Um Copo… Uma Garrafa… Um Pente 2:47
14 Barracão 3:06
15 Olha o Gato 2:53
16 Não Emplaca 61 3:02
17 Saudosa Maloca 2:48
18 Ponto de Interrogação 2:31
19 A Voz do Morro 3:07
20 Tu Te Da Ma 2:49
21 Eu Quero Um Samba 2:19
22 Já Tem Dono 2:32
23 Iracema 5:20
24 Não Bobeia Kalamazu 2:23

EMI 2003 2-em-1 Reissue
Total time 67:09

Like most of the EMI 2 for 1 series of Brazilian reissues, this one does not feature consecutive releases from these masters of São Paulo-style samba, but there is nothing to complain about — both of these are stone classics. If you are only accustomed to hearing carioca samba (from Rio), then you are ears are in for a different listening experience.

I will confess – the Demônios da Garoa first came to my attention because of their association with Adoniran Barbosa, whose sambas they made famous. Although Adoniran was a well-known radio and film actor as well as a samba composer, he didn’t actually record his own sambas until the 1970s. Those are the versions I first heard, with his hoarse and slightly-flat cigarette-butt voice bringing his colorful characters to life. Needless to say, hearing the Demônios original recordings came something of a shock to me as they proceeded to perform them with perfect multi-part harmonies and tight instrumentation. Also, they are kind of wacky and sing in silly voices sometimes – Adoniran’s sambas are usually injected with a dose of humor, but once again I had become accustomed to his dour delivery which is in contrast to the Demônios campy, sometimes nearly ‘vaudevillian’ interpretations (to make a crude North American analogy). These two albums only have a handful of Barbosa’s tunes spread across them, but they are all MONSTERS OF SAMBA: Malvina, Joga a Chave, Saudosa Maloca and Iracema. There is also a surprisingly nice version of Zé Keti’s “A Voz do Morro” (surprising because of their very different styles), and a song that some João Gilberto fans might recognize from a version he recorded later, “Eu Quero Um Samba.” There are also plenty of other great respectable sambas from other composers here – “Promessa do Jacob,” “Barracão” and “Não Emplaca 61.” The CD reissue includes the liner notes from the first of the two albums. Although Demônios de Garoa have stayed tirelessly active (and earned a Guiness-book entry for longest-continually-running musical group in Brazil), their golden years were in the 50s and 60s, and you don’t have to look further than these two records to see why.

Full composer credits are in the ID TAGS as well as the Portuguese accents and diacriticals.

I just got back from a visit to São Paulo, where I actually saw “garoa” for the first time — its something between rain and snow, but *not* like hail. Also, São Paulo has donuts.

Ary Lobo – Poeira de Ritmos (1963)

ary lobo

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

Demônios da Garoa – Trem das 11 (1964)

Demônios da Garoa
“Trem das 11”
Released 1964 on Chantecler
This reissue, 1995 – Warner / Continental

1. Saudosa maloca
2. Barracão pegou fogo
3. Abrigo de vagabundos
4. A promessa de jacó
5. Prova de carinho
6. Chum-chim-chum
7. As mariposas
8. Trem das onze
9. Iracema
10. Lenço na molera
11. Conselho de mulher
12. Samba do arnesto

The Demônios in 1964 were: Arnaldo, Atoninho, Claudio, Narciso and Roberto.

This is THE classic record from the Demônios da Garoa, one that could easily be titled “Adoniran Barbosa’s Greatest Hits,” since 8 of the 12 tracks are authored by him. The Demônios have always been most recognizable by their impeccable harmonies and uplifting sense of silliness and humor. I admit I don’t always get the regional colloquialisms and jokes, but it would be hard not to be in a better mood after putting this album on. I had been thinking this album was a collection, because a lot of these tunes appear on earlier records of theirs, but I seem to be wrong. It appears that they re-recorded a lot of the songs they had previously committed to tape. The result is a solid listen of huge historical importance to São Paulo samba. And virtually all of my favorite compositions by Adoniran are here — the title cut Trem Das Onze, Saudosa Maloca, Iracema, Abrigo de Vagabundos, As Mariposas… I first heard most of these tunes on Adinoran’s own albums from 1974 and 1975, so hearing these renditions was a bit jarring the first time. But a generation of Brazilian samba fans grew up on these versions from the Demônios da Garoa, I’ve grown to love them more with every listen.


