Azulão – Eu Não Socorro Não (1975)


Azulão “Eu não socorro não”
Released 1975 on Esquema (1239023)

01. Nega buliçosa (Tiago Duarte)
02. Forró do Compadre Solon (José Silva – Ivan Bulhões)
03. Mané gostoso (Lidio Cavalcante – Adolfo da Modinha)
04. Tropé de cavalo (Genesio Guedes – Abenildo Lucena)
05. A filha de Mané Bento (João Gonçalves – Genival Lacerda)
06. Esquenta moreninha (Assisão)
07. Eu não socorro não (F. Azulão)
08. Candieiro de Iaiá (Brito Lucena)
09. Severina xique xique (João Gonçalves – Genival Lacerda)
10. Tem que ter suor (Antonio Barros)
11. Canção do roedor (Cecéu)
12. Rosa mulher (Agripino Aroeira – Rosilda Santos)

Produced by Arnaldo Schneider
with assistance from Antônio C.
Recorded at Estúdio Hara
Sound technician and mixing – Max Pierre
Record pressed by Tapecar
Album cover by Joselito

Transcription details:
Vinyl -> 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 -> dithered and resampled using iZotope RX Advanced


This is the glorious first album by Azulão, born Francisco Bezerra de Lima. Known as “O Grande Pequeno” on account of his very diminutive height, there is nothing small about this guy’s voice or his charisma. He plays forró pé de serra in an old-skool style. When I first heard of him I was told he was in the same lineage (linha) as Jackson do Pandeiro, and while I was skeptical of such a bold comparison, I was also curious enough to buy his most recent album (released a few years ago) and he most definitely merits it. Since then I have had the pleasure of seeing him perform live during the season of Festas Juninas and must say he put on one of the best live shows I have had the pleasure of seeing. Azulão is a fixture in the music scene of Caruarú, a city in the interior agreste region of Pernambuco that is famous both for being the mecca of forró as well as holding the Guinness Book record for the largest outdoor concert(s) in the world, held during the São João festivities. Although he has been recording music for 35 years and performing music for much longer, Azulão remains something of a ‘best kept secret’, a forró celebrity in Pernambuco but seemingly under-appreciated everywhere else. I am still exploring Azulão’s discography but aside from some clunkers he recorded in the 80s, mostly due to 80s production values, it is hard to go wrong with this guy’s records and they are all worth checking out.

This record has a wonderfully crisp, full sound to it with top-notch production values complimenting the top-notch musicianship. Note the prominence given to the cavaquinho on this record – an instrument typically associated with samba, it was Luiz Gonzaga who first began using it on forró records. Although not uncommon in this setting these days, it is also not necessarily “essential” to playing pé de serra (the core instruments being sanfona, zabumba, and triangle), and so it is a delicious treat to have on this record. The title song is a bit of word play, which I would have missed if I had not been enlightened by proprietor of the Hotel Portela. The brief lyrics, repeated twice, are the cry of a man whose had enough of being mistreated by his lady. When he says that if he saw her being thrown into a fire and burning up, he wouldn’t save her (‘eu não socorro não’), the sonority of the sung refrain also comes out as ‘eu não sou corno, não’, the “corno” being the term for a man whose partner is famously cheating on him — in English, a “cuckold, Spanish “cornudo” or “cabrón”, Italian “cornuto.”

For better or worse, nothing is catching fire this week as the region where I live is being drenched in rain that has not stopped for four straight days. But if you can’t find a bonfire on your block, put on this record and start your own. Even if you don’t dance the forró or are perpetually dancing by yourself like me (which is particularly silly and impossible with forró), this album makes for a great listening experience under any conditions.

I have a handful of photos that I took of Azulão performing live, somewhere on a hard drive, but in lieu of their absence here is a look at the man in the present day from a pic I found on the interwebs


n 32o kbs em pee tree

Azulão – Eu não socorro não (1975) in FLAC LOSSLESS AUDIO

password – senha in comments

Vamos Dançar Quadrilha (1976)


“Vamos Dançar Quadrilha”
Passarela LP – 60.081 (Rozenblit)
Released 1976

Music by Martins da Sanfona
Dance calling / announcing by J. Austregésilo
Artistic Direction: Nelson Ferreira
Recorded in Recife, Pernambuco

Transcription details:
Vinyl -> 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 -> dithered and resampled using iZotope RX Advanced

Special thanks to “Helida” for writing her name on the album jacket and label three or four times.

