Deo

A famous singer from the Golden Period from the Brazilian Music, Deo recorded 136 78 rpm albums with 263 tunes. In 1933, he relocated with his family members to São Paulo SP. As he cherished to sing tangos, he appeared for Maestro Gaó, who was simply the artistic movie director of Rádio Cruzeiro perform Sul. After an audition, he started to sing tangos at that outing. Currently mainly because Deo, he was employed by Rádio Record, where he started to sing Brazilian music, primarily Sílvio Caldas’s tunes, until abandoning the tango in 1936. For the reason that yr, he documented “Vendedora de Flores” (José Marcílio) and “Cantando” (João Pacífico) for Columbia. In 1937, he became close friends with Ary Barroso, who brought him to Odeon, where Deo documented the Ary Barroso samba “Viver Assim Não É Vida” as well as the marcha which produced him popular in Rio, “Casta Suzana” (Ary Barroso/Alcir Pires Vermelho), in 1938; the latter became popular in the 1939 Carnival. In Dec 1939, Deo documented the strikes “Vem, Amor” (Ataulfo Alves/Raul Longras) and “Princesinha” (Malfitano/Frazão). He composed “Súplica” (lyrics by Otávio Gabus Mendes), documented with achievement by Orlando Silva in 1940; the various other aspect of Orlando’s record acquired “Coqueiro Velho” (Fernandinho/José Marcílio), among Deo’s non-credited music. “Não Me Procures Mais” (with lyrics by Mário Rossi) was another primary documented by Deo. Through the early ’40s, Deo documented 12 albums through Odeon (Rio) and in addition performed in the Rádio Nacional. When he transferred to Rio in 1941, Ary Barroso brought him to Rádio Tupi. In 1942, impeded by Odeon’s movie director Mr. Strauss from documenting Ataulfo Alves’s “Ai, Que Saudades da Amélia” (was as well gradual for the Carnival, regarding to Strauss), Deo noticed that the melody would achieve tremendous achievement in the composer’s documenting. Breaking with Odeon, he agreed upon with Columbia, where he’d stay until 1943, when he transferred to Continental. In 1944, he previously great achievement with Ary Barroso’s “Terra Seca.” In 1954, he was asked to end up being the artistic movie director of the air recording firm, where he continued to be until its shutting in 1961. Within the next calendar year, he occupied the same features on the Estúdio F firm. His last documented functionality was the re-recording for the sambas “Alô, Pandeiro” and “E O Cinqüenta E Seis Não Veio,” both by Haroldo Lobo/Wilson Batista, contained in the História da Música Popular Brasileira series (Abril Cultural).