An outsider towards the recording industry, Luís Melodia is really a talented composer and interpreter that has paid the price tag on his independence with an erratic discography. His music, several of that are classics of MPB (like “Juventude Transviada,” “Pérola Negra,” “Magrelinha,” “Dores de Amores,” “Vale Quanto Pesa,” “Pra Aquietar,” “Ébano,” “Presente Cotidiano,” “Estácio, Holly Estácio,” and “Farrapo Humano”) had been recorded by many artists such as for example Gal Costa, Maria Bethânia, and Zezé Motta. Kid of Osvaldo Melodia, sambista of the original samba enclave of Estácio (in Rio), Luís Carlos dos Santos was involved with music from youth. He left senior high school in his teenagers and produced the group Quickâneos, specialized in renditions of jovem guarda and bossa nova strikes. Within the ‘70s, his mixture of traditional samba and pop music captured the eye of poets Waly Salomão and Torquato Neto. Salomão released Melodia to Gal Costa, who documented his music “Pérola Negra” on her behalf recording Gal a Todo Vapor (1972). Within the same yr, Maria Bethânia documented “Estácio, Holly Estácio” on her behalf album Crisis — Anjo Exterminado. It had been after that that he used the stage name Luís Melodia. Melodia documented his 1st LP in 1973, Pérola Negra. From his following album, the basic melody Maravilhas Contemporâneas (1976) was selected because the theme for the cleaning soap opera Pecado Capital. In 1975 Melodia reached the finals from the Abertura Event (Television Globo) with “Ébano.” In 1980 he documented Nós, offering his trendy interpretation of “Negro Gato” (Obtainúlio Cortes). Following a long amount of ostracism, where he continuing to record, Melodia came back to the strike parades along with his rendition of “Codinome Beija-Flor” (Cazuza). In 2001, a documentary aimed by Karla Sabah portrayed his existence.