A very private poet, deeply thinking about the female condition, Ana Terra’s songs have already been celebrated simply by many big-time Brazilian artists within their recordings, like Nana Caymmi, Emílio Santiago, Maria Bethânia, and Marina Lima. In 1977, Terra experienced many of her compositions (with Danilo Caymmi) released by Caymmi on his LP Cheiro Verde (released through Terra’s label Ana Terra Produçõsera). Milton Nascimento experienced special involvement on that record (in “Lua perform Meio-Dia” by Danilo Caymmi/Ana Terra), and in 1978 he documented another Ana Terra track, this time by himself LP, Clube da Esquina, “Meu Menino” (with Danilo Caymmi), while Elis Regina documented on her behalf Essa Mulher (1979) the name monitor (Joyce/Ana Terra) and “Pé Sem Cabeça” (Danilo Caymmi/Ana Terra). Another 12 months Joyce included “Essa Mulher” on her behalf album Feminina as well as the Boca Livre documented “Nossa Dança” (with Danilo Caymmi). In 1980 Joyce documented (on her behalf LP Água e Luz) “Banho-Maria” and “Mais Uma Vez, Mais Uma Voz.” Among Terra’s biggest strikes was documented by Angela Rô Rô within the ’80s, “Amor, Meu Grande Amor” (with Angela Rô Rô), having getting re-recorded successfully with the Clubão Vermelho. Terra also ventured into children’s music with her task and lyrics for the LP Histórias perform Céu e da Terra. In 1995, Fátima Guedes documented “A Dois” (with Sueli Costa) on her behalf Compact disc Grande Tempo. Invited by Francis Hime and Olívia Hime, Terra had written the lyrics for just two tracks by Chiquinha Gonzaga for the tribute record to the feminine composer. Also within the ’90s, Lisa Ono documented “A Dois” and “Diz a Ela” (both with Ono).