Lulu Santos is really a Brazilian superstar that has stable qualifications in his high-selling discography and it is from the engendering of Brazilian rock and roll because the ’70s. He published a film soundtrack and text messages on music on publications and, like a maker, worked well for Titãs (Televisão) and Premeditando o Breque (O Melhor dos Iguais). Fascinated with the Beatles, Santos created his 1st group at 12, covering their strikes. At 19, he started to play in Veludo Unétrico, starting his professional stage. In 1974, he became a member of Vímana, a significant group for the gestation from the Brazilian rock and roll design. Expelled from your group because of disagreements with Patrick Moraz, he hadn’t a good place to rest, since Vímana worked well within the communal design so dear towards the ’70s imagery. It had been when Santos fulfilled Antônio Pedro Fortuna, a pal and previous bassist for the Operating-system Mutantes. In 1978, each of them, percussionist Reginaldo Francisco, and drummer Hélber Baldaque created the short-lived light pop/rock and roll band Unziotros. Then published the soundtrack for Neville de Almeida’s film Operating-system Sete Gatinhos, in line with the function of fundamental Brazilian article writer Nelson Rodrigues. Through Polygram, he released the solitary Gosto de Batom (Bernardo Vilhena/Pedro Fortuna) under his actual name Luís Maurício. Becoming married to some journalist (Scarlet Moon de Chevalier) opened up the doors of the parallel career on paper (SomTrês publication) and, at exactly the same time, Santos became the maker of soundtracks for Rede Globo’s cleaning soap operas and series. However the murder of John Lennon on Dec 8, 1980, influenced the structure “Tesouros da Juventude” (lyrics by Nelson Motta). Documenting a demonstration tape with drummer Jim Capaldi (previously with Visitors), Santos delivered these to Warner’s creative movie director Léo Neto (a pal of Motta’s). In 1981, Santos documented for Warner (currently using his pseudonym), with the essential support of hitmaker/manufacturer Liminha, three singles reached expressive offering: “Tesouros da Juventude,” “Areias Escaldantes,” and “De Leve” (a edition of Rita Lee’s edition of Lennon/McCartney’s “REUNITE”). Santos begun to present his encounter on TV, finding a solid impulse on displays hosted with the irreverent and intensely popular Chacrinha. Within the same season, he participated with “Areias Escaldantes” on the MPB-Shell 81 celebration, with no outcomes. The following season marked the discharge of his initial solo LP, Tempos Modernos, which brought the three singles, alongside “De Repente Califórnia” (theme of the film Menino perform Rio), “Tudo com Você,” “Palestina,” and “Scarlet Moon,” solid candidates as strikes that concretized a good offering of 56,000 copies. The next LP directed explicitly at achievement through tranquil pop ballads such as for example “Como uma Onda no Mar,” as well as the melodic music “Adivinha o Quê” and “Um Certo Alguém,” everything carrying out a basic formula where the pleasures of the idealized beach tradition was offered to the people of upcountry Brazil. The recording reached the target, offering 90,000 copies. Tudo Azul (1984) still experienced a good overall performance through the name monitor, “O Último Romântico,” and “Certas Coisas.” In 1985, he participated within the essential event Rock and roll in Rio, which jammed as much as 250,000 people in each of its five evenings. Santos performed the same evenings as Pole Stewart and Queen. But successhad a cost and Santos, in the center of an ego trip, dismissed Liminha and created Normal by himself, which sold terribly and provoked his departure from Warner. Shifting to RCA/Ariola, he came back for his effective method of pop/rock and roll on Lulu (1986), offering 200,000 copies. Two tunes had been included on cleaning soap opera soundtracks, “Condição” (Corpo Santo, Television Manchete) and “Um pro Outro” (Brega e Chique, Television Globo). Packed home displays throughout Brazil became typical for his presentations; he actually crowded the sports activities stadium in Maracanãzinho. In 1987, Warner released the compilation O Último Romântico, which marketed 400,000 copies. That season, the LP Lulu was honored with a platinum record. In the ceremony in a loaded Maracanãzinho, Santos refused to simply accept the award as the record hadn’t reached the least quantity of 250,000 copies for your category (producing public a vintage divergence among performers and recording brands about rights produced from obscure ciphers). Toda Forma de Amor (1988) got the strike “A Cura,” that was probably the most spun lower on all Brazilian FMs. The record also attempted an approximation with MPB on paths such as for example “Cobra Criada” and “Lot Lot.” The tour for the discharge of the record experienced 29 Brazilian metropolitan areas and Montreux (Switzerland), achieving 450,000 spectators. It had been so successful it yielded a live documented recording, Amor ? Arte (in the Olympia of São Paulo in August 1988). Within the 1st Hollywood Rock event that 12 months, Santos played on a single night time as Supertramp. On Popsambalanço (1989), Santos was the first ever to recreate the semi-forgotten physique of the huge Jorge Ben (right now Jorge Ben Jor), however the recording was received with either indifference or negativity from critics, offering “just” 70,000 copies. Honolulu (1990) was a go back to his easy strikes, such as for example “Papo Cabeça.” The LP premiered in a live display on view in the Praça da Apoteose (Rio), where Santos opened up for Eric Clapton. Within the ’90s, Santos documented three dance music albums with DJ Memê: Assim Caminha a Humanidade, European union e Memê, Memê e European union (his best-selling record until after that), and Anticiclone Musical. Liga Lá (1997) got the participation from the essential conductor/arranger of Tropicalia, Rogério Duprat, and a vintage partner from Vímana moments: Ritchie. The digestible Calendário (BMG, 1999) retakes the earning cooperation with Liminha as well as the beach pop formulation.