Carmélia Alves became known basically on her behalf renditions from the baião genre. The intense popularity from the baião helped to task her internationally, and she got extensive involvement in the worldwide picture, having toured overseas for five consecutive years. She was presented with the name of Queen of Baião from the Ruler of Baião himself, Luís Gonzaga. Her biggest strikes had been “Trepa No Coqueiro” (Ari Kerner, 1950), “Sabiá na Gaiola” (Hervé Cordovil/Mário Vieira, 1950), “Coração Magoado” (Roberto Martins, 1950), and “Cabeça Inchada” (Hervé Cordovil, 1951). She also worked well in seven movies throughout her profession. Alves debuted in the air in 1940, on newbie displays at Rádio Tupi and Rádio Nacional. Shortly she was employed by Rádio Mayrink Veiga, where she proved helpful for 3 years. From 1943 on, she also became the crooner from the nightclub from the Copacabana Palace Resort. Alves documented her first record in that calendar year, using the samba “Deixei de Sofrer” (Dino/Popeye perform Pandeiro) as well as the batucada “Quem Dorme no Ponto é Chofer” (Assis Valente), for the carnival of 1944, the entire year where she toured Brazil. In 1949, she documented the baião “Me Leva” (Hervé Cordovil/Rochinha) in duo with Ivon Curi, the initial one of a string that granted her the name of Queen of Baião in the ’50s. In 1954 she performed in Buenos Aires, Argentina, and, 2 yrs later on, toured for five years through European countries, Africa, Asia, as well as the U.S.A. In the first ’70s, she toured overseas regularly. In 1977, she participated inside a commemorative display of the 30 years of baião, as well as Luís Gonzaga, Humberto Teixeira, and Hervé Cordovil. In the past due ’80s, she became a member of the group As Eternas Cantoras perform Rádio, along with Nora Ney, Violeta Cavalcante, Rosita Gonzales, Ellen de Lima, and Zezé Gonzaga. In 1998, Gonzales, Gonzaga, and Ney departed, and Ademilde Fonseca became a member of the group.