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Lobo, Ary – Ary Lobo 1958-1966 [IMPORT] – New LPWhoever has been following the musical movements happening within our culture, must have noticed this young singer hailing from the North of Brazil. An absolute master of Baio, Cco, Batuque and other related musical genres and the owner of an art one hundred percent his own, Ary Lobo is the ideal interpreter of northeastern songs" Ary Lobo 1958 1966 (Limited Dance Edition No. 19) by Analog Africa These words taken from the original liner notes of Ary
“Whoever has been following the musical movements happening within our culture, must have noticed this young singer hailing from the North of Brazil. An absolute master of Baião, Côco, Batuque and other related musical genres and the owner of an art one hundred percent his own, Ary Lobo is the ideal interpreter of northeastern songs"
These words taken from the original liner notes of Ary Lobo’s first LP, “Forró con Ary Lobo” recorded in 1958, are in no way exaggeration. How many Brazilians have been bewitched by his voice nobody can say for sure but what is certain is that it is a voice that could have gone silent forever, as Biographer Elmo Barros explains:
"Hailing from Belém do Para in the north of the country, Ary Lobo was ready to launch his campaign on the south of the country and set out for Rio de Janeiro in October of 1955. There he encountered the usual southern biases against singers from the North and it was only after meeting Gadé, a respected pianist, that he was able to secure an audition at Rádio Mauá.
But the opportunity nearly turned into a disaster as he arrived to that session in such a frail state that he couldn't perform. Insufficient and irregular feeding had affected his breathing making it impossible to give his voice the necessary power. Fortunately the audition was postponed and on his second attempt he was able to secure a five month contract with the station were he became known as a Samba singer. As his reputation grew, he was signed To RCA Victor in June of 1956."
The music scene in Rio began catching wind of the newcomer who cultivated the personality of a Northeastern singer with deep roots in Afro-Brazilian heritage. He would kick start the new decade by recording what many describe as his best work, “Aqui mora o ritmo” (Here lives the rhythm) released in 1960. That album was followed a year later by “Cheguei Na Lua” (I arrived on the moon) in which he sang of his passion for space travelling and for the moon in particular.
But the moon was never going to be enough for Ary Lobo who had a gypsy soul and loved to wander the country, participating in “caravans” (as tours were called back then), performing in concert halls as well as playing in nightclubs, cabarets and bregas; those storied houses where cachaça was free-flowing, where resident prostitutes received their clients, and where the party often lasted until dawn. This demi-monde full of temptations was an inspirational paradise for a bohemian like Ary Lobo but also his fall from grace.
Ary Lobo recorded one LP every year until 1966 when he released “Quem É O Campeão?” (Who Is The Champion?) this last album for RCA Victor. All these recordings are wonderful road trips taking the listener through the various regions of Brazil; the tour guide on the journey is none other than Ary Lobo himself who, besides philosophy, science, politics and religion, would ornate the whole travel experience with an in-depth look into the traditions of a Brazilian society moving toward modernity.
Forró, as with so many genres, enjoyed its moment of greatness, but by the end of the 1960s, its popularity had started to fade and Ary Lobo was forced to start moving from one city to another in search of work opportunities. Eventually he arrived in Fortaleza, where he lived until his death in 1980.
Among the singers and songwriters to emerge from Pará in the 1950s, Ary Lobo’s achieved a level of national fame unique for his time. As an interpreter of more than 700 songs his records not only brought him great notoriety but also provided him with a lot of cash. “O nosso valor que venceu na Maravilhosa” (Our values that won in Rio)” was the headline the Paraense press used to describe Ary Lobo’s conquest of the south. But what exactly did his victory mean? For black and mulato artists coming from impoverished contingent of Brazilian society, the ability to play a leading role in the world of radio, recordings and live performances was a significant achievement. This makes it easier to understand why so much of the money Ary Lobo obtained from his musical success was spent on the conspicuous pleasures of being a star.
