What good is there in collecting something and not share it with others with the same interest as yours?

The objective of this blog is to share songs not commercially available anymore, for music is the language of the soul and it must not be forgotten.

Sunday, August 29, 2010


As 14 Maiorais Em Boleros (1964) or Alternative

As 14 Maiorais Em Boleros

01. Acorrentados (Encadenados) - Agnaldo Rayol
    (Carlos Arturo Briz/Vers.: João Miranda/Genival Mello) • 2:52
02. Sabe Deus (Sabrá Dios) - Guaranis
    (Alvaro Carrillo/Vers.: Nely N. Pinto) • 2:42
03. Duas Cruzes (Dos Cruces) - Onilda Figueiredo
    (Carmelo Larrea/Vers.: Joluz) • 3:07
04. Confissão (Confesión) - Clóvis Candal
    (Joaquín Oliver/Vers.: Genival Mello) • 3:01
05. Vingança (Venganza) - Silvana
    (Alfredo Parra/Vers.: Francisco Bezerril) • 2:54
06. Fita Meus Olhos - Creusa Cunha
    (Peterpan) • 3:05
07. Tu, Tão Somente Tu (Tu, Solamente Tu) - David de Castro
    (P. Frustaci/Michele Galdieri/Vers.: Oswaldo Santiago) • 2:58
08. Pombinha Branca (Vola Colomba) - Silvana
    (Carlos Concina/Bruno Cherubini/Vers.: Genival Mello) • 3:14
09. De Joelhos (De Rodillas) - Agnaldo Rayol
    (Benito de Jesus/Vers.: Jota Moraes) • 3:32
10. Tudo De Mim - Rouxinóis
    (Jair Amorim/Evaldo Gouveia) • 2:11
11. Deixa Lá - Morgana
    (Nóbrega e Souza/Jerônimo Bragança) • 4:08
12. Um Pouco De Amor - Rinaldo Calheiros
    (Armando Quezada/Lília de Almeida) • 3:13
13. Sinceramente - Fernando Barreto
    (Jorge Mota Vieira/Rosalino Senos) • 2:46
14. Ainda Espero Por Ti - Jairo Aguiar E Collid Filho
    (Joluz/Vadinho) • 2:35

Sunday, August 22, 2010


Biriba Alegra O Brasil (1960)

Sérgio Weiss, the leader of the group, once being interviewed, told the story of the Biriba Boys:
"Between the years of 1950’s and 1960’s, every club had a monthly ball that usually started around 11:00 PM and went through the night, ending not before 4:00 AM on the next day.
During the other weekends, there were balls animated by the bands on what we called "Domingueiras" that started around 5:00 PM up to 8:00 PM, sometimes going as far as 11:00 PM".
"Then, those balls were very important, for there were no TV’s and bars, like today, so the youth waited for them anxiously, and dressed carefully".
"The event was fundamental because that’s where they met and scheduled dates. It was during the dancing that you could find out if your partner was interesting or not".
The group started in the ballroom of the Tênis Clube de São José dos Campos and Sérgio told how it was:
"There was an old piano which I usually played, and eventually would arrive another musician with a tambourine, another with a guitar, and so on. One day, the management of the club told us that we were supposed to play on the main ball. That was craziness. It was 1949".
"Then, I went to the radio station to announce the ball. That time in São José dos Campos, there was only the ZYE-5, and then the DJ asked me the name of the band. The first thing that came into my mind was "Biriba". And he asked: "Biriba what?", to which I answered Boys, Biriba Boys".
"And what does that mean?", "he asked. Then I told him that Biriba was the name of Botafogo’s pet from Rio de Janeiro, and also was the name of an entity of the Brazilian folklore responsible for the 'theft' of objects that mysteriously disappeared. When we couldn’t find something, we would say that the Biriba had taken it".
The Biriba Boys soon became a reference for all the clubs in that region and if a ball wasn’t animated by them, it was a certainty of failure.
With such an irreverent name, the Biriba Boys could only be oriented to innovation. Colorful shirts with tropical motifs, not conventional instruments like the other bands and a refined international repertory based on hits and film hits. They became a symbol of a time that won’t be back and certainly many of those who have been there miss them.