The tracks:

01 – Os Cumprimentos
02 – O Passo da Chuva
03 – Dança do Xis
04 – A Dança da Roda
05 – O Túnel
06 – Os Cumprimentos (sem marcação)
07 – O Passo da Chuva (sem marcação)
08 – Dança do Xis (sem marcação)
09 – A Dança da Roda (sem marcação)
10 – O Túnel (sem marcação)


So here we are, the first-ever INSTRUCTIONAL DANCE RECORD at Flabbergasted Vibes! This is an album teaching you how to join a gang and deal drugs. Wait, that’s not right… This is an album teaching you how to square-dance, Brazilian-style. For some etymological reason I simply do not know, the same word for square-dance or ‘hoe-down’ is also the same word used for gangs in Brazilian Portuguese. So you have to be careful when you are invited to join in a quadrilha and, let me tell you, I found out the hard way.

This is a frivolous post. I was drinking earlier during the Brazil v. North Korea World Cup match. I am well sobered up now but it doesn’t take me much to get me tipsy and so I don’t have much to say other than this record is rather silly but should make some of you happy. The first side of the album divides the dance into its respective five parts, and has an announcer calling out instructions to all of you dancing along at home (“Grab your partner” kind of stuff…” seriously, this is Brazilian square-dancing..). The music is loosely forró with sertanejo tendencies (I just coined this as a genre..), traditional music for this kind of dance which takes place in the northeast of Brazil during the “Festa Junina” leading up to the holiday of São João. Written and performed by accordian / sanfona player Martins da Sanfona and an uncredited band, the same exact music is repeated on the second side but without the announcer, so you can practice what you’ve learned on your own. If you are digging the music, for what its worth it sounds quite a bit better on the second side, due to the studio having rolled off the higher frequencies on the first side to make room for the announcer’s instructions to cut through the mix.. This was essentially a party record for the youngsters (right before they were recruited into drugs-and-arms-dealing gangs, of course), so crank it up at your next party and see what happens.

The instructions are broken down rather systematically on the album’s back cover, photographed and included with the other files here, for those interested.

Music scholar, writer, and author of many frevo songs Nelson Ferreira is credited with “artistic direction” but I think that basically means he was basically a consultant at the Rozenblitz recording studio and label at the time.

Vamos Dançar Quadrilha (1976) in 320 kbs em pee tree

Vamos Dançar Quadrilha (1976) in FLAC LOSSLESS AUDIO

Luiz Gonzaga – Canta Seus Sucessos com Zé Dantas (1959)


Luiz Gonzaga / Zé Dantas (1959)
1959, RCA Victor

1 Sabiá
2 O xote das meninas
3 Vem morena
4 A volta da asa branca
5 A letra I
6 O forró de Mané Vito
7 A dança da moda
8 Riacho do Navio
9 Vozes da seca
10 Cintura fina
11 Algodão
12 Paulo Afonso

All songs by Luiz Gonzaga and Zé Dantas

The season of Festas Juninas began a week ago in Northeastern Brazil, building up to the holiday of São João on June 24 (midsummer’s eve in the northern hemisphere) . If I had more energy I would provide you with some penetrating insights into the sociocultural significance of this annual festivity, its inextricable ties to regional history and identity, and its ramifications in securing a place for the Nordeste in the national imaginary. But for now, I will just say it has something to do with lots of funny hats and food made out of corn.

I almost did a vinyl transfer of this record from a 1970s repressing on one of those rubbery RCA “flexi-discs” they were making during the oil crisis, which has a bright orange ugly cover completely different from the original, before I realized I also had it on compact disc. This is a case where I will opt for the digital over the analog option… Released in 1959, it’s a collection of songs that had been released previously, mostly on 78’s if I’m not mistaken, in the period of 1949 to 1955 and that had Zé Dantas as co-writer. Zé Dantas (José de Sousa Dantas Filho) is probably Luiz Gonzaga’s most famous writing partner after Huberto Teixeira, and every song on this is great. Comprised pretty much entirely of “baião” and “xôte” tunes, it’s a pretty relaxing listen for such a danceable record. As the title of the record suggests this is a collection of hits of greater or lesser fame. I’ve posted two audio samples below. “Xôte de Meninas” is so damn catchy that it will actually blot out the complete butcher-job done on it by Marisa Monte from your brain if you were unlucky enough to have heard that version. “A volta de Asa Branca” is just what it would imply – a revisiting of Gonzaga’s famous anthem of the Nordeste. It’s not as good as the original “Asa Branca”, written with Teixeira, basically just a continuation of the story of the retirante but it’s still quite good, and in later years Gonzagão would often play the two songs back to back.

ze dantas

Most of the volumes in the Coleção Luiz Gonzaga reissues by RCA have precious little in the way of information, but this time they’ve graced us with the original liner notes from Zé Dantas, who has a little to say about every song on here. Very nice.

