Brazil's folkloric music is multifaceted as are all aspects of life in that huge country which shelters diverse cultures in its several regions and states. Inezita Barroso is devoted since 1936 (when, at 11, she learned how to play the violão and sing) to her paulista (upcountry São Paulo) roots. The tradition descended from religious parties gave birth to cateretês, modas, and other styles, which are just the opposite, in terms of sensitivity and integrity, to the abusive commercial trick called "sertanejo" music, which is a highly successful modernization of the brega (kitsch) from the '70s with added electronics and sophisticated production devices.
This compilation covers diverse phases of her long career. As in all modern compilations in Brazil, the inlay brings no further information than the song titles and their composers. This selection comprises from her first LP released in 1955, Inezita Barroso (Copacabana), the songs "Banzo" (Heckel Tavares/Murilo Araújo) and "Viola Quebrada" (by the fundamental musicologist Mário de Andrade). "Banzo" has nothing to do with folklore, being an ambitious and orchestral epic poem. "Moda da Mula Preta" (Raul Torres) is from Eu Me Agarro na Viola (Copacabana, 1960). "Roda Carreta" (Paulo Ruschel) is from Inezita Barroso (1961). In the total, 20 songs where the simplicity of the caipira (redneck) soul find in the versatile singing of Inezita its strongest expression.