These words taken from the original liner notes of Ary Lobo’s first LP, “Forró con Ary Lobo” recorded in 1958, are in no way exaggeration. How many Brazilians have been bewitched by his voice nobody can say for sure but what is certain is that it is a voice that could have gone silent forever, as Biographer Elmo Barros explains:
"Hailing from Belém do Para in the north of the country, Ary Lobo was ready to launch his campaign on the south of the country and set out for Rio de Janeiro in October of 1955. There he encountered the usual southern biases against singers from the North and it was only after meeting Gadé, a respected pianist, that he was able to secure an audition at Rádio Mauá.
But the opportunity nearly turned into a disaster as he arrived to that session in such a frail state that he couldn't perform. Insufficient and irregular feeding had affected his breathing making it impossible to give his voice the necessary power. Fortunately the audition was postponed and on his second attempt he was able to secure a five month contract with the station were he became known as a Samba singer. As his reputation grew, he was signed To RCA Victor in June of 1956."
The music scene in Rio began catching wind of the newcomer who cultivated the personality of a Northeastern singer with deep roots in Afro-Brazilian heritage. He would kick start the new decade by recording what many describe as his best work, “Aqui mora o ritmo” (Here lives the rhythm) released in 1960. That album was followed a year later by “Cheguei Na Lua” (I arrived on the moon) in which he sang of his passion for space travelling and for the moon in particular.
But the moon was never going to be enough for Ary Lobo who had a gypsy soul and loved to wander the country, participating in “caravans” (as tours were called back then), performing in concert halls as well as playing in nightclubs, cabarets and bregas; those storied houses where cachaça was free-flowing, where resident prostitutes received their clients, and where the party often lasted until dawn. This demi-monde full of temptations was an inspirational paradise for a bohemian like Ary Lobo but also his fall from grace.
Ary Lobo recorded one LP every year until 1966 when he released “Quem É O Campeão?” (Who Is The Champion?) this last album for RCA Victor. All these recordings are wonderful road trips taking the listener through the various regions of Brazil; the tour guide on the journey is none other than Ary Lobo himself who, besides philosophy, science, politics and religion, would ornate the whole travel experience with an in-depth look into the traditions of a Brazilian society moving toward modernity.
Forró, as with so many genres, enjoyed its moment of greatness, but by the end of the 1960s, its popularity had started to fade and Ary Lobo was forced to start moving from one city to another in search of work opportunities. Eventually he arrived in Fortaleza, where he lived until his death in 1980.
Among the singers and songwriters to emerge from Pará in the 1950s, Ary Lobo’s achieved a level of national fame unique for his time. As an interpreter of more than 700 songs his records not only brought him great notoriety but also provided him with a lot of cash. “O nosso valor que venceu na Maravilhosa” (Our values that won in Rio)” was the headline the Paraense press used to describe Ary Lobo’s conquest of the south. But what exactly did his victory mean? For black and mulato artists coming from impoverished contingent of Brazilian society, the ability to play a leading role in the world of radio, recordings and live performances was a significant achievement. This makes it easier to understand why so much of the money Ary Lobo obtained from his musical success was spent on the conspicuous pleasures of being a star.
compilation released December 1, 2023. Recorded 1958-1966
Graphic Design: Yacine Blaiech
Mastering: Michael Graves
Text Editing: Jesse Simon
Translation: Alan Lobo
Biography: Elmo Barros, Rodrigo Pires and Samy Ben Redjeb
Special Thanks:
Antonio Maurício Dias da Costa, Homero Flávio Fortunato, Lúcia Almeida Da Silva, Frédéric Thiphagne, Zé Maria, Max Alvim, Marcos Araujo, Allan Carvalho, Guga de Castro, Mauricio Fleury
Graphic Design: Yacine Blaiech
Mastering: Michael Graves
Text Editing: Jesse Simon
Translation: Alan Lobo
Biography: Elmo Barros, Rodrigo Pires and Samy Ben Redjeb
Special Thanks:
Antonio Maurício Dias da Costa, Homero Flávio Fortunato, Lúcia Almeida Da Silva, Frédéric Thiphagne, Zé Maria, Max Alvim, Marcos Araujo, Allan Carvalho, Guga de Castro, Mauricio Fleury
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4.6 ★★★★★
Based on 12 reviews
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Product Reviews
★★★★★ 5
Quality and balance
Color: Grey, Color: Grey
If you are reading this review and looking at this watch, you are most likely someone that appreciates mechanical movements and the rich history behind them and the brands that are known for making quality watches which have a beautiful balance between a timepiece and a piece of jewelry. For me, I have multiple sport watches with many complications and some that cost as much or even more than this Tissot Le Locle but anyone that wears a watch and appreciates the heritage of a mechanical movement must own this watch. The jewelry part of this watch is amazing, not loud, just a refined look making a statement that this is not something cheap. The picture does not do it justice. The dial has an amazing "personality" where under low lighting it looks silver and under normal lighting soft white making a beautiful contrast between the black hands and black roman numerals only to surprise you again when you change the viewing angle and the black numerals change to silver. The black hands will give you no trouble reading the time at a glance and 39mm will prove to be the perfect size for any wrist.