Biography by Alvaro Neder

The Demônios da Garoa recorded 26 78 albums and, in total, 67 singles, LPs, and CDs, enjoying massive national popularity in the ’50s and ’60s with a revival in 1994. Mentioned in the 1994 edition of the Guiness Book of Records as the oldest popular music group in activity, they completed 58 years of work in 2001. Interpreting the samba done in São Paulo with a very peculiar style, they chronicle the way of life of Brazil’s biggest metropolis and its characters as seen by a common person of the streets, where the corrupted Portuguese of the São Paulo state redneck and of the Italian descent paulistano perform a prominent role.

They formed in São Paulo in 1943 as Grupo do Luar, playing as amateurs in parties and serenatas. They opened in radio that same year in March at a novice show at the Rádio Bandeirantes. As the group won a radio contest, they were hired by Emissoras Unidas. The initial formation was Francisco Paulo Gallo (tam-tam), Artur Bernardo (violão), the brothers Cláudio Rosa (pandeiro) and Arnaldo Rosa (the oldest one, 15 at the time, percussion/vocals), and Antônio Gomes Neto (violão tenor). Gallo and Cláudio departed after a while and Artur died in 1955. In 1949, the group’s recording for the folkloric “Mulher Rendeira” was included in Lima Barreto’s film O Cangaceiro. The first 78 had the balanceio “Siri Malvado” (Jair Gonçalves) and the maracatu “Rio Verde” (Antônio Diogo/Juraci Rago). It was released in June 1950. In 1951 and 1952, they won the Carnival contest of the city of São Paulo with two Adoniran Barbosa sambas, “Malvina” and “Joga a Chave” (with Osvaldo Molles). The history of Barbosa and the Demônios is intertwined, as the Demônios made the basis of their repertory from Barbosa’s compositions. The first recordings of Barbosa’s later megahits “Saudosa Maloca,” “Samba do Arnesto,” and “Trem Das Onze” were by the Demônios. “Saudosa Maloca” and “Samba do Arnesto” were performed for the first time in 1954 at the Rádio Nacional (São Paulo) and recorded in the next year. In 1958, the group participated in the film Vou Te Contá (Alfredo Palácios), and, in the next year, in Dorinha No Society (Geraldo Vietri). In 1958, they recorded the first 8″ LP, Saudosa Maloca (Odeon), which had two hits with “Iracema” and “As Mariposas.” In 1964, they presented “Trem Da Onze” (Adoniran Barbosa) at the Rio de Janeiro Carnival contest, winning the competition. They continued to record extensively during the ’60s, ’70s, ’80s, and ’90s. In 1993 and 1994, they entered the Guiness Book of Records as the oldest popular musical group active in the world (in 1993 just as the oldest group in Brazil). The Demônios da Garoa continue their activities with the following formation: Arnaldo Rosa (afoxê), Sérgio Rosa (Arnaldo’s son, pandeiro), Antônio Gomes Neto, the Toninho (violão tenor), Ventura Ramirez (seven string violão), Osvaldinho da Cuíca (cuíca) and Sidney Cláudio Thomazzi, the Simbad (cavaquinho). Demônios da Garoa – 50 anos (Warner, 1994), commemorating 50 years of activity, was awarded with the Prêmio Sharp and had the hit “Seu Querer” (Sílvio Mury/Bembeco). The group also was paid homage by São Paulo’s municipality, which instituted the Demônios da Garoa Week. In 2000, the group recorded the CD Mais Demônios do Que Nunca.


* 55 Anos de Garoa (1997)
* Demônios da Garoa Hoje (1995
* 50 Anos (1994)
* Esses Divinos Demônios da Garoa (1990)
* O Samba Continua (1980)
* 34 Anos de Música Brasileira (1977)
* Samba do Metrô (1975)
* Torre de Babel (1974)
* Abre a Gira (1973)
* Eu Sou de Lá (1972)
* Agüenta a Mão, João (1971)
* Sai de Mim, Saudade (1971)
* Doido Varrido (1969)
* Ói Nóis Aqui Tra Veis (1969)
* É De Samba Vol. 2 (1968)
* É De Samba (1968)
* Leva Este (1968)
* Eu Vou Pro Samba (1965)
* Trem das Onze (1964)
* Mas Demônios Que Nunca (1962, Argentina)
* Demônios Em Sambas Infernais (1961)
* Pafunça (1958)
* Demônios da Garoa (1957)
* Saudosa Maloca (1957)

Maiores Sucessos (ordem cronológica)

* 1951 – Malvina
* 1955 – O Samba do Arnesto
* 1955 – Saudosa Maloca
* 1956 – Iracema
* 1965 – Iracema (regravação do antigo sucesso de 1956)
* 1965 – Trem das Onze

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