in 320 kbs arrasta-pé tréFLAC LOSSLESS AUDIO
password – senha in comments


Paulo Diniz – Quero Voltar pra Bahia (1970)


“Quero Voltar Pra Bahia”

MOFB 3664

1 – Piri Piri

(Odibar – Paulo Diniz)

2 – Um chope pra distrair

(Odibar – Paulo Diniz)

3 – Ninfa mulata

(Odibar – Paulo Diniz)

4 – Quero voltar pra Bahia

(Odibar – Paulo Diniz)

5 – Felicidade

(Lupicínio Rodrigues)

6 – Marginal III

(Odibar – Paulo Diniz)

7 – Chutando pedra


8 – Chega

(Odibar – Paulo Diniz)

9 – Canseira

(Odibar – Paulo Diniz)

10 – Ponha um arco-íris na sua moringa

(Odibar – Paulo Diniz)

11 – Me leva


12 – Sujeito chato

From cliquemusic

Nascido no interior de Pernambuco, foi para Recife trabalhar como crooner e baterista em casas noturnas. Foi locutor e ator de rádio e televisão, em Pernambuco e no Ceará. Em 1964 foi para o Rio de Janeiro, onde trabalhou na Rádio Tupi e passou a compor com mais freqüência. Sua primeira gravação saiu em 1966, com a música “O Chorão”. Quatro anos depois lançou dois LPs, e em seguida dedicou-se à tarefa de musicalizar poemas de língua portuguesa de autores como Carlos Drummond de Andrade (“E Agora, José?”), Gregório de Matos (“Definição do Amor”), Augusto dos Anjos (“Versos Íntimos”), Jorge de Lima (“Essa Nega Fulô”) e Manuel Bandeira (“Vou-me Embora pra Pasárgada”). Suas músicas foram gravadas por Clara Nunes, Emílio Santiago, Simone e outros. Entre seus sucessos destacam-se “Pingos de Amor”, gravado por vários intérpretes, “Canoeiro”, “Um Chopp pra Distrair”, “I Want to Go Back to Bahia” (uma homenagem a Caetano Veloso, então exilado em Londres) e “Quem Tem um Olho É Rei”, todas em parceria com Odibar.


The first time I put this record on I thought to myself, “Groovy, man, groovy…”, and my second thought was, wow, this guy has a voice like a Brazilian Neil Diamond with a less emotive voice and more restricted range. Now, it depends on your personal taste whether or not this is a good thing, but I have a soft spot for Mr. Diamond and so kept an open mind. The album cover is much more psychedelic than anything you will hear in its contents, a visual tribute to the hit title song which was intended as an homage to then-exiled Caetano Veloso. Musically the record is in some weird plane of existance where Jovem Guarda, Tropicália, and Brazilian soul music, and harpsichord-laden baroque pop mingle and mutate. I can imagine Raul Seixas — who had yet to realize a solo album at this point — grooving out to this record. I think the main flaw in this record is that Diniz sings virtually every single tune the same way, with an overly-blown out belting that doesn’t have the nuance his own songs sometimes call for. It’s probably because of this that he is better known as the author of songs made famous by others. But this obscure little gem is rewarding for any fan of Brazilian music or early 70’s psych-inflected pop-rock. In addition to the title song, other highlights include “Felicidade” (not the bossa nova tune, but a reworking of Lupicínio Rodrigues), “Chutando Pedra”, and the gorgeous “Chega.”

Paulo Diniz – Quero Voltar pra Bahia (1970) in 320 kbs mp3

16-bit 44.1 khz

password: vibes

Jackson do Pandeiro – O Cabra da Peste (1966)


Jackson do Pandeiro
“O Cabra da Peste”

Original release: 1966, “Jackson do Pandeiro – O Cabra da Peste”, Continental, PPL 12265)

Censored release: 1969

reissue: 1978, “Jackson do Pandeiro – O Cabra da Peste – Edição Limitada”, Popular/GE/Continental, 146411047)

This pressing, Warner/Continental CD, 2001 (092741523-2)

01. Capoeira mata um (Alvaro Castilho – De Castro) Balanço
02. Tá roendo (Figueirôa – Maruim) Samba
03. A ordem é samba (Jackson do Pandeiro – Severino Ramos) Samba
04. Pinicapau (Codó) Baião
05. Forró quentinho (Almira Castilho) Forró
06. Bodocongó (HUmberto Teixeira – Cicero Nunes) Baião
07. Secretária do diabo (Osvaldo Oliveira – Reinaldo Costa) Forró
08. Vou sambalançar (Antonio Barros – Jackson do Pandeiro) Samba
09. Alegria do vaqueiro (Zé Katraca) Baião
10. Forró do Biá (Luiz Moreno – Jeronimo) Forró
11. Papai vai de trem (Ivo Martins – Jackson do Pandeiro) Baião

