Paulo Diniz

Paulo Diniz knew achievement within the ’70s with compositions and interpretations soaked using the freewheeling soul of those occasions, an assortment of post-1968 protest using the joyous personality of Bahian music. “Quero Voltar Pra Bahia” (“I Wanna Get back to Bahia”), a nostalgic tribute to Caetano Veloso who was simply exiled in London at that time, was documented by other interpreters, including Fagner. Diniz also experienced his “Símbolo de Paz” documented by Elizeth Cardoso; “Pingos de Amor” by many interpreters, including Araketu, Child Abelha, Neguinho da Beija-Flor and Sula Miranda; “Chega” by Simone; “Um Chope Pra Distrair” by Emílio Santiago; and “Canseira” by Clara Nunes. Having eliminated extremely early to Recife (Pernambuco), where he spent an unhealthy and difficult child years, Paulo Diniz worked well like a crooner and drummer in nightclubs, also carrying out as an acting professional and loudspeaker at Rádio Jornal perform Comércio. In 1964, he visited Rio de Janeiro to are a loudspeaker for Rádio Tupi. In a short time, he been successful in singing within the Jovem Guarda design, recording his 1st recording in 1966 with “O Chorão” (Edson Mello/Luís Keller). In 1967, he released his LP Brasil, Brasa, Brasileiro and began to create songs with a far more concentrated approach and documenting his biggest strikes three years later on with “Um Chope Pra Distrair” and “Quero Voltar Pra Bahia,” both in cooperation with Odibar, within the recording Quero Votar Pra Bahia. Paulo Diniz (1971) experienced two other strikes, “Pingos de Amor” (Odibar/Diniz) and “O Meu Amor Chorou” (Luiz Marçal Neto). After 1973, he devoted himself to place music to poems by Carlos Drummond de Andrade (having popular the next 12 months with “E Agora, José?”), Augusto dos Anjos, Manoel Bandeira, and Gregório de Matos. In 1978, he previously achievement with “Me Leva Morena” (with Marconi Norato/Juhareiz Correya) and “Severina Cooper (IT ISN’T Mole Não)” (Accioly Neto), in the LP É Marca Ferrada.