A solid impact over Brazilian popular music in the 80’s, arranger/manufacturer Lincoln Olivetti helped substantially (in duo along with his partner Robson Jorge) to form the audio of, among various other top-line artists, Tim Maia, Caetano Veloso, Jorge Ben, Gilberto Gil, Gal Costa, Rita Lee, Luís Melodia (who also recorded “Traição”, by Olivetti, in his Pintando o Sete, 1991), Fagner (Amigos e Canções, 1998), Zizi Possi and Marina Lima (her first album, Simples Como Fogo). Olivetti also acquired enormous strikes like “Rio Babilônia” (with Robson Jorge), and his compositions had been contained in the soundtracks of broadly well-known soap-operas (like Baila Comigo, 1981). Celebrated for infusing spirit music overtones in the country’s productions, Olivetti’s formulation was so effective and important that also was in charge of an extreme commercialism that finished up making lots of the Brazilian produces in the 80’s to appear to be the same. Within the next 10 years he was rediscovered and his musical characteristics shone once again in functions like Ed Motta’s Manual Prático em virtude de Festas, Bailes e Afins Vol. 1, with shows for “Daqui pro Méier”. A simple influence on the acclaimed maker Memê (Marcello Mansur), Olivetti published a number of the string plans in Memê e Eles (1999). In 2001, after Common refused Sandra de Sá’s debut recording in the documenting company, an array of Motown classics made by Dudu Marote, Olivetti was summoned to understand the task. In the same yr he also created Rita Ribeiro’s Comigo, produced the plans for Nana Caymmi’s Desejo and organized the tunes performed by Nana Caymmi, Daniela Mercury, Leila Pinheiro as well as the Women’s Philharmonic in the Ibirapuera recreation area (São Paulo). In 2002, Olivetti was in charge of the plans and conduction from the orchestra in Jorge Ben Jor’s Acústico MTV.