Biriba Alegra O Brasil
01. Prece Ao Sol (Jorge de Castro/Wilson Baptista) • 2:29
02. In The Mood (Andy Razaff/Joe Garland) • 2:53
03. Wake The Town And Tell The People (Jerry Livingston/Sammy Gallop) • 2:40
04. Quem É (Osmar Navarro/Oldemar Magalhães) • 3:27
05. Ô-Ba-La-Lá (João Gilberto) • 3:26
06. Seleção De Cha Cha Cha • 3:59
    Ya Ya Cha Cha Cha (Billy May)
    Undecided (Charles Shavers/Sid Robin)
    Ahora Seremos Felices (Rafael Hernandez)
    Chachazinho (Sylvio Mazzuca)
07. Menina Moça (Luís Antonio) • 2:29
08. Não Tive Tempo (Haroldo Barbosa/Nanaí) • 2:57
09. Leva-me Contigo (Dolores Duran) • 3:18
10. Não Sei Dizer (Sérgio Weiss) • 3:19
11. Marcianita (J. Imperatore/Galvarino Villota Alderete) • 3:17
12. Nugats De Cugat (Xavier Cugat/H. Angullo) • 2:33

Sunday, August 15, 2010


Pedalando (Shellac Single) (1950)

Adelaide Chiozzo was born in São Paulo on May, 13, 1931, in the Brás neighborhood; which had a strong predominance of Italian immigrants. She was the daughter of Leonor Cavallini and Geraldo Chiozzo, a master carpenter. One day he did a job for a music store that paid him with an accordion, which he had no idea how to play. It was his younger daughter, Adelaide who, without anybody knowing, learned how to play the instrument and still in childhood played her first song: the Brazilian waltz "Saudades De Matão" without the help of any teacher.
At the age of 11, Adelaide showed on a competition at the Rádio Bandeirantes, in São Paulo, hosted by Vicente Leporace, soloing the Brazilian waltzes "Branca" and "Saudades De Matão", and after all the steps of that competition, she won the first prize and an invitation to play at the program Serra da Mantiqueira, every day at 8:00 o'clock in the morning, under the direction of the Mota Brothers. Her father, a very strict man, imposed that her older brother, Afonso, also accompanied her in the accordion and the duo was known as the Chiozzo Brothers.
In 1946 the family moved to Niteroi, RJ, and started a furniture business. The composer Irani de Oliveira took Adelaide to the program Papel Carbono, hosted by Renato Murce, and once again she won the first prize and a contract with Rádio Nacional, as an accordionist. She became one of the musicians of the Regional Dante Santoro, one of the best in Brazil, and even as young as she was, she was a match for all of those experienced musicians.
One and a half year after, one singer didn't show for a program, and in the emergency, Adelaide substituted her and after that she started interpreting songs as a singer as well.
Irani de Oliveira also took her for an audition at Atlântida Filmes and she was hired. With her brother Afonso, she played for Bob Nelson, the Brazilian Cowboy, in two films: "Esse Mundo É Um Pandeiro" (1947) and "E O Mundo Se Diverte" (1948), but only in 1949 she had a part for herself, where she played the song "Tempo De Criança", her debut single in 78 r.p.m. for Star in 1950. Now, as a radio singer at Rádio Nacional, where she stayed for 25 years, she didn't have to play for Bob Nelson anymore.
In the film "Carnaval No Fogo" (1950) she had the opportunity to play a part, and also sing the polka "Pedalando" a big hit and one of her most requested songs until today.
In 1951 she married the guitar player Carlos Mattos who started to play with her and thanks to the incredible popularity of Rádio Nacional, Adelaide estimates that now, she had showed in more than 800 cities in Brazil, many of which, more than once.
Paulo Gracindo suggested to Revista do Rádio to launch a competition to choose the "Brazilian Girlfriend" and Adelaide won. She holds the title until today, for there was no other competition of the kind since then.
Adelaide, always the same adorable person, lives today with Carlos Mattos in the neighborhood of Tijuca, Rio de Janeiro, and recently they celebrated their 50 years of marriage.

Alencar Terra (???? - 20/05/1963) was a multi-instrumentist and for many years had his own academy of music in Rio de Janeiro.
In 1944 recorded for Odeon "Melodias Russas" and "Melodias Infantis". He composed and accompanied, among others, Adelaide Chiozzo, with whom he recorded "Saudades De Guarapari" and "Recordações De Anápolis", both composed by him, "Venho De Minas", with J. Portella, "A Saudade Que Não Me Deixa", by Jorge Tavares and Nestor de Holanda, "Pedalando", by Anselmo Duarte and Bené Nunes, and Tempo De Criança", by João de Souza and Ely Turquine, all in 1950.
When he passed away, in 1963, he left an invaluable collection of compositions on the regional repertory.

