Numa sala de reboco (José Marcolino – Luiz Gonzaga)
O cheiro da Carolina (Amorim Roxo, Zé Gonzaga)
O xote das meninas (Luiz Gonzaga, Zé Dantas)
Adeus, Rio (Luiz Gonzaga – Zé Dantas)
Aquilo bom (Garotas do Leblon) (Luiz Gonzaga, Severino Ramos)
No meu pé de serra (Luiz Gonzaga – Humberto Teixeira)
Baião (Luiz Gonzaga, Humberto Teixeira)
Pau de arara (Guio de Moraes – Luiz Gonzaga)
Juazeiro (Luiz Gonzaga, Humberto Teixeira)
Derramaro o gai (Luiz Gonzaga – Zé Dantas)
Imbalança (Luiz Gonzaga, Zé Dantas)
A feira de Caruaru (Onildo Ameida)
Olha a pisada (Luiz Gonzaga – Zé Dantas)
Boiadeiro (Armando Cavalcante, Klecius Caldas)
VIVA SÄO JOÄO!
Leap through a bonfire, dance a quadrilha, have a mock marriage, eat lots of food made out of corn and enjoy the kids dressed up in cute little 'matuto' costumes of country people in peasant blouses and rustic clothes. Little girls with freckles painted on and boys with fake mustaches.
I think it is safe to say that there is no symbol more iconic or more strongly associated with São João than the King of Baião, Luiz Gonzaga! Every one of his records had some reference to it, and he made quite a few LPs entirely devoted to Festas Juninas or São João, and literally everywhere you go in the month of June in the Nordeste you will hear his compositions being played by all kinds of bands of varying competence, and in all kinds of styles. Last year was his centenary so celebrations were even more Gonzaga-centric. But I expect this guy's legacy will last for another hundred years, easily.
Gonzaga recorded a ton of hugely-popular 78s in the 1940s and 50s, and while he never stopped recording or performing, his popularity dipped for a while in the 60s as bossa nova, jovem guarda, and Tropicália saturated the music market. But he got a boost from the recognition of the Tropicalístas who recorded a number of his compositions and soon he was back on top. This live record, released after his death, is pretty cool. The notes from Sérgio Cabral claim this was the first time Gonzaga played in the Zona Sul in his entire life; I find this highly doubtful given his earlier fame. It would probably be more accurate and plausible to say that he had not played in Rio's south zone for a decade or so. Notable for having protege Dominguinhos in the band as well as an electric guitar (a rarity for Gonzaga), they run through a whole bunch of highlights in his oeuvre. But the concert was a month-long run at a posh Copacabana theatre, after his "rediscovery," and the music lacks some of the urgency and energy you might expect from a live recording. Granted that Gonzaga was already a bit older than in his heyday, but I can't help thinking some of it is about the fact that he's playing for a seated audience of polite middle-class people. Without the dancing and drinking and convivial revelry that has always been part of forró pé de serra, it loses a little something. So I usually reach for earlier recordings when I want to crank up the Rei de Baião, but this show is kind of a good greatest-hits retrospective, with Gonzaga telling stories during the songs, and the arrangements are cool. This must have been recorded for television but I don't know for certain. It's a good document and a fun listen even if it's not on my top-shelf choices of the great Seu Luiz.