DELETED TRACK between tracks 10 and 11 above, Polícia Feminina (Severino Ramos – José Pereira) Forró

What a confusing release history this album has had, which utter lack of any information whatsoever on the CD reissue fails to clear up. This is what I was I have been able to piece together for you: “O Cabra da Peste” was released in 1966 (sometimes listed as 1963, which I originally fell for but was thankfully corrected about), censored and re-released without the song “Polícia Feminina” in 1969, then reissued again in limited edition in 1978, from which I suspect this album cover at the top was taken. I am not sure what is meant by the text under the photo, “rerecording with a new cover,” unless they consider the removal of one track to be a rerecording. Or perhaps by 78 they decided to put “Polícia Feminina” (a fairly innocuous and silly song about having your heart locked up in prison, etc) back on the album…. Whatever the case may be, the CD issue is still missing the track. The recording is in mono, so we can at least be glad they didn’t use a version “electronically rechannelled for stereo”…

Jackson do Pandeiro recorded a ton of hit songs that are very important for Brazilian popular music. None of those are on here. (You might, however, want to visit the previous post of O Rei do Ritmo on this site..). I read one review of this album, in Portuguese, that criticized the song selection as being the weakest of any album from Jackson’s career.. Well, if that’s true, I am still pretty impressed by this record and it only shows just how much of a genius this guy to give these tunes so much life. It’s a solid set of forró, samba, and samba de coco. And although there might not be anything that immediately has you singing along like many of his better-known releases, there are some real stand-out cuts here. “Capoeira mata um” totally kicks off right. “A ordém é samba” written by Jackson and and Severino Ramos, and “Bodocongó″ by Humberto Teixeira e Cícero Nunes are catchy tunes and hot performances, showing just how easily Jackson could interpret a variety of styles and have it still come out like, well, Jackson do Pandeiro. One difference between material from this era and his earlier 1950s successes can be found in the suingue (or, swing) of the rhythm section — the influence of bossa nova is felt in the way the drummer lays down some jazzed-out chops on even the forró numbers. While this might not be the place to start for people new to Jackson do Pandeiro, this a fine album on its own. It makes me happy.

Links removed and post bumped

Jackson do Pandeiro – Sua Majestade, O Rei do Ritmo (1960)


Jackson do Pandeiro
“Sua Majestade – O Rei do Ritmo”
Copacabana records, 1960

1 Forró em Caruaru (Ze Dantas)

2 Cabo Tenório (Rosil Cavalcanti)

3 O canto da ema (João doVale – Alventino Cavalcanti – Ayres Vianna)

4 Sebastiana (Rosil Cavalcanti)

5 Cremilda (Edgar Ferreira)

6 Coco de improviso (Alventino Cavalcanti – Edson Menezes – Jackson do Pandeiro)

7 Xote de Copacabana (José Gomes)

8 A mulher do Anibal (N. de Paula – Genival Macêdo)

9 Um a um (Edgar Ferreira)

10 Coco social (Rosil Cavalcanti)

11 Falsa patroa (Geraldo Jacques – Isaías de Freitas)

12 O crime não compensa (Eleno Clemente – Genival Macêdo)

This long-player, which by all appearances seems to be a collection of the many singles put out by Jackson do Pandeiro in the decade or so before 1960, quite a few of them on 78s. Save Chiclete com Banana, most of his biggest hits are here, and it’s an incredibly fun listen. It is also one of the only releases from him you will find on CD besides a few anthologies. This is at least partly do the fact that Jackson recorded for at least four or five different labels during his career, and a lot of his output was in the form of singles. Hopefully someday there will be a boxset deserving of this huge figure in Brazilian music. Along with Luiz Gonzaga, he is a master of the genre of forró, but also known for his interpretations of ‘samba de coco’ — traditionally a type of samba found in the sertão or backlands of Pernambuco and Paraíba, accompanied by hand-claps and group call and response singing, but reinvented by Jackson into an ensemble setting. The guy just oozed musicality out of his pores. The style of syncopation he injected into his music is credited with transforming Brazilian music, changing the way musicians and composers were rhythmically approaching their material. I can believe it.