These records were part of my toys and survived my childhood.  Unfortunately, the amount of noise you find on such records, especially the 78 r.p.m.'s is too big.  I used all my knowledge to clean them up, but some frequencies might have been altered and some noise was left to avoid a larger distortion of the music.  If any of you wish to try the cleaning for yourselves, please let me know and I'll make the original rip available.

01. Pedalando (Anselmo Duarte/Bené Nunes) • 2:44
02. Tempo de Criança (João de Souza/Ely Turquine) • 2:50


Venho De Minas (Shellac Single) (1950)

Venho De Minas

01. Venho De Minas (Alencar Terra/J. Portella) • 2:30
02. A Saudade Que Não Me Deixa (Jorge Tavares/Nestor de Holanda) • 2:39 


Beijinho Doce (Shellac Single) (1951)

Elyana Macedo (Ely de Souza 1925 - 1990) was an elementary school teacher in Itacoara, RJ, and was discovered by her uncle Watson Macedo, a movie director, when he was visiting his family in that city.
Elyana was always the principal character on the films and Adelaide her best friend, while in real life, it was the opposite.
Her first film was "E O Mundo Se Diverte (1949) and she soon conquered the heart of the audience. She married the DJ Renato Murce and acted in 24 films.
In the beginning of their careers, Elyana and Adelaide lived in Niteroi and they had to take the ferryboat to do the crossing for they didn't have enough money for the taxi.
In 1979 they were invited to do a part in the soap opera Feijão Maravilha, produced by Rede Globo, and then they revived some of their hits like "Beijinho Doce" among others.

Beijinho Doce
In 2001 the label Revivendo released a compilation (Tempinho Bom) of songs by Adelaide Chiozzo, but I couldn't find it neither to buy nor to download. If any of you have it and want to share, please don't be shy.  A few videos can be found on You Tube though.

01. Beijinho Doce (Nhô Pai) • (2:58)
02. Cabeça Inchada (Hervé Cordovil) • 2:58

Sunday, August 8, 2010


Se Tem Que Ser Adeus... Adeus (EP) (1973)

Se Tem Que Ser Adeus... Adeus

01. Se Tem Que Ser Adeus... Adeus (Cézar/Alexandre Círus) • 3:10
02. Nunca Mais Eu Te Esqueci (Almir Rogério/Jean-Pierre) • 3:13
03. Você É Muito Importante Em Minha Vida (Cláudio Fontana) • 3:20
04. Avenida do Amor (Carlos Roberto Bonanni) • 3:15

Sunday, August 1, 2010


Antenógenes Honório da Silva (born in Uberaba, Minas Gerais, 30/10/1906 - ????) was the son of a locksmith and a very respected accordion player.  He quit his elementary school and learned to play the "8 Bass" accordion.  At the age of 14 he composed his first song, in homage to his girlfriend.  In 1927 he went to Ribeirão Preto in the Estate of São Paulo and in 1928, already living in the City of São Paulo, he started his artistic career playing at the Bar Excelsior and the Rádio Educadora Paulista.  In 1929 he recorded two 78 r.p.m.'s for RCA Victor: the choro "Gostei De Tua Caída" and the (Brazilian) waltz "Norma", both composed by him.  In 1933 he moved to Rio de Janeiro with a contract with RCA Victor; he became know nationally and toured in Buenos Ayres, Argentina.  As an accordionist he played for many artists, Brazilian and foreigners and was the first to play Lyric Music at the Teatro Municipal.
He learned harmonics, solfeggio and orchestration with Guerra-Peixe.  He then picked up his studies, interruped during childhood and in 1949 he became an Industrial Chemist.
In 1957, in Germany, at the Honner Harmonic Festival, he got the first prize playing his "8 Bass" accordion and was considered one of the best players of the world.  He was known as the "Accordion Wizard".

Valsas E Saudades

01. Saudades De Ouro Preto (Antenógenes Silva) • 3:10
02. Pisando Corações (Antenógenes Silva/Ernâni Campos) • 2:53
03. Rapaziada Do Braz (Alberto Marino) • 3:11
04. Uma Grande Dor Não Se Esquece (Antenógenes Silva/Ernâni Campos) • 3:14
05. Saudades De Iguape (João Baptista Do Nascimento) • 2:57
06. Serenata Em Ribeirão Preto (Antenógenes Silva) • 3:25
07. Dirce (Octávio Azevedo) • 3:31
08. Saudade Dos Teus Beijos (Antenógenes Silva) • 3:27