The movement is high quality as expected to be in a Tissot and will be working for many years to come so you can pass this watch down to another generation. As a matter of fact, last year my mother who is 78 found the Tissot watch she had in her youth that was in a box with old family watches and she had not worn for decades. She gave the crown a few spins and the watch came back to life keeping accurate time. This is what you can expect from a Tissot movement.
So if you are buying this for your self, you are in the right place, if you are buying it for someone else, make sure they can appreciate what this is otherwise you are better off spending your money elsewhere.
You should also consider getting quality quick release black and brown leather straps with a classic buckle to make this watch suitable for any attire.
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Reviewed in the United States on March 21, 2026
★★★★★ 5
An Exciting and Beautiful Watch
Color: Grey
Update 2-11-18 More time has passed and my satisfaction with the watch continues to grow; it is gratifying to me to simply look at the watch on my arm, I am so pleased with its appearance and operation that it is a joy to wear and to watch its competent functioning. It is keeping excellent time and shows a loss of only a few seconds each day; it is truly a fine watch.
Update 2-3-18 I have researched the watch and discovered some interesting questions about locating the serial number. In checking the literature sent with the watch I noticed the small tag attached to the watch identified the serial number as a series of nine letters which are repeated on the case of the watch. I also looked up the barcode and the first three numbers indicated Switzerland to be the country of origin and accurately identified this watch specifically. I"m satisfied this is an authentic watch from Tissot.
I know that beauty is in the eye of the beholder but to me this is an elegant and beautiful watch and the nicest I have ever owned; it was delivered this afternoon and impressed me greatly right out of the box. I have reset the time and date and it seems to be operating perfectly. I had felt some concern for its authenticity but after seeing the watch and its packaging my concerns have all disappeared; to me it looks and feels like the excellent quality I would expect from Tissot..
Sadly the Certificate of Authenticity had been removed by the seller and on contacting them I was told they reserved the right to do that if they wanted to. I see in at least one other case shown under comments the seller left the document for the buyer. The watch itself strongly indicates the authenticity I had hoped for from the Tissot brand so I'm not all that troubled by the seller's decision.
The user manual is tiny and limited in information; a better copy is available online as a PDF file; I've downloaded the file and suggest you might want to consider that option as well.
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Reviewed in the United States on February 3, 2018
★★★★★ 4
Jewel case not included!
Color: Grey
I ordered this item and received it without the case shown in the pictures. Contacted Amazon and asked for a replacement - and the customer service over the phone was very understanding about the missing case.
The replacement also showed up without the jewel case.
I love this watch, but the buying experience wasn't great. Also, on certain occasions it has lost time after being worn for several days and then not being worn for one day. Kinda disappointing. Still, gorgeous to look at, feels great on my wrist.
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Reviewed in the United States on July 27, 2022
★★★★★ 5
Good
Color: Grey
Good
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Reviewed in the United States on May 12, 2026
★★★★★ 1
If you want copy of watch, buy
Color: Grey
Not official watch, barcode not official, weight is off, watch protection was not on watch appears repackaged, used. Synthetic sapphire on specs, differs from official watch.
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Reviewed in the United States on January 10, 2020
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