Whereas, Luiz Gonzaga – the undisputed king of the baião ballad and sort of the ambassador of forró “pé de serra” style – was in a way more of a curator of the rich, musical and cultural heritage of the northeast (my opinion, feel free to dispute it), Jackson do Pandeiro was forging new sounds and textures, or as the music-writers’ cliché would have it, “pushing the boundaries” of the genre(s). This is not meant to be a dig against Luiz Gonzaga: I adore him and his musical legacy, but there is a real way in which that legacy has become almost a stand-in for the culture itself, and Gonzaga was deliberately “reinventing tradition” to promote a previously devalorized part of the country. But Jackson, man, Jackson do Pandeiro was as ‘modern’ as any bossa nova, as charismatic and tempestous a stage presence as any rocker. Even if he wasn’t jumping around the stage, his performances would leap off of it and into your consciousness.
Why does Almira look so scared and horrified?
I’ll tell you.
It’s because Jackson do Pandeiro was an unstoppable rhythm machine. And, he was dancing right next to her.

Here is a bio of Jackson do Pandeiro from cliquemusic, translated by yours truly for your enjoyment:

BIO from CLIQUEMUSIC, translated by Flabbergast

Born in the interior of Paraíba, his first wish was to play the accordion. But since that instrument was very expensive, his parents gave him a pandeiro (tambourine). His mother was a singer of coco, and played the zabumba and ganzá. At 13 years-old he moved with his family to Campina Grande, where he worked at odd jobs and began to pay attention to the singers of coco and the guitar-playing minstrals at the open markets and fairs. It was in this city where his first stage name emerged, Jack, influenced by North American Westerns that he would watch at the cinema. In the 1940s he moved on to João Pessoa, where he played in cabares and on radio stations. Much later he went to Recife, Pernambuco, and it was there at the Rádio Jornal do Comércio that he definitively adopted the name Jackson do Pandeiro. In 1953 he recorded his first hits: “Sebastiana” (Rosil Cavalcanti) and “Forró em Limoeiro” (Edgar Ferreira). Three years later he married Almira, who would become his partner during performances. In the same year they moved to Rio de Janeiro, and Jackson was contracted by Rádio Nacional, where he was a popular and critical success for his way of singing baiões, cocos, rojões, sambas, and marchinhas of carnaval. His influence is felt still today in artists that have rerecorded songs that Jackson made famous, like “O Canto de Ema,” recorded by Lenine (*Flabber note: much better version recorded by Gilberto Gil on Expresso 2222… But I don’t like Lenine at all, he makes me cringe..), “Na Base de Chinela,” by Elba Ramalho,” “Lágrima” by Chico Buarque, or “Um a Um” pelos Paralamas do Sucesso.** An inspired composer and instrumentalist of rare talent, he popularized other classics of Northeastern music, like “Chiclete com Banana” (Gordurinha/Almira Castilho), “Xote de Copacabana” (José Gomes), “17 na Corrente” (Edgar Ferreira / Manoel Firmino Alvez), “Como Tem Zé na Paraíba” (Manezinho Araújo / Catulo de Paula), “Cantiga do Sapo”, “A Mulher do Aníbal”, “Ele Disse” (Edgar Ferreira) and “Forró em Caruaru” (Zé Dantas). In 1998 he was the honored figure at the 11th Prêmio Sharp de Música (Flabber note: I don’t know what this event is…)

** Flabber note: A glaring omission from this list by cliquemusic — “Sebastiana” was recorded by Gal Costa on her 1968 album, and its one of the wildest renditions of anything associated with Jackson do Pandeiro.

*** An even more glaring omission is Gilberto Gil’s version of CHICLETE COM BANANA, which is still performed by him frequently. Along with O Canto de Ema recorded by Gil on Expresso 2222, these songs were my first exposure to Jackson.

**** Flabber note: This brief bio also does not mention that Jackson became involved with the same religous sect, Cultural Racional, that had Tim Maia recording his wonderfully looney masterpiece(s) of funk in 1975. The album of Jackson’s where the Racional philosophy gets reflected most is titled “Alegria Minha Gente” from 1978 and as far as I know has never received a CD release.


SEBASTIANA – A fantastic song, also great for practicing your vowel sounds (and sometimes epsilon)


This clip of “Chiclete Com Banana” is a rather odd piece compiled by someone wanting to make a statement about the Americanization of Brazilian culture, splicing in old footage of films and carnaval and cartoons. It may or my not have something to do with cineaste Jose Nelson, I don’t know, I can’t figure it out.. I like it though. And keep an eye out for a George Bush playing percussion!

Clip of a documentary made by TV Cultura — sign the petition to get this shown in full!

And more — A Globo documentary (using some clips from the TV Cultura one, incidentally), just the first bit