Só Era Eu, issued in June 1967 by Oxente Music, collects twelve tracks that root firmly in the forró tradicional of Brazil’s northeast. Jacinto Silva channels the rhythmic pulse of coco and baião, alongside the signature accordion-driven grooves that mark the genre’s lineage. The album includes pieces such as “Rosa Branca” and “Côco de Pernambuco,” each underscoring Silva’s adherence to the rustic dancehall frameworks of the period.Of particular note is “Pisa Maneiro,” a track that exemplifies the lively interplay between percussion and melodic lines typical of forró. Though not widely circulated, this record holds a modest but dedicated listenership, its grooves preserved in the folds of Brazilian folk tradition. Só Era Eu stands as a document of mid-century regional music, capturing the spirited cadence that continues to inform contemporary interpretations of forró.

Só Era Eu, issued in June 1967 by Oxente Music, collects twelve tracks that root firmly in the forró tradicional of Brazil’s northeast. Jacinto Silva channels the rhythmic pulse of coco and baião, alongside the signature accordion-driven grooves that mark the genre’s lineage. The album includes pieces such as “Rosa Branca” and “Côco de Pernambuco,” each underscoring Silva’s adherence to the rustic dancehall frameworks of the period.Of particular note is “Pisa Maneiro,” a track that exemplifies the lively interplay between percussion and melodic lines typical of forró. Though not widely circulated, this record holds a modest but dedicated listenership, its grooves preserved in the folds of Brazilian folk tradition. Só Era Eu stands as a document of mid-century regional music, capturing the spirited cadence that continues to inform contemporary interpretations of forró.